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waitmyturtles · 10 months

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Turtles Catches Up With Old GMMTV: 2gether and Still 2gether Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I tackle the impact of GMMTV’s biggest BL, 2gether, and its companion follow-up, Still 2gether.]

Alright! We have reached a major milestone in the Old GMMTV Challenge. This entire project started off on the backs of two now-seminal posts (for me! and I hope for you, too!). The first one was a dialogue I had with the ever-lovely @miscellar regarding how Bad Buddy had addressed BL tropes and turned those tropes around for a singular drama experience. At the time of my asking @miscellar about this, I hadn’t organized myself to do a chronological exploration of Thai BLs as a genre -- I was picking and choosing what to watch, and I knew that what I had watched in Bad Buddy was formative. I wanted to learn more.

@absolutebl had caught the scent of this discussion, as others were sending them asks of this historical nature as well, and they penned this post that listed out the three dramas that they thought best explained how GMMTV came to its current state of programming -- GMMTV’s apology tour, as we called it back then, with Love Sick, SOTUS, and 2gether listed as the three dramas one needed to watch to understand the state of GMMTV’s BL programming now.

So with that, I dove in, and publicly began building out the OGMMTVC, with major help from @absolutebl, @bengiyo, @shortpplfedup, @lurkingshan, @miscellar, @nieves-de-sugui, @solitaryandwandering, and many, MANY others along the way (@manogirl singlehandedly introduced me to MaxTul, for which I say, FUCK YEAH, FRIEND, THANK YOU!).

And the milestone that we’re celebrating today is that I’ve crossed the 2gether and Still 2gether threshold -- 2gether being the last drama on @absolutebl‘s original list. And, of course! I have thoughts on 2G and S2G.

(Before I dive in, I just want to say that I’m saving some juicy, juicy analysis of the pain/suffering/separation type for a separate meta that I’m hoping to publish later this week, offering a comparative analysis of Still 2gether to Bad Buddy and Until We Meet Again. I don’t want to unwind this here, because I want this post to focus in large part on 2gether’s media influence, but -- stay tuned, I’m headed for more pain meta shortly, tee hee!)

So, yeah, 2gether -- wow, right? Haha.

No, not quite, I’m just sort of joking. I’ve had EXCELLENT dialogue with the fabulous @bengiyo and @so-much-yet-to-learn about there being some shining spots in 2gether, which I agree with them about. (For both 2G and S2G, @bengiyo and @so-much-yet-to-learn shared with me some incredibly moving reflections on what it meant that Bright Vachirawit, in particular, was so emphatic about Sarawat being identified as gay in the show -- and how that spoke to the queer community during 2G’s prime. Thanks to you both for those timely comments.)

I think those of us who watched this 2G installment of the franchise know inherently what its major issues are, including a lack of chemistry emanating from Win Metawin, and an overabundance of pure talent and eagerness from Bright Vachirawit that wasn’t met at his level, à la Krist and Singto in SOTUS.

Besides the 2gether series itself -- which I’ll get back to in a minute -- I just want to note the external landscape of the show’s airing. We now all know that this show premiered in the very early stages of the COVID pandemic emanating out of Asia. 2gether’s popularity has long been attributed to people being at home to watch shows, many of whom likely were watching Thai BLs for the very first time. According to 2gether’s wiki, the show reached 100 million views by April 2020 on LINE TV ALONE (thank you to @lurkingshan for dropping the data!). Both Bright and Win have MASSIVE social media followings now, FAR outnumbering the other stableholders at GMMTV (Tay, Off, Gun, Nanon, etc.). And, 2gether’s continued success in and out of Asia is mostly attributed to the nostalgia that first-time viewers may have about 2gether being their first BL.

I thought this was all interesting to note in a recent Instagram post that Toptap Jirakit, who plays Type in 2gether/Still 2gether, posted. He hit the streets, interviewing Thai fans on their favorite BL series. I think it’s likely convenient for his own career that most of the interviewees listed 2G in their top three lists -- but it made me think.

I know, especially from discussions with @bengiyo and @lurkingshan, that there was a LOT of BL fan dismay about the ending of 2G. To be UTTERLY honest, I TOTALLY MISSED the ending high-five, because I was looking for, like, something BIG at the end, and, lol, the high-five totally went over my head. I guess that’s a good description for my feeling of the entire series, which I’ll dive more into in a bit.

First, I want to offer another, but supporting, theory on 2G’s popularity. Taking into account that Toptap IG video (again, acknowledging the self-promotion within it), as well as Bright and Win’s massive popularity, I want to meditate on the wider fandom of BLs vs. non-BL dramas in Asia. BLs in Japan, for instance, are often relegated to midnight-or-later airing times on television. And much of GMMTV’s content is online-based first. I don’t know, as BL fans, if we’re routinely and globally aware that the fandom for BLs -- which is big, maybe even huge -- is dwarfed by, say, the fandom of a mid-sized K-drama. The BL industries in Thailand and Korea are still relatively young and nascent, while other non-BL drama machines are well-oiled across the continent.

In other words -- yes, because of COVID did 2G find a much bigger audience. But I also want to offer that 2G’s...chastity? chasteness?...may have also HELPED this particular series gain such wider appeal. In other words: Asian audiences of a larger mass, outside of established BL fandoms within and outside of Thailand, may have responded more favorably to 2G BECAUSE of 2G’s lack of sex, a lack of innuendo, a lack of insinuation.

(Remember: in majority cishet society, sex is judged. And queer sex? Forget about it. I’ve established in this OGMMTVC that queer sex is even fodder for creating discriminatory material WITHIN the BL genre itself. Sex AND queer attraction give many people the jibbles. Audiences going to non-BL dramas may be doing so because they want to consume specifically het content. Same-sex romance just might not be their thing. And those non-BL drama genres are GIGANTIC -- from funding to viewership, etc.)

In that Toptap video, many fans list Bad Buddy, A Tale of Thousand Stars, and others as their other favorite BLs. Putting BBS aside for a second -- because there WAS intimacy in BBS, just not an overabundance of it -- we can consider ATOTS as another example of a BL that happens to be quite popular in Thailand, demonstratively, while also being subject to similar criticism by BL fandom as 2G in having a lack of intimacy.

While us in the BL fandom will readily make fun of 2G for not having intimacy at all, I do think, for Asian audiences not accustomed to an abundance of sex and/or same-sex sex in media -- the way that us Western viewers have in our majority media -- that 2G was accessible. It wouldn’t have to make your non-BL fan, new to the genre, uncomfortable -- especially to see same-sex intimacy.

(The wonderful @telomeke made a similar point last week in a conversation about queer acceptance vis à vis Thai politics. I wonder if our devoted BL fandoms lull us to think that an ENTIRE COUNTRY might be accepting of the queer community and queer politics and policies. It’s definitely not a reality in any single nation worldwide. There are always going to be complicated dichotomies of acceptance in every single society that humans exist in.)

When I got to the end of 2G, and saw that there wasn’t going to be any kissin’ or huggin’ -- it made TOTAL sense to me WHY this show was popular OUTSIDE of the already-established BL fandom, particularly in Asia. It ain’t my cup of tea, but it was a show that I could see, like, my Asian cousins watching, as an introduction to queer revelations and engagement. And then, if they stuck with the genre, I could see them going to, say, an ATOTS, before going to a BBS, a show that really addressed the development of queer intimacy between men. Numbers-wise -- yes, COVID explains 2G’s popularity. Content-wise? Content-wise, 2G stays in people’s hearts, partly because I believe it didn’t PUSH those hearts, as a same-sex starting gun to their first exposure to BL.

I could get well into an analysis of how sex, generally, is perceived in Asia, and ALL of the cultural nuances and biases AGAINST sex in Asia (cc @neuroticbookworm, as we have talked about potentially writing meta together on this topic from our shared South Asian lens). But I happen to think that some of our beloved BL filmmakers -- P’Aof Noppharnach, Jojo Tichakorn, New Siwaj, Cheewin Thanamin -- have actually addressed it, and beautifully so, and continue to do so. For instance, the ending quote placards in Dark Blue Kiss touch multiple times on Thailand needing more sex education. Just to offer a personal example -- I’ve had to talk to Asian relatives well into their thirties, as an American, about their first exposure to sex, to explain that sex is not... a bad thing. It’s the cultural and social judgments that accompany sex that colors a person’s worldview on sex.

2G didn’t challenge ANY OF THAT. In fact, in casting Win, they chose a dude who was VERY CLEARLY not INTO that -- to me, à la the casting of Krist Perawat in SOTUS.

No sex? No moral challenges, no ethical quandaries, no uncomfortable moments with a same-sex acting partner. Just two dudes dating, cute cute, holding hands at the Scrubb concert (or whatever).

Of course, for my tastes, as y’all know, I desire something more complicated. And I understand that GMMTV HEARD the feedback that many established BL fans had about that 2G ending. And P’Aof Noppharnach, at the time of 2G’s ending, clearly said something to the effect of, not on my watch, I’m actually going to take this franchise AND FIX IT, MY WAY, which, fuck, COULD I LOVE THIS MAN MORE? No -- but YES, I found a way to love him more.

And we got Still 2gether -- a show rooted in its QUEERNESS. QUEERNESS AND INTIMACY AND INDICATIONS OF SEX. I mean, look!

Not just rainbow shirts! Rainbow shirts on multiple people. And rainbow TABLES. P’Aof was like, WE ARE NOT MISSING A MOMENT HERE, PEOPLE. We’re going to fix this. We’re going to claim BL for the queer community who actually serve at the mercy of the audience that consumes BLs.

Before I dig further into S2G, for which I have reams of notes, as opposed to 2G (obviously) -- some quick positive notes on 2G. Wat’s romantic confession in the shelter bus in the forest was seriously heart-warming. It was romantic as fuck. And we see a NUMBER of tropes that make their way into BBS -- bringing over a beverage to someone who is joined by another potential romantic partner; how everything needs to be a competition or a “deal”; all the singing and writing of songs; make-up remover/micellar water (hi @miscellar, ha!); the keeping of a guitar for someone else. I loved seeing those tropes in 2G. I love when shows talk to each other.

Most of all, 2G established Sarawat as committed to his pursuit. Bright was UNABASHED in his role as Sarawat. It was Win/Tine who could not meet Bright’s level -- seemingly out of, what, disinterest? Repulsion? Maybe even a lack of acting talent? It wasn’t obnoxious, per se. It just seemed like Win didn’t know HOW to respond, or even what to respond TO -- all while Bright/Wat CLEARLY SIMMERED in his role. (Like I said earlier, @bengiyo has shared that Bright was emphatic in interviews that Sarawat was gay, while Win was less forward about Tine and who Tine was.)

And I think S2G absolutely grabbed Bright’s talent and spotlighted it. I am deeply glad that the ending of S2G had a such a STRONG sexual insinuation, à la AePete’s SIMMERING attraction in Love By Chance, and even in moments throughout the show as well, and I loved how S2G leveraged Bright’s fabulous acting as Sarawat IN those insinuations. Because -- contrary to how my Asian parents raised me, and how many Asians are TAUGHT to THINK about sex, which is to say, to try to ignore it or laugh at it -- PEOPLE HAVE SEX. And sex, and QUEER SEX, are things to be celebrated. Sex is beautiful, and BELONGS in stories of romance and love. To have had it essentially...deleted?...from 2G removed a huge sense of reality from that piece of drama art.

S2G also focused on a thing that many in the BL fandom actually pooh-pooh: it focused on a committed, ongoing relationship. My favorite BL in the world, Kinou Nani Tabeta?/What Did You Eat Yesterday? is focused on two middle-aged guys in the middle of their years-long relationship. I’m a married mom. I want to see the struggle. I love first love in BLs, don’t get me wrong -- my Cherry Magics, my BBSs, my Old Fashion Cupcakes. But I also don’t mind the struggles. Give me a Minato’s Laundromat, season 2, any day.

I think P’Aof was offering a subversion to Thai BL expectations by showing Tine and Wat in their settled relationship, a year in, where even Sarawat admits -- the sweetness of the relationship has worn off. The guys are working together, living together, working on their relationship together, eating instant noodles together, instead of the green curry and simmered pork and eggs that Tine lovingly made for Sarawat in their early days.

I feel like I’ve said this before, but let me say it again: I CANNOT EMPHASIZE HOW IMPORTANT IT IS FOR MEDIA TO SHOW QUEER COUPLES IN LONG-TERM RELATIONSHIPS. Queer partners are FAMILY, TOO. I had ongoing FABULOUS conversation with @chickenstrangers (THANK YOU, FRIEND!) during my 2G and S2G conversations, and dear @chickenstrangers pointed out to me the nature of a conversation that Sarawat and Earn (FILM FILM FILM!) had, in which Earn complemented Sarawat on his courage in being in a same-sex relationship. And Wat corrects her. (Sorry for the massively bad screenshots, it’s bumbling mom hour around here):

Like I said earlier: 2G gave potentially sex-and-queer-love-averse audiences a BL they could chew on. Win Metawin gave them enough by way of the portrayal to allow audiences to feel like they could be at arm’s-length while observing a same-sex relationship.

S2G, and Sarawat himself, strike to the HEART of queer existence and queer love. Sarawat corrects Earn: I do not love Tine because I’m courageous. I love Tine because I love Tine, because I am a human who loves another human. It’s nothing special. It’s just love that myself and my partner have, that other couples have.

I think what P’Aof did, by way of observing what was going down in 2G -- what was being NORMALIZED in 2G -- was to pull a switch and turn the tracks around, and say, I have got to normalize ANOTHER PATH for these fans that are paying extremely close attention to Bright and Win right now. And he did it, with rainbow tablecloths and shirts; with Tine’s homies, Fong and Ohm, holding Tine down; with Sarawat’s homies, Man and Boss, exploring their OWN loves simultaneously with Sarawat and holding Sarawat down with love and support.

Oh, and, of course. What P’Aof did with Green. Green was arguably a worst-case scenario of a gay character being misused for comedy in any of the dramas I’ve seen on the OGMMTVC in 2G. I honestly do NOT know what GMMTV was thinking when they allowed that characterization to air.

And Green just becomes... SASSY, and EQUAL, and really fun and slightly conniving towards Dim in S2G, and it was FABULOUS to watch (OMG. Guy and Guy’s chemistry and comedy? HILARIOUS. P’Aof ABSOLUTELY knew what he was doing there!).

Watching S2G was another fabulous P’Aof moment. It was like putting on warm pajamas and snuggling in for the smart ride of a drama. Every bad drama should consider having P’Aof come in to save the day (except for The Promise and Step By Step -- let’s never utter those titles ever again, ever).

But, I do need to give 2G credit. 2G opened the door for something: it served as a misstep for GMMTV to learn from. I don’t want to be SO summarizing like that -- again, because very important experts in @bengiyo and @so-much-yet-to-learn, who analyze shows from a very important queer lens, have spoken on the bright spots of 2G. 2G allowed for S2G to exist, for Sarawat to exist as an openly-in-love man with a boyfriend who he doted on. 2G allowed for fans of 2G to then walk the road in S2G, to be exposed to P’Aof’s CRITICAL and EMPATHIC eye in developing queer content, and to be exposed to a Sarawat that was much more able to LOVE and to receive love.

I’ll giggle and laugh at the foibles of 2G. But I saw how Bright, and even Win, improved in S2G. I saw how a director in P’Aof, and his screenwriting team in Pratchaya, Bee, and Au, took a thing that wasn’t representing the queer community healthily enough, and turned it into yet another gorgeous representation, not just of queer love -- but of GLOBAL LOVE, a kind of love, between Tine and Sarawat, that all of us humans who WANT to love another person, can strive for. I will always appreciate 2G and S2G for that journey.

[Alright, we keep truckin’! If you’ve been following my blog in the late-night space, well -- you know where I’m at, psychologically, at the moment. I was ALL KINDS OF MESSSEDDDDD UPPPPPPPPPP over I Told Sunset About You. GEEEEEEEEEEZZZZZ. I am really going to enjoy my ITSAY write-up, and will definitely serve up some comparative analysis between ITSAY and other shows, as per a request from the legendary @lurkingshan, I gotchu, gurl. I see some really important moments from the OGMMTVC journey in ITSAY and cannot wait to get my pen on them.

And speaking of wild and crazy mindsets, I have started YYY -- more on THAT in the liveblogs -- and then after YYY, a return to dear MaxTul. We’ll definitely honor the end of Tul Pakorn’s career as I watch Manner of Death for the first time. Tul’s been a real homey in the space for a while, and I can’t wait to celebrate him.

Here’s the status of the watchlist -- as always, I’ll take any feedback ya got!

1) Love Sick and Love Sick 2 (2014 and 2015) (review here) 2) Make It Right (2016) (review here) 3) SOTUS (2016-2017) (review here) 4) Make It Right 2 (2017) (review here) 5) Together With Me (2017) (review here) 6) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 7) Love By Chance (2018) (review here) 8) Kiss Me Again: PeteKao cuts (2018) (no review) 9) He’s Coming To Me (2019) (review here) 10) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 11) TharnType (2019-2020) (review here) 12) Senior Secret Love: Puppy Honey (BL cuts) (2016 and 2017) (I’m watching this out of order just to get familiar with OffGun before Theory of Love -- will likely not review) 13) Theory of Love (2019) (review here) 14) 3 Will Be Free (2019) (not a BL or an official part of the OGMMTVC watchlist, but an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 15) Dew the Movie (2019) (review here) 16) Until We Meet Again (2019-2020) (review here) 17) 2gether (2020) and Still 2gether (2020) 18) I Told Sunset About You (2020) (review coming) 19) YYY (2020, out of chronological order) (watching) 20) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) 21) A Tale of Thousand Stars (2021) (review here) 22) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS 23) Lovely Writer (2021) 24) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 25) I Promised You the Moon (2021) 26) Not Me (2021-2022) 27) Bad Buddy (2021-2022) (thesis here) 28) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 29) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 30) KinnPorsche (2022) (tag here) 31) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 32) The Eclipse (2022) (tag here) 33) GAP (2022-2023) (Thailand’s first GL) 34) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 35) Moonlight Chicken (2023) (tag here) 36) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults)]

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bengiyo · 10 months

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Hi!!

Quick question: Is the level of regular engagement/posting/meta for BL series right now (particularly Step By Step and La Pluie, but others as well) a typical amount of engagement for a show in this little Tumblr corner? or above average? (or below average??)

Is it increasing because (from what I understand) things are changing and there's more to talk about nowadays?

As a newbie, I am having a FABULOUS time with reading and seeing everyone's different thoughts and perspectives and insights and learning new things. 'tis excellent. I don't think I've ever enjoyed watching TV more.

However, from what I understand the amount of BL coming out right now is actually in a bit of a lul? and so if this level of engagement is typical for the majority of shows (or only good shows idk) I'm going to have to put some time management stuff in place.

I just want to be prepared! Because this is Awesome!

Oh, this is a complicated one. I'm going to tag @absolutebl, @so-much-yet-to-learn, @lurkingshan, @ginnymoonbeam, @liyazaki, @negrowhat, @respectthepetty, and any other old fans reading this to also weigh in.

I think we are a shell of what we once were. At the height of 2gether, Bad Buddy, I Told Sunset About You, and a few other big shows you were getting banger after banger in the tags. I feel like I've been writing more lately because I miss that era and feel like I have to directly contribute to fostering it with new fans entering the space.

On the real, in 2020 @asianmade organized fans to submit letters and other content and assembled books to thank Bright and Win for the work they did on 2gether. We even got confirmation from Bright that they got the books.

I think good storytelling begets good reactions. The more invested we are, the more we're going to talk about it. I think fandom really only works when we're all actively contributing to it in some way. Reblogging and leaving fun comments in the tags. Writing crack posts. Sharing clown theories about what might be happening. Making gifs. Making fan vids. I genuinely think that the experience of watching the show improves when fans come together to share their ideas and build each other up.

Still, there used to be a lot more of us on tumblr. I hope that we continue to be this invested in the shows that follow. I feel like we're about to turn a lot more of our attention to Be My Favorite.

So, if you're enjoying the experience of having so much to read, please add to the stream! Write your thoughts down! Love the shows loudly! Tag us if you write something! Message us if you have questions!

#answered #bl community #fandom life

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hils79 · 9 months

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Hils Watches My School President - Ep 3 (Part 1)

So, to recap. The band club aren't allowed to date anyone unless they win a specific music award. Tinn, who is in love with the lead singer, has vowed to help them win under the guise that it will make the school look good and not at all because he wants to date said lead singer. Yep, this is exactly the sort of nonsense I signed up for

He's so pathetic. I like that in a man.

I legit cackled

Ooh is there going to be lots of late night studying with Tinn to help them all pass? :D

Why is Tinn still using his fake account when he's openly agreed as himself to help them. JK I know it's because he's an idiot (affectionate)

Yessssss.....here we go!

Wait, I thought the whole band had to pass. Why is he only tutoring Gun? I mean I know why but...

OHHHH! It was a daydream! I should have guessed

Wait, was that GUN'S daydream? Was he fantasising about Tinn tutoring him and then kissing him?

Tiw is the best fucking wingman I hope he gets a side romance

I love him. He should be the lead in this drama

HAHA! Even the Gun that is in Tinn's imagination hates his mother

EWW NO! Why would you tell your son that you plan to spend the whole week he's away fucking his mother

Please stop

Tropes I need during this study week: Gun studying so late he falls asleep on Tinn's hand/arm, having to share a bed because reasons, one of them cooking for the other, cuddling on the sofa

However this is one of my pet peeve tropes when someone is doing something that is super important to them and they just treat it like a joke. Like he offered to wash his teacher's car and be a servant to her for the sake of his band. He knows he needs to pass this test to keep the band going and he's laughing at bad scores and asking to take a break after 5 mins

THERE'S ONLY ONE BED!

Ah, the classic BL 'we're not ready to share a bed yet' sleeping positions

I still don't know why this school makes kids do a ballroom dancing exam, but as plot devices go it's pretty fun. Apparently they've decided to practice in the middle of the night instead of sleeping

God look at him screaming into his pillow like the giant dork that he is

I beg to differ

Do NOT use dramas to learn how to flirt, I beg you

Ah, now I see why @dancing-out-in-space told me to watch this 😂 Her blorbos got a mention

Okay, that got far too meta for me. Tiw's talking about himself (or the actor who plays him I mean). My brain hurts.

Ah, Scrubb again. They got mentioned a lot in 2gether and had a cameo. I guess the network uses them a lot

I swear to god if they do a printer product placement like they kept doing in Bad Buddy...

GDI!

That's another thing crossed off the list

FFS HOW DO I KEEP HITTING THE IMAGE LIMIT?? Fine! On to Part 2 I guess since there's still 25 mins of episode left!

Part 2

#hils watches #hils watches my school president #hils watches tdramas #my school president #tdrama

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lurkingshan · 1 year

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Inspired by @waitmyturtles and @nieves-de-sugui, sharing my journey through BL! Putting this under a read more because I really found a lot of words on this topic. Feel free to skim at will - now that you got me going I have a lot to say!

First, a bit of background. Three big interests of mine really converged to make BL kind of a perfect storm for me:

Romance: I have been an avid consumer of romance stories as far as back as I can remember. When I was a kid I would read several books a week and before I even hit my tween years I always gravitated to the romance genre. Add in film and television and it's safe to say I haven't gone a week of my life without consuming some form of a story about two people falling in love. It is absolutely my shit.

Asian dramas: More recent but no less intense an obsession for me. I watched my first kdrama in 2019 - my favorite gossip blogger (shoutout to Lainey) was constantly posting about a drama on Netflix (It's Okay Not to Be Okay). So I decided to try it out and I instantly fell in love. Kdramas are written nearly exclusively by women, they respect romance as a genre, and they cater to female audiences. It was unlike anything I ever experienced watching Western media. I started watching them more frequently, then when the pandemic hit I found myself with a ton of time at home and a fun new focus issue, and watching dramas with subtitles was a huge help.

Fandom: Since I was a teen I was always kind of hopping in and around internet fandom. When I like something, I like to enjoy it with others and find community around shared interests. And when I'm frustrated with media, I really like to dig into that and explore ways to fix it, so I became an avid fanfic reader, as well. Fandom to fandom my level of involvement varied - sometimes I just lurk around fandom spaces, sometimes I actually develop a presence, and in one instance I even got deeply involved in a fandom community to the point where I was posting meta, writing fic, and leading fan activities.

ANYWAY, after that long preamble, I come to the point: Because I was so into kdramas, and had watched/read a lot of Western QL romances, when I saw Where Your Eyes Linger pop up on my Viki recommendations I clicked on it. I liked it, and immediately wanted to understand more about it, because it was the first kdrama I had ever seen with a same sex pairing, and the format was so different. So I did a bit of research, and that was the first time I ever heard of BL. I was a little mind blown - there's a whole genre of QL romances in Asia??? So of course I set out to find more. I did a general search and the first thing I found was 2gether. This was June of 2021, so it was already about a year following the initial frenzy of that show, but it was still hugely popular and there was fan content about it everywhere. So I journeyed to YouTube to watch it, and that was my introduction to Thai BL and the wider genre.

From there I started looking for guidance on what to watch, and because of my time in various fandoms tumblr was always a go-to place where I knew I could find other people watching whatever obscure thing I was into. I found @absolutebl quickly and started reading their history and analysis posts on the genre. That was when it really sunk in for me how much culture and history there was to dig into, and I was really intrigued by the different styles and industries of each country. So I started working my way through their lists of the top 10 BLs from each country and it all just kind of spiraled from there.

I will not go into detail about every show I watched, but a few highlights:

TharnType: This was the first high heat BL I ever saw, and because I came over from kdramas, the first high heat Asian show I had seen, period. This show is messy and the writing was a hilarious hodgepodge of strong character work alongside absurd plotting and what I came to learn was typical Mame problematic content, but the chemistry between the leads was off the charts. It really set the bar for me in that respect, and got me looking for other examples (which at that time were mostly from Taiwan).

Theory of Love: This one inspires mixed opinions in fandom, but for me it was the first time I realized a Thai BL could not only be fun, but also good (no disrespect to other early Thai BLs but... yeah lol). There was a coherent emotional narrative arc! Smart story structure! Believable character development and earned redemption! Good actors! This one set me on a path to find the good stuff.

I Told Sunset About You: Which led me to ITSAY, the drama that convinced me BL could also be high cinema and art. This show blew me way, honestly. And got me more interested in finding the other more cinematic entries in the genre, which I mostly found from Japan.

The Untamed: When I saw this one on the list for China, I was like wait why have I heard of that? The Untamed/Mo Dao Zu Shi is one of those fandoms that is so big and ubiquitous, anyone who spends time online will have heard of it long before they know what it actually is. This show opened up a bunch of new fixations for me - a new all-time fav character, an introduction to cdramas and the xianxia/wuxia genres, and the discovery of Chinese web novels. It's a very expansive universe with a lot going on outside the romance, unlike most BLs. Which I guess can be good or bad, depending on your perspective.

Bad Buddy + Semantic Error: These are the shows I credit for fully sucking me into the BL fandom on tumblr. Before BB aired, I was just kind of lurking about (it’s right there in the handle, fam) checking a few blogs periodically for recommendations and watching shows at my own pace. But BB and then SE caused such a frenzy that I decided to start watching them live and checking tumblr every week for reactions. I found more excellent blogs (like @bengiyo @negrowhat @laowen @liyazaki) that were posting not only BB and SE content but also commentary about other shows. Eventually I gave in and created a new tumblr account so I could actually follow them instead of going to their blogs on web browser like a weirdo, and my participation in fandom escalated predictably from there.

By early 2022 I had pretty much caught up on most of the history of the genre (though not everything - I refuse to watch Waterboyyy, I do have some standards) and developed a fairly solid understanding of the cultural context around it. I then started trying to keep up with new shows. As a cishet, it wasn’t the thrill of representation that drew me into the genre as much as the thrill of finding a genre that brought together so many of my favorite things, combined with the excitement of seeing the community grow and getting the chance to learn so much from the brilliant people who were watching these shows. Checking reactions to airing shows became a weekly habit, and my watchlist kept getting longer and longer. I learned about which platforms I should be watching on and where to direct my $$ to support the genre. And I heard about so many shows I never would have known existed without this community.

So that’s me! If you made it to the end of this post you are a true champion. Thanks for inviting the conversation @waitmyturtles - it was fun to reflect!

#shan’s journey through BL #more than anyone wanted to know #shan shouts into the void

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blglplus · 1 year

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My Top 10 BL’s of all time (and also 2022 because I’m new)

So I only discovered BL this year and what an incredible year of TV watching it has been. This year was difficult and I needed the escape. I first got obsessed with Heartstopper and then someone suggested I check out Thai BL and she was a goddamn genius. I had already been reading a lot of M/M romance novels and watching all the western queer shows I could like Heartstopper, Love, Simon, Young Royals etc. But the absolute joy and madness of BL knows no equal.

So here is my personal top ten BL’s that I watched this year. Meaning many of these are from previous years it’s just that I only discovered them this year. So the title of this list could be very misleading

1. 2gether - this was the first one I watched and will always have a special place in y heart. It was like watching high production fanfiction and I’m INTO it. It loses some points for being homophobic/femmephobic towards Green of course. Also it had a LOT of “sing your feelings” but it was cute, funny and Bright was SO good. Not to mention insanely hot? I even watched Boys Over Flowers because he was in it and ENJOYED it.

2. My Beautiful Man - this one hit me on a personal level and I just loved it. The complexity of the characters and their journeys. The actor who played Kiyoi was incredible! He deserved the award/awards he got. This one had depth in a way that I can’t quite articulate.

3. Seven Days - this was so freaking cute. I watched it because @absolutebl recced it and Phi was right - I have already re-watched bits of it multiple times. The chemistry was on point and again there was a complexity and depth to the characters that was explored really well. Love it. Also I love all the nods to the manga in the filming style, very cool. Phi was also right that you need to ignore the hair.

4. Cherry Magic - how is it possible for one show to be THIS adorable? This is the one I want to show all my friends and family. I was constantly giggling in that shy way you do when you’re texting someone you have a crush on. I loved it.

5. KinnPorsche - how much hotness can one show contain? And I’m not even into dudes very much! Was this show messy and at times illogical? Sure. Did I care? Not at all. I love every single inch of it. I loved the narrative behind it. It was a trip and it was amazing.

6. Semantic Error - this show is perfect. It’s cute, it’s funny, it’s beautifully shot, the leads have great chemistry. Perfect romcom. The uke is so hot!

7. Why R U - I honestly found this show hilarious. I love a neurotic meta thinker (Zon) and Tutor/Fighter had such good chemistry. It got messy towards the end sure. That scene where Zon was freaking out in Saifah’s bed and made a pillow fort was just so funny to me, I can’t explain it. I love them.

8. Love By Chance - the Ae/Pete only cut. Luckily I was warned by the internet about the rapiness of the side couples in this one so I skipped lots of them (though I still watched Pond’s story and Tin/Can). Ae and Pete are so freaking cute and Perth’s acting as Ae is incredible. I can’t believe he was only 16 at the time! When they look at each other I get all warm like drinking a hot chocolate. It’s so freaking cute. Also I love the read of Ae as demi.

9. We Best Love - No 1 for you. This was cute as was it’s sequel. Great chemistry, solid story, excellent.

10. The RamKing cut of My Engineer. If we were taking the whole show into account there are other shows I love more for sure, but I love this side couple SO MUCH. Even though I sort of enjoy the D/s elements of seme/uke I love it when there is less seme/uke or the lines are blurredand both characters take both roles and it feels more honestly queer. Also I’m a big fan of the silent, tough, loyal type that Ram is in this one. Plus the longing glances! And the flowers! Just so cute! I’ve already watched their cut at least 3 times through. I quickly started fast forwarding over the others when I was watching it.

Honourable Mentions:

Bad Buddy - this was great and solid plus I love that they are explicitly verse and some queer stuff is addressed. Not to mention side GL couple! We love! More of this please (though can we have some that aren’t femme please for the love of flannel?) It didn’t make the list because it just didn’t quite make me squee as hard as some of the ones above.

Love in the Air but only Payu/Rain. I feel like the dubcon with Payu/Rain is less dubious because of the non-verbal signals going on there. Consent doesn’t have to be just verbal - some people struggle with verbal. But maybe I’m just justifying this to myself haha, but hey, I won’t yuck your yum, don’t yuck mine. Plus Rain is hilarious, like honeslty hilarious. I mostly hated Prapai/Sky. The diary reading was especially terrible.

Secret Crush on You - yes it’s cringey. I love it anyway. I love the friends (especially Daisy of course - I wish Daisy’s story was more fleshed out!). I LOVE the chemistry and that there are seme/uke vibes but Toh, the uke, is hella into it! Love Jao/Sky. This show is happy and comforting and I can skip the extra painful bits!

I told the sunset about you - this one gave me too many feelings and it hurt. But it was beautiful and great also. The one I would show to my arty friends.

2moons2 but just the side couples. Especially Beam/Forth, so cute!

What I’m watching now:

I am participating in this strange antiquated tradition of watching TV shows AS THEY AIR with only one episode dropping per week! It’s madness! Absolute madness! I’m currently watching: Between Us (Win is so hot!), My School President (so cute!), Never Let Me Go (so exciting!), The New Employee, Ameiro Paradox and Gap: the series (I will watch all the GL dammit).

I’m also part way through:

The Eclipse

Be Loved in House (I do)

planning to start eternal yesterday because apparently I like pain?

#top ten list #top ten bl #bl ramblings #2022 top ten bl but really top ten of all time because I'm NEW

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thequeenofqueerlove · 3 years

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Rewatching 2gether and Still 2gether, and I'm curious about people's thoughts on something.

The first time I watched them, I assumed the reason we didn't see Sarawat and Tine even mutually kiss until the last ep of s2 was because of some sort of censorship thing and/or because they wanted to taunt us.

This time I'm less certain.

In 2x01, Tine sees Sarawat's naked body and literally screams. He also tells Sarawat multiple times in s2 that Sarawat hasn't fulfilled his promise to kiss Tine until he dropped. In fact, the only time that it was even implied that Tine and Sarawat were sexual with each other was when Tine invited Sarawat to shower with him. But even then it didn't really sound like an invitation to sex, and Sarawat looked astonished.

So my question is: Do y'all think that Sarawat and Tine just completely didn't have a sexual relationship until they kissed in 2x05? Or were we just not shown it?

#I found this extremely frustrating the first time I watched this series #partially because romance without at the very least kissing feels incomplete to me personally #and partially because I felt like s2 overly relied on almost kissing scenes to motivate people to keep watching #which was something that was totally unnecessary #and I feel like the show suffered for it #but whatever #2gether #still 2gether #sarawatine #watine #wattine #sarawattine #tinewat #tinesarawat #2gether meta #2gether speculation

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patandpran · 4 years

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They’re still in the first year of their relationship. Jealousy can still exist and I think that Sarawat’s investigation is coming from a place of care NOT suspicion. He’s worried about Tine and sure, Wat is insecure about their relationship still as well, but that is also what makes these characters HUMANS. This is Sarawat’s first relationship and of course there’s going to be things that he gets wrong but, like we saw at the beginning of the episode, these characters are aware that they made mistakes in the past and will learn and inevitably grow from them. I don’t think it’s toxic to care for your significant other and maybe Tine and Wat need fo get on the communication train a bit more but, I mean, they’re also only 19-20 years old. Wat also, instead of just jumping to conclusions and reacting in the moment, thinks through his actions and consults numerous people (ohmfong and manboss) before going to the music room to check it out for himself. Tine is also wanting to prove himself and show his independence so his ‘secrecy’ around this is not actually being closed or distant, it’s him wanting to show that he can do it without Wat holding his hand the whole way. He can and inevitably does it himself which is also why I think Sarawat gives him room to figure it out despite feeling a bit off about the whole situation. Giving your partner space is one of the healthiest things you can do in a relationship and while Wattine are not perfect, they’re figuring it out the best they can.

#still 2gether #wattine #saratine #2gether #brightwin #2gether meta #thai bl #sarawatine #2gether the series #gmmtv #sarawat x tine #bright vachirawit #tine x sarawat #win metawin

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petekaos · 4 years

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Why do you think sarawat is so open about his crush? I feel like it's because he thought he had a crush on that girl in highschool just because they had similar interests but after meeting tine for a brief time at that concert, he realised what he felt for her isn't romantic at all, just friendship and what a crush actually is so now he's very open it in case there is the slightest chance of tine reciprocating which he is!

Sarawat is open about his crush because he is not ashamed, gay and in love :') kingshit

i’m combining these two asks since they’re pretty similar! i completely agree with first nonnie, that’s my headcanon for why sarawat is also gay. what i find super interesting about sarawat being so open about his crush and matters of the heart is because between the both of them, he’s the introverted one and the one who keeps to himself and is cut-off with other people he doesn’t trust. he has a small friend circle as well, whereas tine is way more extroverted and has dated lots and lots of people, but he seems to keep his crushes and feelings especially considering sarawat closer to his heart. i just think that’s such an interesting dynamic and i think it mostly stems from the fact that tine is actually super insecure about himself and his worth in romantic relationships, because we see in the first ep that he liked the girls way more than they liked him. sarawat, on the other hand, has had no experiences with relationships that we know of, and so is more open and confident about it. like second anon said: “not ashamed, gay, and in love.”

#whereas tine is still not sure abt his sexuality! etc etc #rahul answers #sarawatine #2gether meta #ig??

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mejomonster · 2 years

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i genuinely...so deeply appreciate how Lovely Writer’s set up and writing tries so earnestly to make commentary on the bl industry and genre and tropes, and to a decent extent does very well on executing that commentary

its just also like. i get very bored of romcoms. very easily. and every time i try to finish the show i just do not manage to

#rant #lovely writer #like if u like meta and commentary and both tropes and Discussion on them this show does a phenomenal job #and its a unique show that does it a LOT #but like. its tone is still the same romcom as a lot of the other shows/trends its discussing #like... to an extent The Shipper does the same thing but with shipping culture instead of bl industry culture #but The Shipper is directed by a Horror Director. and i think partly because of that #its heavy moments land very solidly. so it managed to keep me engaged in the moments it plays out #almost like a somber horror story. in between its comedic overtone.#like... even 2gether which i really like. i struggled to finish it like 3 times. just because romcom's that are Only romcoms #really do not keep me engaged well.#im shallow i need like action or drama or some murder myster

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absolutebl · 2 years

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2021 BL Wrap Up - Top Trends

I keep a pretty detailed spreadsheet of everything I watch in BL each year but I don’t watch/track a whole lot of Pinoy stuff, please be aware it is not represented in this analysis.

TOP 10 BL TRENDS OF 2021

1. BL Gets Meta

We had a number of BLs this year self referencing, being cheeky about tropes, and using parody to get meta over yaoi roots, something that has actually never happened before in the genre. Gen Y, Absolute BL, Lovely Writer, Call It What You Want 1 & 2, Love with Benefits, and Fish Upon the Sky (started, then retracted, it was... odd) all did this. Several of them employed voice over and/or 4th wall breaking to execute.

I personally loved this, but it felt very teenage industry discovering itself and testing its limits. Also it’s pretty impossible to recommend these shows to outsiders, since they edge into incomprehensible if you don’t already know the genre, so this is also an odd kind of fan service.

2. BL Goes Soft

Pretty much everyone tried on softness in 2021 (mutual gentleness and care) even Japan (a real shocker, Kieta Hatsukoi). Perhaps it was reactionary, a hunt for comfort in troubled times, but it was so crazy that even Taiwan went there. Generally Taiwan prefers to push boundaries and rough it up a bit but they casually trotted out Be Love In House: I Do’s epic level of tenderness, See You After Quarantine?’s gentleness, and Love is Science?’s ultra modern queer domesticity as if they were no big deal. These were the soup dumplings of BL - soft, a little chewy, and full of comforting cozy warmth.

Thailand has always leaned soft (since Love Sick piloted in 2014) casual physical contact and affection, gentle touches, care, lingering glances, and cuddling have been part of their BL style, but they leaned into super squishy in 2021 with shows like Nitman, Y-Destiny, Golden Blood, Lovely Writer, Second Chance, and Close Friend.

Even China got a little soft with Word of Honor which no one expected and we are all surprised was allowed to happen. I mean there was a high low hug AND a shoulder lean and everything.

I really hope this trend continues and while I doubt Japan will ever go fully soft (their right back to emo with Utsukushii Kare), I have high hopes we might see softness leak more into Taiwanese and Korean BL.

3. BL Gets Domestic

Thai BL has dabbled in family home life before, and when we are lucky we get reps of sweet domesticity (especially if the seme is a caring Dom - Solo, Dean, Leo, Sun, etc...). But it felt like we got way more than normal this year and of a more intense style with different countries putting unique stamps on it. This might be a side effect of C19 and it’s certainly something that suits confined spaces and a home setting (making it easier and cheaper to film).

I think the earliest rep we have for this kind of thing is Ai no Kotodama from Japan (2008). And there was a trickle of stuff from Japan and China for about a decade that dabbled in domesticity but none used it to drive narrative (Japan’s Does the Flower Bloom? from 2018 is sort of the culmination of this nascent form). Thailand first did it with 2016′s Grey Rainbow (this is the Thai BL THAT SHALL NOT BE NAMED - sry do not watch it).

But now we’re getting true windows into gay domesticity and family life, adopted kids and all. And our little gay family sometimes even gets to stay together. Some examples included:

Ingredients (Thailand)

Papa & Daddy (Taiwan)

Nation’s Brother (Vietnam)

Me Chon Dau Cao - Monster In Law (Vietnam)

Love is Science? (Taiwan - BL side plot in a het drama)

But others also have is as a core conceit, especially those set primarily in the home like Be Loved In House, To My Star, Still 2gether, See You After Quarantine? or even Golden Blood. It’s a trend I really hope continues and grows, so comforting.

4. BL Plays With Its Food

Basically prior to 2021 we had 3 BLs with food settings: 2019′s I Am Your King 2 from Thailand and 2020′s Pinoy offering My Day and Taiwan’s Craving You. (And a few Korean microfilms.)

In 2021 we got a lot more. Even if it didn’t all entirely take place in a cafe or restaurant that setting played a significant role.

To My Star (Korea)

Peach of Time (Korea/Thailand)

Evening Cafe (Thailand)

Love Area (Thailand)

You Are Ma Boy (Vietnam)

My Lascivious Boss (Vietnam)

Bite Me (Thailand)

The Tasty Florida (Korea)

My Sweet Dear (Korea)

Apparently chefs are the new engineers. There were also professional chef/barista/waiter characters in series that were not set in the industry like Ingredients, Brothers, and My Mate Match. And more to come in 2022.

5. Ukes with Agency!

Kiyoi in My Beautiful Man, TeaKyung in Light on Me, Bank in Golden Blood, Nampu in Top Secret Together, Jin in Nitiman, Nut in My Boy, Kaitoon in Love Area, Pob in Don’t Say No, and Kaow in Brothers all represented for ukes in strongly uke/seme driven stories who still had a ton of agency. This was usually expressed as a desire to emotionally communicate with their semes, verbally or physically. Also, they all showed a certain amount of self awareness, self acceptance, and self understanding around being gay as a result. Occasionally tho, they just punched their idiot seme. And that was fun too.

Also shout out to Note & Ta (no uke/seme dynamic) in The Yearbook who got very little screen time but might be the best gay communicators we’ve ever seen in a BL.

You go boys!

6. BL X3 - The Dreaded Love Triangle /_\

BL has always had faen fatals but love triangles, not so much. (Japan’s 2008 Taiikukan Baby is the only one I have on record). A true love triangle just means the story, screen time, and the visual tropes treat both possible love interests as entirely viable and possible.

Gen Y the series - side dishes Thaunu’s seme with 2 ukes love triangle, pretty unique actually

Top Secret Together - part of the friends to lovers side plot

Light on Me - the cherry on the love triangle Sunday

Love Area - the second lead syndrome was fierce with this one

The Tasty Florida - edged into it but mostly was using the faen fatal

My Mate Match - cohabitation quarantine project

Kieta Hatsukoi AKA Vanishing My First Love - started out with each person liking the wrong other person, circular love triangle M2F2M2M, but sorted it fast

I’m A Fool For - Hong Kong’s little offering (sad)

Love With Benefits - cohabitation quarantine project

I don’t like love triangles but even I thought Light On Me was excellent. Still I’m not wild about this particular trend (and I wonder if it’s a Kdrama side effect), but it sure was fun to watch all the different countries tackle it and Japan’s take (Kieta Hatsukoi) was really unique and clever.

7. Do I Spot Actual Queer Rep?

Honest queer rep has started to show up more (FINALLY). Everything from out gay main characters (please may this be the death of gay-for-you) to the rise of the gay advice dad (HIStory 4, Be Love In House, Top Secret Together, Love is Science?) to mention of (and implied use of) actual lube.

It used to be so rare to see any BL characters in leading roles who identified as gay (outside of Taiwan). Now it’s almost - dare I say it? - commonplace. Or if not common in the leads, at least some of the support cast will code/identify as gay.

Thailand put an out gay IRL actor couple together on screen and stopped caring about pushing a gay-for-you agenda. They seem to be at the hand-wavy stage of “you can believe he’s bi, GFY, or gay, we don’t care to define it anymore.” They even directly addressed it as problematic in Bad Buddy. They also had more out gay mains than ever before (explicit or not), a pansexual in Don’t Say No, and TharnType got on screen married. Thai BL still punches down on femme and trans characters, but a little flame is leaking in whether they like it or not (side eyes My Boy), and that aspect is fabulous. OF COURSE IT IS.

Taiwan gave us tons of actually queer stuff, Papa & Daddy, See You After Quarantine, Light, Love Is Science. As well as depicting a marriage of equality actually on the screen in a BL (to be fair they did that first with Craving You in 2020). They also depicted discussions about verse, topping/bottoming, safe sex, consent, and surrounding queer fam. Even Pride showed up. Taiwan leans into masculine presenting, weak seme/uke couples, which means their femme and gender fluid rep is poor but I still gotta give them credit for the equality agenda they are pushing on a very willing audience. Give us MOAR, we can take it!

Vietnam got in on the action and gave us a cross dressing gay main character with out gay besties working in a cafe and running an accidental long con on their boss, who consequently has the shortest bisexual identity crisis ever. Watch My Lascivious Boss, it’s groundbreaking BL - we haven’t had anything like it since I am Your King (Thailand 2017) or Udagawachou de Matteteyo (2015) and neither of those were this happy. Also Vietnam repped butch GLs in high school! (Stupid Boys Stupid Love). Which I think is an actual first. We’ve had lesbians before but butch? SO GOOD.

Even Korea gave us an out bisexual in Tasty Florida AND crossdressed for BL. I stil can’t get over Nobleman Ryu’s Wedding. I mean it wasn’t even played for laughs, it was genuine and treated gracefully... by Korea. Can you BELIEVE we got that? And more is coming in 2022.

I know these seem like baby steps in the west but trust me these are big-ass murder-walk stiletto strides being taken.

(Also tiny shout out to Korea’s The King’s Affection, the first time I’ve seen one of the ubiquitous “girl disguises herself as a boy” historicals actually deal openly and honestly with a bisexual identity crisis and acceptance. And now... how many of us now want Rowoon to do BL? Pretty much all of us.)

PRODUCTION TRENDS

8. BL Takes to the Skies

Wellp, BL discovered drone tech this year. We saw a number of BLs employ drone work rather ruthlessly. China in WoH, of course, but also Taiwan and Thailand used drones in some of their stuff. Close Friend was the most startlingly egregious, but you know, boys with toys.

What can you do?

9. BL Gets Up in Your Face

On the flip side, I think the wild success of ITSAY last year impacted taste in close filming style that we haven’t seen much of in Thailand before now. Nitiman, Hometown Embrace, Second Chance, Golden Blood, and Y-Destiny all zoomed in crazy close on faces. More than I’ve ever seen the Thai pulps do before. Let’s be frank, I wouldn’t trust the Thai makeup crew either. But it was Yearbook that really forced me to notice this trend.

Full frame faces is a popular indie filming stye for encouraging claustrophobic-intimacy and emotional tension in drama, and I don’t mind it in limited doses (Japan & Taiwan) but I’m not wild about a lot in one drama or extensively in one scene.

Like drone work, it can be easily overdone and makes me stop thinking about the story and start thinking about the directing. And I am one of those who believes that in BL, I shouldn’t be getting distracted by technique.

Speaking of technique...

10. BL Forgets its Roots

Finally (and sadly for me) there wasn’t much use of yaoi style (live action manga) framing and staging techniques. Possibly because there were so few manga adaptations. Color Rush hit it out of the park, Light One Me put its own blue/white twist on the clarity of this style, and, of course, Given was on point. But that was about it.

There were tiny nods from H4 and the end of year stuff from Japan, but apart from that, it seems like this is a stye of staging and framing has had its heyday.

It also demonstrates that no one storyboards anymore.

*insert whimpering here*

POSSIBLE 2022 TRENDS?

I expect most of the above to be amped up and continue in 2022. In fact, as I type this queer rep already got a major boost in Episode 9 of Bad Buddy (which is from heavy hitter GMMTV, notoriously slow to evolve), by directly addressing and correcting for

gay for you

wifey language

inadequate GL rep

If felt a lot like GMMTV was trying to correct for SOTUS’s mistakes. How far they have come in 5 short years. Honestly, I have to say a lot of this is probubly due to global reach and international popularity and the active interactions of the fandom.

Tears & Blood

I think we are going to see a spike in dark BL from Taiwan, Japan, and Thailand maybe even Vietnam - gritty pretend realism with sad & amorphous endings, heavy illness content (AKA the cancer mom stories), violence, and even kink. It’s going to take the guise of mafia and if we are lucky boys-in-uniform, (possibly sports), but also youthful more serious trials with family and illness. Think Your Name Engraved Herein style content with lower production values.

Taiwan and Japan have always dabbled in this kind of BL (see 2021′s Light & Pornographer series) but they are going to start to really push (subconsciously) to distinguish themselves from Korea with grittiness. Both might even lean more into heavily queer affirming stuff as Japan finally tilts towards marriage equality (which goes hand in hand with realism - code for darker content).

Thailand, on the other hand, is producing so much content, each new BL with gumption is going to look for ways to distinguish itself from all the other Thai BLs, so I think we might see the pulps lean darker, or at least wistfully sad. As disappointing as I found The Yearbook, Seven Project, and The Best Story I think they might herald a trend.*

* I wrote this before GMMTV announced its 2022 line up and now I feel terribly chuffed with myself.

I have a data analysis post where I go into growth numbers and statistical trends here.

BL 2021 STATS & TRENDS BY COUNTRY

(source)

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waitmyturtles · 5 months

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Pain, Trust, and Separation in Some Asian Dramas (The Second Post In a Series of Utterly Un-scholastic, Highly Personal Big Meta)......

AKA, Turtles Catches Up With Old GMMTV: The Bad Buddy Rewatch Edition, Part 2 -- How Themes of Pain, Trust, and Separation Create Structure and Narrative in Bad Buddy and Other Asian BLs

[The following is a preamble I use for my Old GMMTV Challenge posts, here we go! What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far.Today, I offer the second of four posts on Bad Buddy, and the second in a Big Meta series on pain in some Asian dramas, including QLs and/or het romances. I'll look today at how ideas of pain in love, trust in love, and separation of partners/family members creates narrative drive in Bad Buddy and other Asian BLs. THIS IS A LONG POST, caveat emptor.]

Links to the BBS OGMMTVC Meta Series are here: part 1, part 2, part 3a, part 3b, and part 4

Well, after a lot of titles and a chewy preamble (thank you for getting through that, y'all!), I'm here to say that I'm combining my two ongoing meta series into one big ol' post here that I've been dying to write for months. In the course of my watching the shows on the Thailand-based Old GMMTV Challenge watchlist, as well as watching shows from my BL gateway of Japan, I've noticed that the themes of pain and trust in love, along with voluntary or involuntary separation, have been used to create dramatic and narrative structure within Asian dramatic stories to many emotional effects.

I'm celebrating the incredible Thai BL drama that is Bad Buddy in my OGMMTVC series at the moment, and within my Big Meta series on pain in Asian dramas, I examine how themes of pain so very often harken back to artistic, and even traditional, viewpoints of how pain, suffering, and melancholy are natural cultural assumptions within many collectivist Asian societies. In my first Big Meta on pain and suffering in Asian dramas, I wrote that "accepting pain and suffering is a part of the life we decide to live, from an Asian cultural perspective." Suffering is a naturally assumed part of life, a very distinct and identified part of a Buddhist's lived life, and even outside of Buddhism, accepting and living with difficulties of all kinds -- wealth disparities, the struggle for a good education and/or a successful career, the struggle to conform to collectivist familial and/or social expectations, etc. -- are extremely common themes that are unwound on in Asian lives on a minute-to-minute basis. The idea that an Asian must live with pain is often a root of intergenerational trauma, passed along from generation to generation of Asian children-to-adults. The social mores by which Asians are raised and live, to assume what Westerners might call a lack of unconditional parental love and affection, are certainly in part rooted in an assumption that living with pain and without the, say, luxury of turning over one's emotions at any given moment, are an automatic given.

As I've plodded through the OGMMTVC watchlist, I noticed very often that separation of people -- whether those people are lovers, children/parents, or simply just adults within a group -- is often a major narrative turning point in the course of a dramatized relationship. Of course it would be; it's a common trope within the romance genre, for instance.

But I find the separation of people otherwise connected to each other -- and the assumed pain of that separation, and the trust that people may have to return to each other -- particularly fascinating within the realm of Asian dramas, for reasons relating to the assumption of pain and suffering in one's life within Asian cultures that I mentioned above. In other words, the pain of separation, and the trust that one might have that one person will come back to another person -- are givens within the scope of Asian life.

In the following dramas, I note that separation is either a central storytelling point, or is a central focus of side characters:

1) The Thai filmmaker, Aof Noppharnach, has explored separation of people/lovers in many of his shows, including Still 2gether, A Tale of Thousand Stars (in multiple forms), and in Bad Buddy (also in multiple forms, romantic and/or familial).

2) Also from Thailand, Until We Meet Again and I Promised You The Moon are two non-GMMTV dramas in which separation of lovers plays an important concluding narrative role.

3) From Japan, the movie version of Cherry Magic: 30 Years of Virginity Can Make You a Wizard?! captures an important central narrative of separation that leads the franchise's two protagonists, Adachi and Kurosawa, to explore depth in honesty and intimacy that they may not have otherwise achieved in their everyday lives.

The painful separation that occurs in Aof Noppharnach's shows is most often related to the outside forces of life as it needs to be lived -- very often economically -- within or external to Thailand. In Bad Buddy, Pran leaves for Singapore for two years. I'm going to unwind much more on Pran leaving for Singapore in the final installment of my Bad Buddy OGMMTVC meta series, particularly by way of how he can do it, emotionally. But I want to offer a quick note about Pran's departure that the show gives a hint to (despite the pain that we feel in our hearts for Pat's loneliness from Pran, as depicted so beautifully by Ohm Pawat and his silent and longing existence as Pat in the first half of the Bad Buddy series finale). The BBS finale has Pran stating that he'll only be away for two years, and that the pay and the opportunity for an excellent architecture job were better in Singapore. In conversation with the fabulous Thai blogger, @recentadultburnout, RAB mentioned that this is a common occurrence among young Thais -- to move overseas for better job opportunities.

In spite of my heart breaking a bit for Pran being away from Pat when I first learned about his leaving for Singapore -- when RAB put Pran's departure in that context, I had to slap my cheek a bit. Because! I'm a child of Asian immigrants. Separation from family for better economic opportunities is a HUGE part of our paradigm of life between continents. As my Asia-based uncle, my mother's brother, once put it, in regards to my mother: "one of the children in our families always had to move away." For my mother's family, it was my mom who shipped off. Besides individuals seeking better economic opportunities for themselves, the economies of many Asian countries are dependent on the reception of remittances from overseas family members sending money back to their home countries, as my mom did for years; the Philippines is particularly notable for having a nearly 9% contribution from overseas remittances to its gross domestic product. In other words? The separation of loved ones is literally built into the financial frameworks of many Asian nations.

The separation of children or partners to overseas locales for the sake of better salaries and/or opportunities is simply a more assumed part of the cultural paradigm, I'd argue, in Asia than in the West. Family separations for jobs are extremely common in Asia; in the West, I'm not sure they are as assumed, especially for extensive separations, as the value placed on keeping a family unit together for cultural or spiritual reasons seems to be more a part of the Western fabric of life (despite our high rate of divorce).

We see an even more permanent economic separation happen in Still 2gether between two side characters -- Type, played by Toptap Jirakit, who is Tine's (Win Metawin) brother, and Man (Mike Chinnarat), who is Sarawat's (Bright Vachiwarit) friend. Man chased after Type during the first 2gether season; in Still 2gether, they're navigating their committed relationship, as Type contemplates, then accepts, a permanent job offer in Phuket, hours away from their home base in Bangkok.

As @lurkingshan put it, I might be the only person on the planet contemplating Type's and Man's relationship (lmao, it do be true), but I found Type's last conversation with Man, on the beach, to be particularly direct and moving for someone who has no immediate plans to move back to the side of the person he's dating.

I think about this scene against the structure of the short series that is Still 2gether, which is centered around the protagonists of Sarawat and Tine being temporarily separated as they prepare to compete in a university-wide tournament. Sarawat has the most lovely contemplation on love during this separation, and even Aof Noppharnach himself admits that the glance that Sarawat and Tine give to each other as they pass each other in the lead-up to the ultimate tournament is his favorite scene he's ever filmed (!!!) (and that scene is sooooo reminiscent of Pran's and Pat's pinky-hold after their public "break-up").

In other words: Still 2gether is ALL about separation, and contemplating the strength of love relationships in the face of those separations. While Sarawat and Tine will get back together, after that tournament -- Type and Man are separated for the foreseeable future. There is no end indicated to the patience that Type wants from Man. The conversation is just, THERE, and hanging -- there's an acknowledgment that long-distance relationships are tough, but Type isn't offering to quit his job and move back to Bangkok. Instead, Type and Man are left to accept the reality that there is no end in sight to their separation.

And I think this was incredibly bold of Aof Noppharnach to include in a GMMTV BL that otherwise ended happily for Tine and Sarawat, the main protagonists. What I admire about Aof's works are these sly inclusions of open-ended, sometimes melancholy non-resolutions, either for his main or his support characters, that leave us as viewers often slightly unsatisfied or unfulfilled. He did this in particular with the character of Aof in Gay OK Bangkok, a web series that he screenwrote in 2016; and many might say that Pran being away in Singapore is also not the most satisfying of endings for our beloved PatPran in Bad Buddy. To me, these decisions to do this artistically are just incredibly reminiscent, again, of the kind of pain that we as Asians have been culturally attuned to accept, for the sake of economics, and/or for the sake of the betterment of our loved ones.

Besides economic separations in Aof Noppharnach's works, we also have separations related to family demands and desires. In A Tale of Thousand Stars and Our Skyy 2 x A Tale of Thousand Stars, we see Tian leaving Phupha's side for two years to study for a graduate degree at Tian's mom's insistence; and we see Phupha refusing to join Tian, after Tian has graduated and moved back to Pha Pun Dao, on trips Tian takes back to Bangkok to celebrate his birthday with his parents.

When I rewatched ATOTS earlier this year, I noted that both Phupha and Tian were remarkably bad communicators throughout the original series -- and I posited that, in large part, their terrible communication was borne out by way of the both of them being raised in traditionally masculine Asian households that seemed to not allow for leeway regarding emotional revelations. BOTH Phupha and Tian were expected and intended to follow in the footsteps and demands of their family members. To the end of the ATOTS storyline in Our Skyy 2, Phupha brings up his parents -- and he hears what he has been wanting to confirm from Tian's parents, in their desire to have Phupha take care of Tian for the rest of their lives.

Phupha in particular needed to have multiple gateways opened to him, vis à vis Tian's family, in order to properly and openly confirm his permanent love and commitment to Tian. If Phupha didn't have that? He was willing to be separated from Tian, either temporarily, or at length. Phupha needed a kind of culturally accepting door opened to him -- as a man raised in what we assume to be a rural and traditional environment that may very well have not allowed for a gay man to live openly and honestly. Phupha indeed follows in his father's footsteps, to the extent of never leaving Pha Pun Dao, and demanded that he have Tian's family's approval before making the final commitment to Tian to love Tian forever.

I find the cultural nuances of nuclear family separation, or separation encouraged by nuclear family, to be particularly heartbreaking in many of Aof Noppharnach's works. We know that Jim and Jam, brother and sister in Moonlight Chicken, ran away from their Isan hometown as youths to find their lives in Pattaya, where we meet them in the context of that show. But separation either from nuclear family, or more impactfully, done by nuclear family, is most evident in Bad Buddy.

Besides Pran voluntarily leaving for Singapore, we know that Pran has been involuntarily separated from Pat before -- when Pran was transferred to a boarding school in 10th grade by his mother, Dissaya. Before that transfer, Pran and Pat were technically "separated" by their parents in so far as they were not supposed to become friends -- all while competing heavily against each other in every category of life.

That boarding school transfer? That wasn't just separating Pran from Pat. What I found remarkable about that separation during my recent BBS rewatches is that Dissaya HERSELF chose to be physically separated from her own son, for the sake of her rivalry with Pat's father, Ming.

I'm thinking about this particularly from the words she used with Pran as they sat at breakfast together before Pran started his second year at university, when Dissaya said that Pran could date anyone, men or women, as long as he "didn't date [the next door kid]."

My interpretation of that perspective is that Dissaya did not want Pran to relieve the heartbreak that she herself experienced when she was close with Ming in her teenage years.

In other words: she chose to send her son away in the face of her ongoing, lifelong fear that Ming and his family would once again wreak havoc on her and her clan.

In the continuation of the intergenerational trauma wrought upon Pat and Pran by their parents -- as a mother myself, this seems to be particularly egregious. Dissaya would have rather had her son AWAY FROM HER, than to contemplate her son even being WITHIN physical proximity to Pat in the context of her hatred of Pat's father, Ming, and the fear that she had that the Jindapats would negatively influence the Siridechawats again.

(The wonderful @telomeke reminded me, in conversation on this topic, that the first question Dissaya asks Pran, after learning about the first faculty fight in episode 1 when Pran re-encounters Pat for the very first time, was, "Did he hurt you, Pran?" Dissaya cannot bear to allow the Jindapats to hurt her son, or her family, ever again.)

I wrote in my first Big Meta on pain and suffering that Asian parenting expectations and mores are far more conditional than they are in the West, as parenting mores in the West are centered around unquestioned and unconditional love from parents to children. So much of Bad Buddy meta out there focuses on the internal experiences of Pran and Pat. When I sat back to think about Dissaya making the decision for herself to be separated from her son for years -- and then to also contemplate pulling Pran FROM COLLEGE when she learns that Pat goes to Pran's university -- I mean. We know Dissaya and Ming both tried their best to embody their hatred of each other into their children. But Dissaya takes it a couple steps further, by attempting to literally control Pran's physical existence vis à vis Pat, which -- and I'm going to sound like a judgmental Westerner here, even as an Asian -- strikes me as out of line by way of just pure emotional projection onto one's children.

When Pran goes to Singapore, at the end of the series, it's out of his own volition. Again, I'll write more about this at the end of my BBS OGMMTVC meta series. But what he experienced by ways of many TYPES of separation from Pat throughout his life -- competitively, emotionally, and then physically -- are extensive. He was physically separated from Pat by Dissaya. He was theoretically "separated" from Pat emotionally, by being discouraged in having a friendship with Pat. He is physically separated from Pat *again* when he goes to Singapore. And I posit later in this piece that Pat and Pran had another theoretical "separation" when they are pretending to be broken up throughout the course of their relationship.

When I think about what teenage Pran must have felt to be *physically sent away* -- BY and FROM his own family, for their sake of his family's desires to avoid ANOTHER family -- it explains a hell of a lot more about Pran's tendency to dissociate, particularly during stressful times. (We see this when he's alone at the demolished bus stop, and cutely in Our Skyy 2, as Pat encourages a grumpy Pran to go to Pha Pun Dao.)

And where Pat balanced Pran out -- where Pat could offer the kind of companionship, and relaxed and equitable communication that Pran had never had with his family -- was where Pran could finally experience truly open and SAFE love from and with another person, another person who wouldn't *send him away* if Pran didn't play by their rules. Instead, Pat fought by Pran's side, and Pran was willing to fight, too, and they remained together, and safe in their love and trust.

Whew. Dissaya separating Pran from his own family, from herself -- to leave him alone at boarding school -- seriously punches me in the gut, especially as a mother myself. I'm thinking about a teenager, on the cusp of adulthood, alone to contemplate his unending love for Pat, and I'm like.... I wouldn't leave a kid alone like that for a moment. But for Dissaya, her husband, and their pride? It seemed to be a worthwhile decision in that moment. A decision that we know would blow up in their faces in episode 10 of Bad Buddy.

In Pran's first separation from Pat -- Pran did not have personal agency. He did have agency later on, as he moved to Singapore, which again, I'll contemplate in a further meta.

Two instances where I was impressed by protagonists leveraging their agency vis à vis temporary separations from their partners was in Until We Meet Again and in I Promised You The Moon.

UWMA's Pharm was first and foremost presented as a blushing maiden. HOWEVER: Pharm demonstrated quite a bit of sexual agency early in the series. He was forward in his crush on Dean. He contemplated openly being gay. And he wasn't afraid to push Dean away when Dean was moving too fast sexually.

At the end of the series, after Dean and Pharm have resolved their spiritual connection vis à vis the embodied spirits of Korn and Intouch meeting once more -- Pharm wants to know if the love between him and Dean is real, and independent of the influence of the spirits of Korn and Intouch. So: Pharm asks for a break.

Throughout UWMA, Dean is the obvious seme, and Pharm is the blushing uke. I squealed in DELIGHT when I first watched Pharm asking for the break. Yes, Pharm loved Dean -- and what I saw in Pharm's asking for a temporary separation was truly out of that love, to confirm between the both of them that their relationship was very much indeed a forever relationship. God, I get chills thinking about it: Pharm was safe enough in his sphere with Dean to ask for and to GET the agency-driven space that HE NEEDED to feel fully confident in the relationship. That was a risky move that paid off for the two guys in dividends in the end. Dean had no choice but to say yes there.

The fabulous Oh-aew in I Promised You The Moon goes even further than Pharm. He fucking breaks up with Teh! After Teh cheated on Oh-aew! YES, HOMEY, YES! No wibbling on Oh-aew's end. Oh-aew was devastated, yes. But he knew he had to have Teh out of his life in that moment, for the sake of Oh-aew's own happiness, growth, and development. He even rejects Teh's reach-out at the end of their college careers.

What stuck me as so golden about the ending of IPYTM was that that break-up wasn't actually presented as temporary. They were apart for OVER A YEAR (thank you kindly to @shortpplfedup for the temporal fact-check!). Oh-aew held his ground. He needed his time and space. He needed to grow! And he valued that, individually.

I'm celebrating these two instances of agency-driven separations because of the style of their intention vis à vis the protagonists asking for, needing, and leveraging these separations. With the economic and involuntary separations I talked about earlier -- it's like there was a higher need, whether it was for money, a better career opportunity, fear, or selfishness on the part of a family to create the separation.

With Pharm and Oh-aew: the separations they demanded were purely personal and for their own growth. We know now that Pharm and Oh-aew get their endings with their partners. Pharm has a purely happy ending with Dean in Between Us. Oh-aew's ending with Teh is open-ended -- we don't know what chaos Teh will wreak next -- but at least we know they're navigating that chaos together again.

The last drama I wanted to take a look at regarding pain, trust, and separation is the fabulous movie continuation of Cherry Magic: 30 Years of Virginity Will Make You a Wizard?! (I always love writing ?! whenever I talk about Cherry Magic, lol).

The central separation in the movie of the two protagonists, Adachi and Kurosawa, comes about when Adachi is transferred to Nagasaki for work. As @neuroticbookworm and @lurkingshan can attest to: a Western viewer of Japanese BLs will often find themselves screaming to a screen, "JUST TALK ALREADY!," and a uniquely common aspect of Japanese doramas is that so much of communication in Japanese culture is silent, unsaid, kept internal by collectivist social pressures to not make waves with another person -- which automatically creates ongoing questions of trust between partners. When Adachi (Akaso Eiji) shares with Kurosawa (Machida Keita) that Adachi will be moving, Kurosawa shares in words that he's happy for Adachi, but through very simple body language, communicates that he is feeling otherwise.

Later in the movie, Adachi gets into an accident in Nagasaki, and Kurosawa rushes to be by Adachi's side. Kurosawa is clearly traumatized. And Kurosawa finally reveals his feelings about the entire situation -- a rare display of direct emotional confession.

We think that Adachi moved to Nagasaki for this job opportunity -- separating himself from the incredibly devoted and head-over-heels-in-love-with-Adachi Kurosawa. Adachi knows well enough that Kurosawa is suffering in this separation. But later in the movie, after Adachi has moved back with Kurosawa, do we learn Adachi's true intentions. Adachi wants to make himself invaluable at work -- so that Adachi's and Kurosawa's shared company will not separate them if the company finds out about their relationship.

This particular conversation between Adachi and Kurosawa -- after their separation, after they've moved in together -- is a huge turning point in the movie for Adachi, who had usually been the reluctant uke in their relationship prior to this moment. In this conversation, Adachi expresses his fear that outside forces will eventually separate them, and he wants to do what he can to ensure the safety of their relationship.

To me, this is incredibly reminiscent of the compromises Pran and Pat make in Bad Buddy to keep their relationship secret -- another theoretical "separation" -- from their parents for the health, safety, and viability of their relationship.

As well, this conversation between Adachi and Kurosawa moves forward into Adachi's desire to come out to their families. He was inspired by the immediate aftermath of the accident, in which Kurosawa was the last person to find out that Adachi had gotten hurt -- only after Adachi's family and company were notified.

The nuances of this separation between Adachi and Kurosawa -- and what the separation LED TO, which was an eventual and permanent commitment between Adachi and Kurosawa -- are incredibly layered. Adachi made an economic separation from Kurosawa. But it was also rooted in his desire to acclimate his company to his company's dependence on Adachi, so that the company would choose Adachi's contribution to the company over the potentially taboo reality of his same-sex relationship with a colleague in Kurosawa. In other words: he wanted to leverage the separation and his work performance upon his return, to render the company no choice in choosing Adachi's economic performance over his personal and private choices.

(One insight into Japanese culture is that for decades, Japanese corporations have wanted their employees to be married, to complete a seamless connection between household and "office" families. The Japanese BL Kinou Nani Tabeta?/What Did You Eat Yesterday? makes reference to the fact that the main protagonist, Shiro, becomes an independent lawyer because, as a gay man, he may have been pressured to take a wife in another, more group-oriented corporate setting.)

AND, following this, Adachi wanted to come out to his and Kurosawa's families, to also acclimate them to their relationship, so that their families would also not threaten the sanctity and safety of their relationship. And his gamble worked -- and their families accepted them, and they were able to make a permanent commitment to each other.

Without a strategically economic separation, Adachi and Kurosawa could not have achieved key moments of communication that led to their ability to find safety in their external environments, and make a personal and private permanent commitment to each other. The separation to Nagasaki was Adachi's lever to move their relationship forward.

It's so nuanced, so layered, and so strategic on Adachi's end, to use the work separation and his commitment to his company as such a motivator to propel his relationship forward and permanently with Kurosawa -- especially vis à vis the unique nuances of spoken and unspoken communication in Japanese society, which are remarkably different than the styles of communication we see in Thai dramas.

In Pran's and Pat's conclusion in the Thailand of Bad Buddy, they go in the opposite direction: for the sanctity and safety of their relationship, they act out a break-up scenario (with Dissaya telling Pran, "come back to your family," ha), and keep their committed relationship a secret. And this happens *two years* before the context of an actual, physical separation when Pran decides to move to Singapore after graduation.

It's a bit of a switcheroo from what we'd expect by way of open vs. closed communication between Japan and Thailand. But both scenarios, from Cherry Magic to Bad Buddy, work brilliantly well to ensure that all relationships are safe and solidified.

I'm not sure that I can say, globally, that separation from one's nuclear family, or separation from a partner, are common occurrences in manifested everyday reality. As I mentioned before, the economies of many countries are dependent on the physical separation of their citizens to other locales to send back monetary remittances. But more often than not -- when partners are partnered, they tend to want to stay by each other's sides.

I love that many Asian dramas do not shy away from the many realities as to why partners or children may be voluntarily or involuntarily separated from loved ones. Our beloved dramas show us the devastation of involuntary separations, as rendered by Dissaya unto Pran. We see that economic separations can actually LEAD to a solidifying of relationships in the case of Adachi and Kurosawa. We see that family-motivated separations, in the cause of Phupha and Tian, simply needed the investment of time for their relationship to reach a point of comfortable commitment. We see that agency-driven separations by Pharm and Oh-aew can lead to emotional clarity. And, we see that theoretical, secret-kept "separations," of the kind that Pat and Pran created for themselves, to protect their relationship, were risks worth taking, simply for them to be together and happy.

Pain and happiness are not emotions independent of each other. At least in the eyes of my Asian cultures, human beings embody all emotions, all the time. Humans are certainly primed, internally and socially, to seek happiness and balance. But as I've posited here in this post -- is there pleasure without pain? The pain of separation, the trust that partners and family members can learn from each other through separation, and the lessons and communicative ability to solidify relationships after the obstacles of separation, are all themes of life that, I think, are worth unwinding on, in glorious emotional detail. And I love that our beloved Asian dramas do not shy away from these examinations.

(Tagging @dribs-and-drabbles and @solitaryandwandering by request! If you'd like to be tagged, please let me know!)

[Well, this one was a doozy -- if you got through it all, I thank you! Next up, next week, is another post I've been dying to write for months. I had the opportunity to engage in lengthy conversation with a number of FABULOUS Asian Tumblr bloggers, all of us Bad Buddy stans, to reflect on our experiences as Asian reviewers watching BBS and to talk about what we related to. I have a list, a WHOLE LIST! of themes to expound on. I'm calling it Asian Cultural Touchpoints Within Bad Buddy. And I may need to split it into two posts, because there's a lot to talk about. Join me and my friends next week in our continued Bad Buddy brain-rot sesh!

Here is the status of the Old GMMTV Challenge watchlist. Tumblr's web editor loves to jack with this list; please head on over to this link for the very latest updates!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (The BBS OGMMTVC Meta Series is ongoing: preamble here, part 1 here, and more reviews to come) 34) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] (watching) 35) KinnPorsche (2022) (tag here) 36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist 37) The Eclipse (2022) (tag here) 38) The Eclipse OGMMTVC Rewatch For the Sake of Re-Analyzing an Politics-Focused Show After Not Me 39) GAP (2022-2023) (Thailand’s first GL) 40) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 41) Moonlight Chicken (2023) (tag here) 42) Bed Friend (2023) (tag here) 43) Be My Favorite (2023) (tag here) 44) Wedding Plan (2023) 45) Only Friends (2023) (tag here)]

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hellolimitless · 2 years

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Gmmtv 2022 is a whole mess, they went on for 4 hours to present 21 shows who are supposed to air all in 2022, forgetting they still has multiple shows from the 2021 lineup that didn’t air yet and that the pandemic is still going on and it can postpone once again the shows which will end up being a huge problem in the end as some of them might be scrapped. They are 8 BL and once again 0 GL, normally the number of BL are close to the one of non-BL but this year they decided to give us more het shows. Here are some massive problems I got with this year shows :

As usual, it’s still the same actors that we see in main roles and it’s always the same actors in supporting roles. Last time I checked their page, there was 100+ actors listed and some of them, we don’t have any news or they are in 0 shows. I think gmmtv really need to give equal opportunity to all their talents, they can still have their biggest stars on project but put them as supporting characters or in an ensemble with actors we don’t see often.

The BL pairings are not convincing me, I think having the same pairing in a new BL when their show aired barely a year ago is a bad idea. I am not saying that two actors who already appeared as a couple can’t not do that again but at least let some time pass. I am talking more about earthmix, for pondphuwin - I am not that bothered because I consider futs to be a cringey mess so this new show might be a good thing for them. Having earthmix in not one but two shows proved that they are really trying to milk their BL ship until the last drop. I get that they are putting their new actors as supporting roles in BL to then make them leads of their own BL but I feel it’s too early for some ( vice versa and my school president)

I feel it’s always the same storyline/themes that are coming back every year and it’s starting to get annoying. Beside some shows, all the new contents are similar to their previous series. At first, I gave them the benefit of the doubt because they were expending but now I feel they are never going to change as it’s working for them and it’s recipe of success.

One show who I believe would have been great as a BL but is a het show is You fight, I love. I think the show is one of the most intriguing to me and the casting is the most successful as there is a mix of new actors and famous actors and I like their actors. But I will put it in my most awaited show if it was a BL

Once again Brightwin together in a het show with a het pairing is the dumbest thing ever. Don’t get me wrong, of course they move on from 2gether and are absolutely allowed to have other pairing and with girls but putting them on the same show when they are one of the most famous BL pairing ever is a big mistake. They each have a show where they are the leads, they should of had them in there and that’s it. I think this good old days is their most ambitious project as they are putting every big stars in there but I think the final product is not going to be good, too many characters and plot in one show.

The biggest joke of the century to me is Krusty aka krist coming back to BL after every thing he has done/said. Literally I never expected that in a thousand years, I thought Mr was too good for BL and was the leading man of the biggest het shows (it’s sarcasm). Even if it’s infuriating, I am happy for Mike, you could see he was super excited to finally be the lead of a show

Some good points : I believe there has never been as much of women in a gmmtv events, I just hope the writing is going to be good for them. I am glad that Mick metas is joining the gmmtv family.

I saw this picture and was shipping them and wanting them to appear as a couple but then I saw the age difference and I was like OH NO, nevermind.

I also saw this picture and I legitimately had a bug, I thought it was the same person or they were twins but besides aj and jj, I never heard of another pair of twins but they actually going to appear in enchanté the series together.

It was my hot take on Gmmtv 2022, maybe I need to rewatch some of them and I will change my mind, because there was really a lot to process with the number of show there is. But for now, I am really not excited.

#gmmtv #thai bl #gmmtv series #gmmtv 2022 #gmmtv2022 #gmmtv actors #bright wachirawit #bright vachirawit #win metawin #bright win #brightwin #earthmix #bl drama

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life-rewritten · 3 years

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Fish Upon the Sky Episode 1-7 (The Problems with Walls; An analysis on Duen and Pi)

I swear, if I could just settle down, stop running away and actually analyse FUTS the way I usually do. I would have so many essays by now on how authentic and deep this show can get with some of its characterisations. As I write this FUTS essay that has constantly been plaguing me and making me frustrated that no one else is seeing these themes, I realise again sadly how this director has sadly failed to show the vision of what he wanted for the series. An essay on how DuenMeen and MorkPi mirror each other so much with their themes, it sounds crazy to think that they do because their storylines on the surface seem different at times. Still, also their love interests act differently towards them, and they have different dynamics with them. But that's what's so great about meta and mirroring in TV, especially in shows that aren't meant to be seen as deep or purposely filled with hints and clues to break down. Fish upon the Sky is one of those shows. It struggles to find a balance between wanting to be more profound and showing exciting themes vs pleasing and appealing to the audience, using humour and other exaggerated performances/narratives to do so. However, the writer of Fish upon the sky novel has always had her works struggle with these issues and themes. Jittirain always writes emotional stories about unrequited love, with different lessons, ideas, or characterisations that people fail to understand or truly value because the meta/depth of their personalities is hidden or misunderstood by their own directors. This is what happened in 2gether; this is what also happened in Theory of Love.

A Misunderstood Duo

In order to really understand how grand the narrative the show is failing to truly flesh out is, you need to understand that Pi and Duen (the two main characters of the show) are the narrators of both their own stories. Pi's is Fish upon the sky whilst Duen is Leech upon the sky (😂😂) but what's great is that you can already see the mirroring/similarities just by their titles. Even though their insecurities and worries seem different, it's the same theme for them; both struggle with love because they secretly have a lot of self-deprecation and hesitancy from how people have treated them. It's not as noticeable when you see Duen's characterisation/storyline, but if you truly focus on the themes of his narrative without being distracted by the loud comedic routine he has, you'd see that his biggest insecurity, that he tries to be defensive and act like he doesn't care about is his dumbness. He genuinely feels weaker/inferior because he's known as being dumb to everyone around him. He struggles to process anything that is complex and requires more depth or thought. It's played for laughs because he relishes in the idea that people feel exasperated by his actions. He acts like he doesn't get bothered by how people perceive him because he's still seen as socially acceptable, unlike Pi, who's actually bullied and alienated from society because of his own 'flaws'.

But you can see that it's all a façade when it comes to Duen, just like with how Pi handles his own insecurities and trauma to do with his perceived flaws. It's why Duen chooses to lie to Meen that he's a dentist. He didn't want him to see him the same way others do. This already should show that he doesn't actually enjoy being seen as dumb, but he has walls up to make it seem like he doesn't care. He knows he's constantly being compared to others, but he can't change who he is (just like Pi didn't also want to change how he looked or acted to please people at first). So he jokes and tries to see a positive in being that way; he starts to want to slack off and cheat off others when it comes to work. He stops taking University seriously and repeats classes constantly because he always fails. That is until Meen shows up, and then he starts to want Meen to believe he's something more. Why?

But in case I haven't repeated it enough, Duen is like Pi, whose insecurity is easier to see since we watched him get attacked and bullied for it immediately in the first episode. It's Pi's true thoughts and opinions we see in the show as the audience, whilst Duen's story is hidden with comic relief and unseriousness. They both try to act like they're okay with what they are being judged by in society. Thus, they act confident, they're both loud, they're selfish, acting like they don't care how people see them. Preventing others from getting to hurt them by making it look like they are in control of what they have and use that to their own advantage with others.

They both stay heavily in denial about their true feelings in general, but primarily with the critical focus; the people who make them question everything about their flaws that come into their life and frighten them the most. The ones that break down those facades; make them automatically want to run away whilst being unable to stop showing and escaping their true feelings whenever they're in their presence.

The Use of Humour and Sarcasm

So what we end up with is a narrative with two incredibly annoying and flawed characters who are seen in the audience as exaggerated caricatures for comic relief and shallow storytelling. And it's brilliant because both their unlikable/loud, selfish personalities are just fake walls built, so they don't crumble and get affected by how society views them or wants them to act. So you see, there's the issue that people keep misunderstanding about these two stories, especially about these two brothers. They're realistic; they're flawed because they've been affected by society and the environment around them. They're acting like how anyone who's been hurt before would act, they have built up walls, and they've decided to just stay by themselves and let that guide them in everything. They deal with their issues with sarcasm and humour to reduce the seriousness of the situation, so they don't appear weak or let anything hurt them.

That's why I love this narrative of FUTS, it's meta and more profound than people think, but because the director doesn't do the best to show it, it can get lost in all the exaggerated humour. For example, with Pi, because he's socially anxious and always overthinks how people think of him (due to his past experiences of being abused and hurt by being ignorant of how people thought of him), his world is wildly exaggerated in his head. The way he narrates the story is played for laughs and is a very telling and realistic representation of how overthinking is expressed in his mind; it's overdone, loud and nonsensical at times. That's what social anxiety does; it makes you cry about one stare, one laugh, one action someone does, it makes you panic over the most minor things, and Pi does that with panic and boisterous, sarcastic humour from the start of the show.

Hence his story also has exaggerated humour because he deals with his issues with that fake jokes and sarcasm. So the show also exaggerated humour too when we are in his perspective. This is actually similar to Duen's breaking the 4th wall narrative style of his storyline. As with Duen, whose narrator of his story mocks and laughs at his actions ironically. When really that is just literally himself fighting with his inner voice about his true feelings about Meen. He breaks the 4th wall because he's internalising his own emotions and dealing with them as a skit; the narrator is his true self ridiculing him for not accepting that he has feelings for Meen and that he's not as bright/cool as he thinks he is. So if we understand this and notice that the narrator makes fun of him constantly and jokes about his actions, you'll realise that Duen sees himself that way too; he sees himself as a joke. He doesn't see himself as suave and carefree; he actually mocks himself internally for being dumb and being gross.

Pi: The Need for Protection and Avoidance

So already, just from breaking it down with this point of view, Duen and Pi mirror each other so well, and their narratives because of this focus on the same themes and ideas of self-discovery. Both are flawed characters with a lot of vulnerabilities and pain that they refuse to deal with properly. An id ego defence mechanism catalysed because of their past experiences and protection of their mental space. They both stay in denial, hurting who they love by refusing to let them get to see them without the walls down and more. Pi hates that he loses control with Mork and refuses to let Mork have his heart because he believes Mork is too good for someone like him secretly. He knows he'll be the one damaged. Hence the choice to intentionally misinterpret his brother's metaphor on the vaccine analogy and view it as the complication with getting with Mork. Let me try and use this to break down his mindset with why he chose to still choose Nan even though he knows (he does know) that he wants to be with Mork romantically. Listen to the analogy his brother uses. He mentions the iatrogenic vaccine, a vaccine intended for a patient that starts helping the patient be well but actually causes more harm than good. The end result is because of the incompatibility of the vaccine and the time it takes for those results to show up in the patient and make their lives affected in a negative conclusion.

A vaccine ironically is meant to be an antidote, something that saves people, that helps and makes them feel better. And that's what Mork says he wants to be for Pi, it's romantic, but once his brother announces a different version of a vaccine, Pi jumps with that analogy and believes that's the truth about Mork and him that makes sense to him, than seeing it positively. So with this analogy, we can break it down this way:

The Iatrogenic vaccine was too different and incompatible with the patient. Which is what Pi believes about Mork. Remember, Pi doesn't think (because of what people have told him) that he deserves loyalty and love from people better looking/capable than him. He sees Mork in this light from the start; he views Mork as a rival because Mork is good looking, popular, strong and cool, basically things that are not associated with Pi to others. So Mork and him are incompatible in Pi's mind. This is why Pi constantly asks Mork why he wants to be close to him. He just doesn't understand it.

Second, the Iatrogenic vaccine starts off good but causes damages in an irreparable way to the patient. It's the patient that ends up being affected by this vaccine interaction, not the vaccine that caused it. Before Wan starts this vaccine conversation, he discusses how people around his hospital are patients primarily because of heartbreak; they come in with damaged mindsets, broken hearts and self-harming injuries because of being hurt by love and letting themselves be vulnerable to that. All Pi hears is people hurt themselves over the pain of heartbreak and being abandoned. That's the complication if he does finally trust Mork. Especially after Mork and him get to be close, it'd be just like with everyone who has gotten to know him in the past, who stayed by his side as 'friends', once they learnt about him, what they said is that he wasn't worth being loyal to. So many people used and deserted him, and it almost broke him. This is why Pi grow the walls he has now. Even though Pi is chasing after Nan, he's not expecting an answer from Nan that's positive; Nan is a fantasy, something he can use as a goal to want to keep chasing and distracting himself from that singleness and loneliness he felt at the start of the show. This is why he's doing all of this; he just wants a distraction from the mess of his life. But to Pi, Mork? Mork is real. He's serious; he's someone who Pi actually truly will be damaged by if he's hurt and left by him; he's someone who Pi truly loves and is real to Pi, it's terrifying, and so he rather just avoid that because of the risk of a complication. To be that patient tricked by the vaccine and left to deal with those consequences all alone? Yeh, no, he can't do that. Pi sees him as a friend and doesn’t want to end that because that's the first thing in a while that has made him feel actually happy being himself and accepted. Being friends with Mork makes him feel safe. So again, it's selfish, but it’s all about him preserving what he already has with Mork rather than damaging it.

Those complications are exactly that result if he lets Mork in romantically and Mork sees his true self and leaves like everyone; it’s not Mork who’d be hurt. It’s Pi who’d have nothing more to believe in if he lets himself be that vulnerable. Again Pi is thinking with his head when it comes to Mork; there’s a massive risk if someone takes the wrong vaccine, that person is damaged because of it. Pis journey with Mork is the same thought process that friends to lovers have. The fear of losing each other if they cross that line, of taking things too far and ruining the foundation they had that made them safe. The fear of the love being false as it always has been from others. Pi thinks he likes Mork because how can he not? However, Mork is always there, making it hard for him to think. He associates Mork with niceness and protectiveness, but that doesn’t mean he has to accept him romantically, and Mork sees right through him and is fond of breaking down those walls he put so high up to ensure he doesn't get hurt again. Mork is the one pushing Pi further away from him the more he clings because Pi doesn’t like losing control. Same as Duen. And Mork doesn’t let him just figure it out without manipulating everything; the more he does that, the more Pi feels manipulated and tricked into wanting Mork as a partner, and that's too scary for Pi. This is why it’ll be massive when he finds out who Mork truly is on his phone as the guy from nearby faculty.

Duen: The Need for Nonchalance and Ignorance

Duen is the inversion with his storyline; he tries to look cool and better to Meen, refusing Meen to see him when he's worried, anxious or insecure because he himself shuts off those emotions whenever Meen triggers them. He doesn't want to face the truth, that he hates being seen as dumb and not being seen as a hero to Meen. He lies to Meen because he's trying to keep him by his side without actually letting him see his true self. After all, if he does, he also may judge or leave him too (guess what same as Pi's worries with Mork. Mirroring!). Duen tries to act unaffected just like Pi does with Mork because again, they both know once they break down and give in, there's no turning back, they will be exposed, and the' truth' about them (which they believe and see about themselves) will push the people they truly want by their sides away.

So instead, they grapple for control by faking lack of care and feelings for their partner; they refuse to apologise quickly and refuse to give in easily to them to further their relationships, increase their trust and let them in. They refuse to let go of their fake personas and fake masks and walls they've built and try hard to hold onto the facade, which hurts Meen and Mork in the end. They both push and pull and show signs of vulnerability and romance only when they're alone with no one else around (like the tent scene with MeenDuen and the after school night scene with MorkPi outside). They show worry, devotion, and they show that they want them by their side. And these are the moments when we actually get to truly see who they are without their walls, their fake personas unshed, and their niceness, their care and protectiveness over them exposed.

Wan: The Comparison and Norm

When we're first introduced to the show, Wan is mentioned almost immediately as we see Pi's struggles. Because of Wan's reputation, people choose to crowd around Pi, and it's sad, but I also think Duen also had this same issue, just a bit different. With Pi, it's about his outer appearance, his beauty standards vs society's. It's exposed to him he lacks those, but it's his intelligence similar to Wan that makes people stay by his side at first. He also studies dentistry as Wan studied Medicine, viewed by societal standards as impressive and praiseworthy. Pi is used by people who want to both get to Wan and want to profit from his brain and abilities. Duen is the inverted version of this; he is seen as handsome and cool and aloof, a bit messy, but the reason why Meen first leaches onto him is his street smarts and survival skills with social interactions, he knows the right people, he is seen as cool by others including Pi, but he's also seen as dumb. He's failed repeatedly, unlike his brothers at trying to obtain a degree. So he has the outer appearance but lacks the next valuable thing in society's opinion; brains and the ability to increase your status by your talents and skills. Duen lacks that; he doesn't have any specific things about himself that he can fully be proud of. He's not highly talented, he's not intelligent, and he's also not viewed by women as extremely attractive or awe-worthy. He nonchalantly takes on this persona; he chooses to block any worries about things being serious because he lacks the smarts to think of things deeply or ponder about life's questions.

He's insecure, however, about this, and you see it when he tries to join in with Wan and Pi when they discuss vaccines and love. As Pi transforms for Nan, his lie is that he's well of without other people in his life like Mork; he pretends he's okay being seen as loud, not friendly, selfish etc. Duen's own lie to Meen is that he is a version of Wan, of what people think Wan is; intelligent, put together and reliable. Because what Duen wants from Meen all the time (he doesn't realise he already has this devotion from Meen for just being himself when he's not trying) is for Meen to want to rely on him since that's precisely what Meen keeps telling him he likes about him, or wants to learn from him; street smarts etc. Duen likes being seen as a protector, a hero, a helper etc., to Meen. And that's why he stays adamant with his lie and refuses to let Meen truly see him below the surface.

Like Pi, he also doesn't want to admit what he knows and has fought to accept, which is, he loves Meen and wants him by his side. It's the fear of losing what he has with Meen that makes him do what he does, which is the same reason Pi also keeps rejecting Mork; it's the fear of losing him. And that's the ironic thing about Pi and Duen, they're ironically trying to preserve what they love, but because of scars, insecurities and walls, they're hurting the ones they love by just refusing to be their authentic selves. It's ironic because they think being themselves is the worst option. Yet, on the surface, they act like they're fine with who they are, they're loud about being carefree of what others think of them, they're okay if these two leave them, but in reality, their worst fears are admitting that they agree with what people see in them as flaws, that they also hate themselves for that. That's heartbreaking because they fought so hard to keep loving themselves, to keep believing in their worth, but society made them genuinely think that they're wrong. And it's painful but realistic.

Again they're all similar and mirror each other. I just want people to understand that FUTS is a deep show; I know the director doesn't do the best job with what he's been trying to show, but it is deep; there is thought at times put to it in the profound moments. In the moments where both Pi and Duen aren't being fake and are their true selves, you'll notice that the jokes and humour slowly reduce whenever they are true; the narrator also reduces for Duen because he doesn't struggle as much with his feelings for Meen like he did at the first time. All the stuff that happens in the show is on purpose, even if done messily and poorly. People love to hate on the show. It has a lot of flaws, I know, but it's not the worst thing; it has deep characters that are incredibly flawed and hurt (even Mork, who we still hope will get to understand his story) it has people that act one way on the surface but hold deep scars and pains below whilst wearing a mask. The characters are unlikable because they are realistic to how people with self-sabotaging habits and deprecation act. That's why I like this show. And I'm sad I wasn't writing out more all about the meta and moments I've enjoyed so far. Anyway, I'm grateful this show has been shown this year; it definitely made me ponder my own ideas about how I view myself and if I have walls up around the people I love. I think many people do relate to Pi or Duen somehow, and it's unfortunate that the director doesn't help us feel the same way about the narrative when it's actually a great BL story to unravel and watch.

#fish upon the sky #futs #morkpi #thai bl #bl series #bl drama #cwg #fvete

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