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lurkingshan · 2 months ago

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A Brief History of Queer Representation in Modern Kdrama

Earlier this week, totally unrelated to Heesu in Class 2, @twig-tea and I were making a list of kdramas with proper queer representation, because Twig loves to track queer things and I love to make highly specific lists. In light of all the discussion around Heesu and its appeal to a mainstream kdrama audience, we thought it would be helpful to share as context for what Heesu’s creators set out to do, how it compares to Love in the Big City and its goals, and why both shows are so significant for those who are not as familiar with this media landscape. We wrote the below together (strap in, folks, it's a long one).

As always, let us be clear what we are talking about with this list. We’re only looking at modern mainstream kdrama, so this list is not inclusive of Korean queer cinema or QL dramas, both of which have a rich history of their own. And when we say queer representation, we mean canonically queer characters that are acknowledged as such in the text of the show, if not by saying the words, at least by openly acknowledging same sex attraction. If there’s anything we know about queer people on the internet, it’s that our community can read gay subtext into anything, but that’s not what we’re doing here. For this list we are only interested in depictions of LGBTQ+ people that are clear and spelled out for anyone watching a show. In addition, for the purposes of this list we are talking about intentional inclusion of queer characters with a proper role in the story, not nominal nods to queer people existing (like every Hong Seok Cheon cameo in a drama), comedic gender bending without real reckoning with sexuality (ala The King’s Affection), use of queer people as the butt of a joke (glaring at you Vincenzo), queerness in psychosexual dreams to titillate and generate buzz (hiiiii Friendly Rivalry), or subtextual gay tension between two same sex actors who happen to have chemistry (waves hello to The Devil Judge). The point of this exercise is to chart the evolution of significant queer representation in kdrama—both good and bad—not to document every gay character that ever appeared for two seconds on screen. That said, while Shan has watched several hundred kdramas and Twig has tried to watch everything gay on the planet, it’s possible we missed something that should be here, so let us know if you think we did (though please do mind the criteria and don’t send us an impassioned essay about why Beyond Evil should count).

With that, let’s begin our walk through of the last two decades of queer characters in kdrama.

Coffee Prince (2007)

Among the most famous dramas on this list, Coffee Prince kicked off queer rep in modern kdrama with a classic gender bender in which Go Eun Chan, a girl, pretends to be a boy for Reasons. But what made it stand out is that her love interest falls for her while he still thinks she’s a man and has a whole sexual identity crisis and bisexual coming out process. Choi Han Gyul (and Gong Yoo), you will always be famous! This show was sincerely groundbreaking, not only for depicting a male romance lead struggling with his sexuality, but also including lots of gender fuckery for the female lead. It’s still one of the most significant queer kdramas ever made.

Life is Beautiful (2010)

This show is notable for how high it set the bar and how nothing has reached it since. Yang Tae Sub is our central character in this 63-hour ensemble family drama, and his arcs struggling with the closet, falling in love, coming out, commitment, and marriage (yes: marriage! In 2010!), are surprisingly realistic and touching without being too cliche. Kyung Soo and Tae Sub start as a casual hookup, and they have to recalibrate as their feelings change (and yes, they kiss on screen and the show is clear that they have sex throughout the series). They fight, they make up, and as their relationship deepens they have other problems in their lives they support one another through—their gayness is not the only or even the most interesting thing about them. It’s also notable that both of these actors (Song Chang Eui and Lee Sang Woo) were established kdrama stars before taking these roles.

Secret Garden (2010)

This het romance features a side character (played by our beloved Lee Jong Suk) who is a young musical prodigy pursued for his talents by the second lead, a senior musician. Over the course of the story we learn that he’s gay and harboring feelings for his would-be mentor. His plot is minor, but he ends the story happy and successful in his career, if not in a relationship. It’s small scale representation in the grand scheme of things, but one of only a handful of decent depictions of a gay person in kdrama at that point.

Reply 1997 (2012)

This wildly popular drama (at the time, it was one of the highest rated cable dramas in history) that spawned two follow-up iterations features a gay character, Joon Hee, who is in love with his long time best friend, Yoon Jae, and confides his feelings to their other best friend, Shi Won. Of course, this show is ultimately Yoon Jae and Shi Won’s love story, so Joon Hee does not get his happy romance ending, but his friends and the show treat him with kindness and compassion, and his character was well received by audiences.

Reply 1994 (2013)

Similar to its predecessor, this drama featured a side character with a gay subplot, but this time it was more about questioning his identity. Bingguere is a character whose arc is all about his confusion and indecision, and that extended to his sexuality when he struggled to understand his attraction to the male lead. Ultimately, he moves past those feelings and we learn his partner in the future is a woman, and the drama doesn’t really clarify where his sexuality landed. It’s kind of weak in terms of explicit queer rep, but showing a man grappling with his sexuality in a very popular family drama still feels significant.

Seonam Girls High School Investigations (2014)

While most of their content is limited to two episodes of this 14-episode high school drama, Eun Bin and Soo Yeon have, to our knowledge, the first lesbian kiss on Korean television, which earns them a place on this list. They are an established couple struggling with how their relationship is a risk for them (because it can be and is used against them). Their relationship doesn’t survive to the end of the series, but they are treated with compassion and their humanity is underscored by the narrative. They also spark an important conversation among the main characters about whether they should be helped because they’re gay, which was a little better intentioned than it was executed, but the show had the spirit.

Perseverance Goo Hae Ra (2015)

In a show about aspiring musicians forming a group to take a second shot at stardom, Jang Goon (portrayed by solo idol Park Kwang Seon) is one of the core group members with a heartwarming arc about acceptance. His story is about his father coming to terms with him being an idol and being gay. He has a one-sided confession scene that is decently done, and the scene where his father accepts him knowing the truth (after having been outed against his will) is genuinely moving. It was also touching to see the girl who originally crushed on him support him once she found out about his sexuality.

Hogu’s Love (2015)

This drama was considered progressive for its time, as its core plot is about Hogu, a man who decides to support his first love when he finds out she is pregnant with someone else’s child. In addition to that, side character Kang Chul has an arc where he experiences attraction to Hogu and tries to sort out his feelings, considering whether he identifies as gay before ultimately deciding he does not. It’s not the best rep we’ve ever seen, but it was part of an interesting attempt by a drama to explore complicated social and identity issues.

The Lover (2015)

Lee Jun Jae and Takuya (played by Lee Jae Joon who was also in the gay film Night Flight (2014) and Takuya of jpop group CROSS GENE) are roommates in this series about four couples in an apartment building. Their story starts as a comedy, in which Jun Jae and Takuya end up in ship moments that are played off by the narrative as jokes and misunderstandings, but then they catch feelings for real. We see one of the characters struggle with his queer awakening and there is a happy ending. Using the actors’ real names was a choice, and led to some seriously disruptive RPF shipping; but it was refreshing to have an active idol not only play gay but in a romance with a happy ending.

Prison Playbook (2017)

Another ensemble show with a queer side character; Loony, one of the main character Je Hyuk’s cell mates, is notable for his queerness not being used as a joke and not being the core of the character’s arc. Instead, this character struggles with addiction and how that affects his relationship, which is only incidentally gay. His story is moving and well developed, especially considering the size of this cast, but it doesn’t get a ton of screen time.

Romance is a Bonus Book (2019)

The queer rep in this drama is minor but overall positive, as we learn that the male lead Eun Ho’s ex-girlfriend, who he is still friendly with, ended their relationship because she fell in love with a woman. The show presents her as a lovely person who helps the female lead several times and is happy in her lesbian relationship, and we even get to see her with her partner briefly. A small win for sapphic representation in a very popular Netflix drama.

Moment at Eighteen (2019)

Jung Oh Je (RIP Moonbin) is a side character friend of the main lead. His sexuality becomes part of the plot when he is confessed to by a friend of the female lead, and he admits that he has a crush on the second male lead (Ma Hwi Young). While the characters in the show are mixed in their response, it’s clear the story is on the side of treating Oh Je with compassion.

Be Melodramatic (2019)

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This is an ensemble show centered on a group of friends who move in together to support a grieving young woman, Lee Eun Jung, and one of the housemates is her younger brother Lee Hyo Bong, a gay musician with a long-term partner. He is a side character and his most significant plot is about supporting his sister, with his sexuality and relationship part of his characterization rather than an active story thread. It’s a positive depiction and the way his sexuality is presented as just part of who he is felt significant at the time.

Love with Flaws (2019)

Joo Won Suk (RIP Cha in Ha) is one of the FL’s older brothers, and while not the focus of the drama he gets his own fully developed arc, including the mentorship of queer side character Choi Ho Dol. The queer rep in this show covers suicidality, the loneliness of the closet, bullying, solidarity, and fear of parental shame. That makes it sound depressing, but it’s a hopeful story about the character moving out of depression and into self-acceptance, has one of the best scenes depicting gay acceptance from a father in any show, and both Won Suk and Ho Dol have a happy ending (including for their romance).

Itaewon Class (2020)

The first drama on this list to feature a transgender character, Itaewon Class is about a group of social misfits trying to launch a restaurant on a trendy street in Itaewon. Ma Hyun Yi, a transgender woman saving money for her gender affirming surgery, is among the gang. Her story is not a big focus for the drama, but she gets a nice arc about coming into herself and gaining recognition for her talents as a chef, and the other characters always respect her identity. It’s pretty solid representation for a side character.

Sweet Munchies (2020)

This drama tries to tackle the problems of homophobia and appropriating queerness but misses the mark on both. The queer character in this show, Kang Tae Wan, is here to function as a driving force and conscience for the main male lead and female lead; he’s essentially the second lead but never had a chance (though he didn’t know it, since the main lead is pretending to be gay for clout). Tae Wan is a good character, but the narrative doesn’t care much about him or about queer people in general, it’s focused on how heterosexuals experience queerness. Not exactly amazing queer representation, whatever its intentions.

Run On (2020)

This drama features both a gay character and an asexual character, both of whom are written respectfully and get proper coming out scenes. There is also some messiness around one of the main characters appropriating queer identity as a way to avoid the pressures of her patriarchy, and the drama knows she’s wrong for that. This was one of the first instances of a kdrama acknowledging queer people as a regular part of the world around us and not singular oddities, and it was nice to see multiple facets of queer representation in one show.

Mr. Queen (2020)

This gender bender retains its place on the list because the main character (a man who awakens in the body of a Queen during the Joseon dynasty) openly struggles with his gender dysphoria as well as what it means that he’s attracted to a man, and these struggles are present for the bulk of the show. The character also has sex with both men and women while in that body. It’s one of the better representations of gender swap and feels queer, even when the relationship on screen has the guise of heterosexuality.

Mine (2021)

In this drama about ambitious women married to powerful men who struggle to break free from their constraints, one of the main characters reunites with her first love—another woman. The drama follows Jung Seo Hyun as she struggles to acquire the power she needs to live as she wants, and she ultimately achieves her goal, reuniting with her lover at the story’s end. It’s the first kdrama with a lesbian character in a major role who gets her happy romance ending.

Move to Heaven (2021)

Despite only being featured in episode 5, this was a good story that garnered a lot of attention in a popular Netflix drama, so for cultural impact reasons alone it belongs on this list. We start the episode with Jung Soo Hyun’s death, but this is a show about finding closure after death, so for once this death doesn’t feel like bury your gays. This is a compassionate tragedy in which we see how fear held Soo Hyun back from his relationship with Ian Park while he was alive, but his belongings at death indicate he was getting ready to face his fear and move to the US to marry Ian after all. Through the main characters of the show, Ian gets the closure of knowing Soo Hyun loved him.

Nevertheless (2021)

Yoon Sol and Seo Ji Wan have a typical plot for side characters (they’re in the female lead’s friend group) with a friends-to-lovers arc that depicts the fear and frustration when both friends are closeted and uncertain about risking the friendship but reach the point where they can’t pretend anymore. Since they’re both women, this felt pretty radical. They got a good romantic arc and a happy ending, if not a lot of screen time.

Under the Queen’s Umbrella (2022)

In this sageuk, the fourth prince is living a double life, hiding away makeup and women’s clothing that they wear in secret. The character is depicted as trans, but given the setting, explicit language and modern terminology (including altered pronouns) are not used in this side plot. When the prince’s mother finds out, she supports her child to have an artist paint a portrait of their true self, and ultimately, the prince leaves the royal family to go live a more authentic life in isolation in a bittersweet resolution.

A Time Called You (2023)

The queer rep in this drama comes in the form of a brief backstory montage for two gay characters, one of whom (Yeon Jun) is in a coma. We learn that he ended up in this state after getting into a car accident while in the process of confessing to the guy he mutually liked (Tae Ha), who was killed in the accident. From there, Yeon Jun’s body is taken over by a heterosexual character (it’s a whole time loop thing). This entry is mostly notable for featuring a high profile cameo from Rowoon playing Tae Ha, and unfortunately, for being a fairly textbook example of the bury your gays trope. In 2023!

Wedding Impossible (2024)

This disaster of a drama purported to finally feature a gay character in a prominent role that drove the narrative—in a story about Do Han pretending to marry his longtime friend to avoid being forced to marry another woman—but Do Han ended up a minor side character in his own story when the show chose to focus nearly all its attention on his brother’s het romance. Worse, the other characters treated him terribly and the story blamed every problem on his sexuality. This show was straight up homophobic and it was a significant regression for queer depictions in mainstream Korean media.

Bitter Sweet Hell (2024)

image credit @respectthepetty

Choi Doi Hyun (played by Park Jae Chan of Semantic Error) is the closeted son of the main character, struggling with how hiding his secret affects his school life and his relationship with his family. His story ends happily with Jun Ho in the US, which felt like a win after the above history with kdrama, but because his secret being his queerness is hidden for most of the story, we don’t get to see it inform the narrative much except in retrospect.

Squid Game 2 (2024)

The most recent entry on our list features Park Sung Hoon as Hyeon Ju, a transgender woman who enters the life or death game at the center of this drama to earn money to move to Thailand and get gender affirming surgery. While her inclusion wasn't entirely groundbreaking, Hyeon Ju was a well-developed character with a sympathetic backstory who quickly became a fan favorite, notable given Squid Game's popularity and broad international audience.

Bringing Better Queer Stories to Mainstream Drama Audiences

With all that context established, we have been contemplating how queer creators in Korea can reach a wider audience with their stories and ensure queer representation in kdrama is both more common and more authentic. We look to Love in the Big City and Heesu in Class 2 as a start, as we would argue that both shows exist in the gray space between mainstream kdrama and kbl. They both leverage kdrama style and structure to tell queer stories that include, but are not limited to, gay romances. They both had unusual distribution and battled to even get released and in front of an audience, with LITBC rushing its episodes out amidst public protests and Heesu sitting on the shelf for two years before being quietly released on a streaming platform. And they both had goals to reach an audience beyond the usual BL viewers, albeit with wildly different tones and themes in their stories. The BL audience is too niche to effect the social change that queer creators are seeking, and the limited runtime, genre tropes, and laser-focus on romance means it is harder to make wider social and cultural points in a BL story (it doesn’t hit the same when gay characters are treated as human in a story that takes place in the no homophobia BL bubble). And as we’ve seen from this walk through the past, there are real limits to queer representation that is not created by queer people or informed by their lived experiences.

As you can see from reviewing this list, these two shows were the first kdramas in well over a decade (after the only other example, Life Is Beautiful) to center on a gay main character whose journey drove the story, and they were doing this in the context of a media landscape that rarely elevates queer people beyond minor side plots, still regularly fumbles on respectful representation, and in which representation seems to be getting worse. Love in the Big City set out to show a young queer man’s life in all its glorious messiness. Go Young was not an easy character, and the show did not hold back on his flaws or shy away from either the joy or the struggle he found in his sexuality. Heesu is about a younger character and so his struggles are centered around coming of age and first love, but it similarly depicts a beautifully flawed young gay man coming to terms with himself and asks the audience to empathize with and care about him as his loved ones in the story do. Where LITBC uses a unique storytelling structure to draw in the viewer and highlight what makes Young’s life feel different, Heesu roots itself in familiar drama beats and queer-coded side plots in the hopes that the audience will see and be comforted by the familiar in Heesu’s world.

Both of these stories, in their own way, speak to a mainstream audience and ask for queer existence and queer humanity to be acknowledged. And this does not make them problematic as queer works, because they accomplish their goals of speaking to a wider audience while still being true to queer experiences. Given how scant decent queer representation has been in kdramas over the last twenty years (consider the size of the list above against the fact that there are well over 1500 modern kdramas, and so few of the above listed characters are mains or even significant sides in these dramas), more shows like LITBC and Heesu are needed to bridge this gap. We sincerely hope they find the support they need to get made.

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theside-b · 1 year ago

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Don't forget Love For Love's Sake nearly had all the romance content cut from it, the director had to fight to keep it from becoming a bromance show.

They spent ONE YEAR searching for Cha Yeonwoon's actor, that's almost unheard of in any sort of media, least of all in the BL genre, development blocks tend to kill any show/film chances of getting made. That dedication got us Cha Joowan.

Taevin went for it, he was looking for a BL role after having his queer storyline scrapped in The Penthouse, so he made a mission to get the role of Tae Myungha.

Love For Love's Sake really is that show.

#love for love's sake #love supremacy zone #what a gem #to think we nearly didn't get it

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dearweirdme · 13 days ago

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Yesterday (after the Jk post) I got an ask (deleted it because I got annoyed) that was basically ‘see, he doesn’t understand what he’s wearing. So them wearing queer clothing and whatnot also doesn’t mean anything.’ I’ll do a quick reply and say that them wearing queer brands, or queercoded clothing is only part of the way they interact with queerness. Would you say Tae doesn’t understand the queer significance of Call me by your name for instance? Was that an ‘oepsy’? You can try to eliminate every connection to queerness there is by focusing on individual moments. Oh, he just likes the vibes, oh, he doesn’t know what it means, oh, he’s just an ally, oh, he just likes that music… oh, he just likes the rainbow disney hoody, oh, he just came up with ‘I’m still me’ himself, but what you’re left with is just a whole lot of queer erasure. Also, why the need to explain away these things? Why not just see it as it is and say ‘yeah, they interact with queer media and art and clothing’. That’s just simply what it is.

#taekook #fandom shenanigans #ugh

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waitmyturtles · 8 months ago

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Thinking About QL Fandoms and Markets For Indian Queer Media

Alright, ::rubs hands together::, let's see if this old auntie can get the link history of this thread straight first.

@impala124 originally wrote in an ask to dear @lurkingshan about Shan's thoughts on a developing fandom for Indian queer media.

Shan subsequently asked a few of us on the internet, brown Asian and/or otherwise, to weigh in, which @starryalpacasstuff did here. Starry's piece has a few great reblogs with media resources that everyone should scurry to check out.

The inimitable @neuroticbookworm then decided to show us her literary Tae Bo skills and dropped an absolute MONSTER of a must-read regional media and industry analysis here. (Let me emphasize that this is a MUST-READ PIECE if you're interested in Indian media.)

I'm going to use NBW's piece as a reference throughout my weak-ass response tea here, because she covered almost everything that needed to be said about why there ISN'T a robust or developed fandom on the internet for Indian queer media. So go read that first, and if you forget to click back here, it's all good, because I'm just gonna offer some unorganized macro-level thoughts at this point.

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I'd like to first amplify a number of themes that @neuroticbookworm made clear in her piece about the "media industry in India." I'm only putting that phrase in quotes not because NBW wrote it (she didn't), but because it's a wholly inaccurate phrase.

1) INDIA IS *NOT* A SINGLE, UNIFIED CULTURAL MONOLITH. Remember your early social studies classes on early civilizations? The Aryans, Harappa, Mohenjo Daro? Those specific civilizations arose in the north of the Indian sub-continent, and not a lot of social studies spaces outside of Indian classrooms give love to the other regional areas in India -- like, say, all of South India, hello -- that belong to other civilization definitions.

To be grossly overgeneral, ancient civilizations in the northern subcontinent were known as Aryan civilizations, while those of the southern subcontinent were known as Dravidian civilizations. We see these differences today in the food we brown people eat, and ESPECIALLY in the languages we speak. Tamil (a Dravidian South Indian language) couldn't be farther away from Hindi (a North Indian language emanating from Sanskrit).

2) While the prominent political nationalists of India (😐) would like to have you believe that all Indians are monolithically similar -- or rather, SHOULD be monolithically similar by way of all Indians speaking Hindi, consuming Hindi media, and erasing religious diversity (🤬) -- nothing could be farther from the truth of our incredibly diverse and complicated subcontinent. We Indians are regionally, and therefore culturally, diverse in a great myriad of ways, way beyond our food, language, and religious preferences.

[For my non-Indians and non-Asians reading this, think about the two dishes you see the most on Indian restaurant menus outside of India. Chicken tikka masala and tandoori chicken, right? That's typical "Indian" food to the untrained eye. CTM is a British dish borne from immigrant South Asian chefs; and tandoori chicken was created by North Indian Punjabis. My own Indian origins are half-half (lah), I'm half-South and half-North Indian (with some SE Asia thrown in there, boleh!). My brain fucking freezes when I speak to someone who thinks the extent of "Indian food" is CTM and TC, and I have to explain, for the millionth time, the basics of the incredible array of South Indian vegetarian food that I grew up eating and loving.]

Thus, what I'm trying to say is, when we say the word "INDIAN," there are some questions that a curious listener should be tuned into asking to get specifics about just what kind of "India" or "Indian" the speaker is speaking of. I'll often get the question, "but WHERE in India are your parents from," from tuned-in Asians, who want to know specifically about my regional background.

VERY SO OFTEN IN POPULAR DIALOGUE ABOUT "INDIAN MEDIA," THE UNDERLYING ASSUMPTION OF THE CONVERSATION IS THAT THE SPEAKER IS ONLY SPEAKING ABOUT HINDI-LANGUAGE MEDIA, WITHOUT RECOGNIZING THAT REGIONAL AND/OR NON-HINDI LANGUAGE MARKETS MIGHT BE MAKING MEDIA, EVEN POPULAR MEDIA, FOR THEIR SPECIFIC REGIONAL MARKETS AND AUDIENCES WITHOUT AS MUCH OF A GLANCE TO THE DOMINANT HINDI-SPEAKING NORTH.

NBW says this brilliantly in her incredible piece, which delineates the major differences in the MANY regional and even sub-regional media markets of India, that produce a VAST array of media in the languages of the regions, markets, and audiences that this media serves.

On a personal note, when I was a kid, I only watched old South Indian films subtitled in English that my South Indian dad found. My North Indian mom watched them with us happily. We didn't do Bollywood in my house because frankly, dad hated those films and wasn't into them. Now that I think about it, it's probably because those Hindi films didn't bear a single resemblance to the cultural and life he lived growing up in South India.

3) Alright, so we have established that in terms of media, to speak about "Indian media" as a monolith is utterly incorrect, and just, go back to NBW's piece to get an excellent analysis of the details of that situation.

NBW does a bang-up job highlighting important pieces of regional media throughout her post, and like I mentioned before, there are multiple lists of media in the reblogs Starry's piece linked above ( @silverquillsideas notes in her reblog of Starry's piece that two important films come out of the state of Bengal, a market that us Indians should certainly pay attention to in particular.)

I therefore might posit that there might not actually be a unified "fandom for Indian queer media."

IT IS CLEAR from the reblogs of the various pieces that we've written over the last few days, that us Indians who love QLs certainly don't INHERENTLY know, universally, about ALL the queer media, across the subcontinent, in the MANY languages we speak, that has been made.

We have a lot of learning to do across our own regional identities.

I'd argue that, instead, from an organic growth perspective, that regional media markets in India would respond to THEIR OWN AUDIENCE'S AND MARKET'S DEMANDS and create queer media WITHIN THEIR OWN REGIONS

a) if their market(s) demanded it, AND b) if there was either pre-production funding, or a guarantee of net revenue from the airing of such media.

A fandom doth not create media.

It is filmmakers that create media.

And those filmmakers need

✨ MONEY ✨

to make media.

Some regional markets will, by nature, be willing to take risks on a filmmaker's desire to make queer media. Those projects could succeed, or could fail. Badhaai Do is one of the best examples of a Bollywood breakout piece that gained even some international attention, and certainly attention ACROSS the subcontinent.

But I want to emphasize this point about

MONEY.

The question that we're pondering is, why isn't there a more prominent fandom for Indian queer media and/or QLs?

@twig-tea made note, in her reblog of Starry's original piece, about the importance of accessibility and subtitling, an important note not just for international audiences, but for regional Indian populations that don't speak the same language(s). Accessibility allows fans to watch the media of their own markets, and markets outside of their boundaries.

But even bigger than this is, before we even get into accessibility, is: the filmmakers need money to spend to MAKE projects, and in an ideal scenario for themselves and/or their studios, they then need to (hopefully) make a PROFIT to demonstrate a sustainable desire and demand for the media they're producing, a profit that could hopefully be re-invested into more and new queer media projects.

Let me not get into all the obstacles in which filmmakers, queer or otherwise, might run into issues with production fundraising for a queer-centered project. We Indians know about our conservative, often violent, obstacles.

NBW does a fabulous job in her piece discussing what COULD be made by way of queer media that COULD gain a stronger cultural foothold over time across the subcontinent.

4) A fandom, most often, develops as a response to media already created. A fandom, HOWEVER, *IS*, often, in today's digital age, often recruited to fundraise for projects they want to see! GoFundMe, right?

I think it was @impala124 in a reblog that mentioned that there's already a "market" for Indian QLs. But we've established now that there are actually many unconnected regional media markets in India that can't be assumed to be glommed together.

If a fandom WANTS to see a particular kind of media, in their own specific regional market, it's certainly well within its rights of speech to create internet buzz for it.

But I think we as fans also need to take responsibility for a better understanding of the economics of media creation, and to be patient as queer media is produced across the subcontinent, and to simply do our best to hype it up on the internet when we can, so that commercial sponsors and potential production funders can then pay attention to what us fans want -- and what we're willing to pay for.

And let me be honest, this is a *tremendously difficult proposition* for a field of media that's just really small against the giant, mainstream, well-funded media markets of India. And this field of queer media would be guaranteed to face crippling and disgusting conservative criticism as it gains more of a prominent cultural foothold -- as we are seeing in South Korea literally at this very second.

Looking on the economic bright side: we see in Thailand and in Japan that QLs make MONEY. Shit, not just Japan being into Japanese QLs, but also, Japan is so into Thai QLs that the major Thai channel and studio, GMMTV, has a distribution deal with the Japanese channel TV Asahi to air Thai QLs in Japan. MONEY, BABY! INTERNATIONAL DOLLAS. Great Sapol, of the QLs Manner of Death and Wandee Goodday, just wrapped a stint in a mainstream Japanese drama, and I'll assume that's because he's hotttt and talented gotten a lot of attention in Japan from his previous Thai QL work, as well as his lengthy resume in Thai mainstream media.

The hunger for QLs is there in these two major national markets, and the Thai and Japanese audience markets have proven that the demand for content for these countries can be economically fruitful. So the media markets of these two (much smaller than India) countries are pumping ever more money into production, and filmmakers are responding with more QL content than ever.

We have not even begun to contemplate reaching that tipping point in India, across our regional markets, yet. Again, NBW offers some creative paths forward that will take time to develop.

Fuck, I mean. Imagine Bollywood looking towards Thailand and its branded pair formula as an inspiration to develop queer media. (IMAGINE.) Get two super popular Bollywood actors together in a branded acting coupling/partnership. Shah Rukh Khan and Saif Ali Khan doing India's version of What Did You Eat Yesterday?. In aprons! Making keema and rajma and chapatis. ShahSaif (SaifShah?!). KhanKhan. How would that go down?

It's a proven economic formula in Thailand. And that's just one example. We're well familiar, separately, with how Japanese QLs gain traction in bigger media spaces for its audiences, with media being adopted for the screen, as they mostly are, from popular yaoi and yuri mangas.

India and its regional media markets need some proven economic formulas within its regional markets to prove that queer media can gain culturally important footholds across the mindsets of various audiences -- and to prove that those footholds can produce profits.

The fandom element in this is that the regional fandoms, while creating buzz, could also prove to be important economic factors to a regional queer media industry being able to survive, and maybe even thrive.

Assuming that I am speaking to a mostly progressive group of fans here: we can only hope for this, and we must support the queer media that the subcontinent currently produces, IN *ALL* THE LANGUAGES (!!!!), to demonstrate to producers that Indians, wider South Asians, and even non-South Asians, WANT THIS MEDIA. We want it, we SHOULD want it, and damn it, we should SPEND OUR MONEY on it, to show our appreciate to the filmmakers taking risks to make this media.

I'm out! I need a chai and a samosa and a dosa.

#indian media #indian queer media #indian ql #bl industry #fandom #fandom things #fandom meta #khankhan #MAKE IT HAPPEN

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bengiyo · 1 year ago

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Love for Love's Sake Ep 8 (Finale) Stray Thoughts

Last time, the game world began falling apart around Myungha as he refused to choose between his grandmother or Yeowoon dying. With only 15 days left, Myungha began to pull back from Yeowoon, even as he tried to bulk up his relationships with his friends. Myungha received an item to change any part of the story, but could not change himself to admit to Yeowoon directly that he loved him. Despite Yeowoon asking all the right questions directly, Myungha couldn’t say what needed to be said, and chose to break up. We left with Myungha falling into the abyss as the world unwound before him.

Did Myungha erase himself from Yeowoon’s memory? I’m glad his friendships are intact, but it seems like he’s experiencing echoes of Myungha.

Episode 8: Answers

Wait, why does the brand lady remember Tae Myungha?

Oh, this is upsetting. Only the brand lady and Yeowoon remember Myungha. Even his grandmother doesn’t remember.

He wrote “Please make Cha Yeowoon happy” and then he vanished. I get his panic now.

Wait, is Cha Yeowoon a PC now?

Wait, was the brand owner Myungha’s ex in the main world?

Oh no…. Tae Myungha went to see his mom before and she had started a new family and refused to see him.

I approve of the letterboxing to let us know we’re seeing the history from the physical world.

This is putting me in my Sea, Swallow Me and Other Stories by Craig Laurance Gidney feelings.

Wow. I have a lot of thoughts about this writer creating a story because he loved his friend he missed so much that he wanted to give him a second life in a game where you help him see that he is loved and that he can choose to live. “Write me a poem to make me happy.”

ARE THEY IN DIFFERENT REALITIES? WHAT THE HELL??

He’s going to find his favorite person!!! 😭

Oh, romance, never stop hitting me with lens flares to show that the love is bursting.

Yes, let’s continue those kissing lessons.

Whoa, he’s wearing pink now.

Okay, seeing them make out by the sea and then play in it with their friends after that reveal about Myungha just sent me over the edge.

Final Verdict: 9, Highly Recommended. This final episode went to some really dark places, but this is the kind of queer media that I secretly love the most. I’ve written about how grief is a big part of my experience before, and how much Eternal Yesterday helped me cope with feelings that had been in me for 15 years. I think there’s something beautiful in the melancholy of the writer who is grieving their friend in their work. The thing about the fact that everyone dies, is that those who loved us will remember us and they will miss us. A version of us continues to live on in them. When we lose someone tragically, there is a need to process those feelings, and I appreciate the desire of a writer to immortalize their friend in a story where they recognize and receive the love they wished for in life.

I love that there’s a component of death of the author here, where Myungha wants to know who he is and why he wrote things like this, because I wonder if the writer infused some of the writings Myungha gave in life since we recognized Myungha’s handwriting in the missions. He’s trying to give Myungha what he wrote that he wanted and what he wrote about love. I love that we don’t exactly what the creator’s relationship is with Myungha, but the gay in me calls to the gay in him and says that he loved his junior in Myungha the way Myungha maybe connected to in Yeowoon. I like to think that he wrote Cha Yeowoon based on how he saw Myungha, and a part of him wanted to see Myungha happy. Perhaps he felt he couldn’t give that to Myungha in life for various reasons.

I loved the game mechanics so much. I loved the side quests. I loved it because it didn’t work all the time. I know I link Shane Koyczan a lot when I’m being especially emo around here, but it’s like his poem Stop Signs where he’s desperate to connect with his crush and he’s trying everything he can think of to reach them. What it does force to recognize is what’s important. All the running around and trying to get all of these things is about taking care of the person he likes. Earning the money forced him to work at something without just receiving it from someone else. Getting Yeowoon friends made both of their lives better, and they found the other gays! I loved the debuff mechanic because it makes you pay attention to the world around them and approach situations with caution.

This show was beautiful. I haven’t seen an It Gets Better project that hit the right way for me in so long. I like that this show kinda snuck up on us with the darkness. There have been so many high profile celebrity deaths in Korea in the last few years, and there’s gotta be so many more of regular people that we don’t even know. I really love that this story is about loving lonely boys and asks the audience not to give up. I love the notion that loving someone else is a pathway to learning to love yourself. You can love for the sake of love itself. This show surprised the hell out of me, but this is going to be one of the shows I think sticks with me from this year.

#Ben watches #love for love's sake #love supremacy zone #korean bl #bl series

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slaaverin · 5 months ago

Note

https://www.tumblr.com/slaaverin/774282776730025984/i-was-rewatching-the-jikook-2020-live-and-halfway?source=share

I didn't watch the live again because i know I'd not have any theory.

But since you mentioned jimin saying the call being "sudden" one thing i know about jimin is he doesn't like doing things suddenly. For example every jimin live he's done a year or two back has been planned for weeks in advance, he never goes live like impulsive thought he does things after thinking it thoroughly. despite being in maknae line jungkook and taehyung are kinda two who do things impulsively like if they feel like it they'll do it without much thinking too much the outcome like we know jungkook's all those late night lives. Jimin doesn't do that. He's very conscious of the things they say or do in front of fans so he might worry that someone will say things they shouldn't etc. That time when s/o asked him about dumpling fight he was like I'd have to talk with tae first (if i remember correctly that's what happened) because he doens't really gives too much details that shouldn't be said in front of fans. Compare the rainy day fight that jm described vs how jk described it and you'll see jm's story telling is surface level he doesn't go too much into detail whereas jk would tell with a bit more details.

As a jm biased let me say this that idol jimin is very conscious of things he presents, things he says, things he does. He doesn't like sudden things. I remember him saying to yoongi that "you can never beat me at being an idol" and that's true because idol jimin is a textbook idol. Everything perfect. He likes presenting it that way. Maybe that's why a sudden phone call made him feel a bit worried because he doesn't know what V might ask/say etc. he doens't like giving ppl reasons to talk negatively about them be it him as an individual or his friendship with any member.

I completely agree with your observations 👏🏻

Jimin is indeed very careful, level-headed, reasonable, and always thinks before doing things.

And it's perfectly understandable and yes he is a good idol.

But what can't help but sadden me a lot, is that part of the reason for it in my opinion comes from trauma.

It has not been always the case.

When he was younger, he was way more spontaneous and carefree.

I mean, people grow up of course, that's normal. But back then he had to put himself in a box, in a persona that didn't fit his true self. He got put down for who he was. There was a point where he was struggling with body image, and most likely self-esteem image. Also navigating the fact he was queer. You think of Lie, you think of Promise, Jimin told us he was having a hard time. I think he has been through a lot overall for real. He also has the habit of taking care of everyone around him, putting everyone above himself.

Not only that, Jimin got an insane amount of hate online, and since then he mostly disappeared from social media.

Being an idol had a great cost to Jimin and his journey has been far from ideal.

So the fact he feels the need to be perfect now, so careful of everything, I think it comes from fear more than anything else. Fear of being hurt again.

(Which, again, understandable.)

He grew up too fast, and gave himself many responsabilities that he still feel he needs to uphold today. He has a great sense of duty and a will to make everyone comfortable.

I think unkowingly he puts a lot of pressure on his own shoulders.

He is not the heart of BTS for nothing.

I admire his qualities, and I understand his reasons, and I want him to do what feels right.

But knowing all the hardships he has been through, and seeing the way he's trying to protect himself, you have no idea how sad it makes me.

Because he shouldn't have to. He shouldn't have to do this.

He should feel comfortable as an artist to be free and to express himself however he wishes, like Jungkook who doesn't give a fuck.

But no, Jimin cares. It's not the same and it never will be.

Because whatever Jimin does will be scrutinized, and everything will be held against him no matter what.

Jimin is the most hated member in this fandom. Also one of the most loved, weirdly.

But Jimin makes people react in such extreme ways, that if he's not careful he could unleash absolute hell upon himself.

And I find it so fucking unfair.

I don't want him to be perfect. I don't want him to try to uphold an impossible standard, all the time (how tiring that must be), I don't know, I just want him to be happy? And to be free? But is that even possible?

I don't think so given the circumstances.

I just want to hug him and tell him that none of it has been his fault and that he doesn't always have to be the responsible one.

And that makes me very glad that there is someone like Jungkook to take care of him, too. So he doesn't have to carry this incessant burden all the time. Sometimes he can drop it.

Jimin is such a beautiful and wonderful person. And it makes me so sad that he shines so much so that people feel the need to snuff that light out because it triggers them.

I hate that Jimin has suffered from it.

And I hate the consequences of that hurt which is the way he acts today.

(It's not that I hate the way he acts, I hate he had to suffer in the first place and adapt because of it)

Jimin 😭😭😭😭😭

If he can find his own path navigating things being careful and level-headed, good for him. I encourage him to do what he feels is best.

But it still sucks man idk

Why are people so mean? 😭 wouldn't it be cute if jimin allowed himself to be a bit frivolous sometimes? Unconsequential? Or at least have the freedom to choose to do so or not?

I feel like his choice has been stripped away from him and I hate it.

But I'm probably a drama queen so don't mind me lol

His last letter makes me wonder what he is thinking about his future, and him saying he wants to be more free can lead to a different approach. Time will tell.

I wish him the best 😭💜 I really love him so much and I hope he finds happiness and gets to live the way he wants to 🥺

#jimin #ask

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equalv · 1 year ago

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South Korean tv shows with lgbt* characters

Because so many people liked my post for german tv shows with queer characters, I thought I‘d compile lists for other countries as well.

A-Z

A First Love Story (2021) (mlm) | YouTube

Jaesung (Kim Hyeongwon)

Mingyu (Jung Jaewoon)

Blueming (2022) (mlm, wlw) | IQIYI

Hyeong Daun (Jo Hyukjoon)

Cha Siwon (Kang Eunbin)

Cha Siyeong (Moon Hyein)

Choco Milk Shake (2022) (mlm) | YouTube

Jungwoo (Ko Hojung)

Choco (Lee Jaebin)

Milk (Kim Seonghyuk)

Uncle (Park Seungbin)

Girlfriend Project Day 1 (2022) (wlw) | YouTube

Ahn Gain (Park Hyunwoo)

Song Heeram (Bing Hyejin)

His Man (2022-) (mlm) | IQIYI, Gagaoolala | reality tv

Season 1

Kim Changyu

Kim Seonyul

Jeon Eunchan

Lee Jeonghyun

Kim Changmin

Leon Hyukjun

Lee Hyeon

Hokeep

Season 2

Shin Sungho

Oh Minsung

Kim Yoonghee

DABIT

DAENYOL

Lee Junseong

Yang Hyunjin

Joon Seonwoo

Jazz for Two (2024) (mlm) | IQIYI, Gagaoolala

Han Taeyi (Ji Hogeun)

Yoon Seheon (Kim Jinkwon)

Seo Doyoon (Song Hangyeom)

Lily Fever (2015) (wlw) | YouTube

Kim Kyungju (Kim Hyejoon)

Jang Serang (Jung Yeonjoo)

Love Class (2022-) (mlm) | Viki, Gagaoolala

Season 1

Cha Jiwoo (Han Hyunjun)

Lee Roa (Kim Taehwan)

Kim Namjun (Yoo Hyukjae)

Season 2

Lee Hyun (J-min)

Shin Maru (Lee Kwanghee)

Oh Minwoo (Woo Hyowon)

Kim An (Kim Yongseok)

Yoo Joohyuk (An Jeonggyun)

Kim Sungmin (Jung Woojae)

Love for Love's Sake (2024) (mlm) | IQIYI, Gagaoolala

Tae Myungha (Lee Taevin)

Cha Yeowoon (Cha Joowan)

Chun Sangwon (Oh Minsu)

Ahn Kyunghoon (Cha Woongki)

Love Tractor (2023) (mlm) | IQIYI

Seon Yul (Do Won)

Suh Yechan (Yoon Dojin)

Kwon Inseo (Yang Seungbin)

Merry Queer (2022) (mlm, wlw, trans) | Gagaoolala | documentary

Kim Minjun

Park Bosung

Yoo Taeyoon

Lee Minju

Im Garam

Lee Seungeun

Our Dating Sim (2023) (mlm) | VIKI, Gagaoolala

Shin Kitae (Lee Seunggyu)

Lee Wan (Lee Jonghyuk)

Semantic Error (2022) (mlm, wlw) | VIKI, Gagaoolala

Jang Jaeyoung (Park Seoham)

Chu Sangwoo (Park Jaechan)

Choi Yuna (Song Jioh)

She Makes My Heart Flutter (2022) (wlw) | YouTube

Gangseol (Byun Jihyun)

Jung One (Park Somi)

Yubin (Choi Jiwon)

Sarang (Kang Nayoung)

Leera (Ahn Yeonsun)

The Eighth Sense (2023) (mlm) | VIKI

Seo Jaewon (Lim Jisub)

Kim Jihyun (Oh Juntaek)

To My Star (2021-2022) (mlm) | VIKI, IQIYI

Season 1 & 2:

Kang Seojoon (Son Woohyun)

Han Jiwoo (Kim Kangmin)

Our Relationship Ended Before It Began (2023) (wlw) | YouTube (only Ep 1 and 2 are available for free right now, but I still wanted to share this series (Link))

Yoonah (Park Hayoung)

Kim Ahyoung (Park Sanha)

Note: For this list, I decided not to add a symbol for shows that center queerness, because in a way all of these shows do that and at the same time almost none actually do. Queer characters and their love stories are featured in every show in this list, but most of them do not address any other queer aspects of their lives and only some address the fact that they are queer at all. This is not a critique of South Korean shows, but just an observation of their current media landscape and added as context, in case you are interested in watching.

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peachjagiya · 1 year ago

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Taehyung was associated with an LGBT image early in his career. In 2016 or 2017, he was photographed in a t-shirt featuring Keith Haring, a gay artist, during a period when BTS members were styled according to specific concepts. The song "Stigma," co-written by Taehyung and Bang Si-hyuk (the first author), was released in 2016 and is speculated to have LGBT undertones. In 2017, Taehyung wore a blue LGBT pride shirt during a performance. It's likely that their stylists chose their attire for them back then. He sang "Singularity," a song written by Namjoon inspired by Yukio Mishima's "Confessions of a Mask," which deals with hidden sexuality. In 2022, HYBE released "7FATES: CHAKHO," featuring Jooan, a character described by Taehyung as someone who loves beyond his species and whose love is forbidden and not easy. These instances suggest that the image of an LGBT person was assigned to him by his company. What are your thoughts on this?

Just to be clear, we're speculating that any queer coding we attribute to Tae is company mandate?

Why would they do that? To what end? In a country where homophobia is still a problem?

Here's Tae wearing a Keith Haring tee:

And a post showing what they're all wearing in this moment. Looks like their comfy clothes/pyjamas to me. I don't think they are styled that intensely that they can't pick their own loungewear.

Here's Tae at Disneyland Paris in July 2023 wearing the Disneyland Pride hoodie. Someone has bought two for his security too. Hybe?

Tees and hoodies don't prove queerness. But I find it easier to believe that Tae is either queer or a staunch ally than to believe the company dresses him in queerness like a jacket that he can shrug off at the end of the photoshoot.

Is the company instructing him to keep mentioning CMBYN? To seek out foreign language queer cinema? To reference Maurice in his photofolio? To champion queer photography?

Ask yourself why it's easier for you to believe he's been forced to portray queerness than to accept he might just be queer?

Ask yourself why it's easier for you to believe that than him just being an ally even?

This is so close to jkkrs rhetoric that he is super straight because they're casually homophobic enough to think gay means he's definitely into all the guys around him and therefore feel threatened by any suggestion of Tae not being hetero.

I'm side-eyeing it.

Please if I've misread your meaning here, feel free to come back, anon. But long story short: no I don't think Hybe did this.

#my asks #sexuality discourse is bananas 🍌#tae and queer media

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delesaria-blog · 4 months ago

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Post nine gifs of your favourite characters and let people guess your type.

Then tag nine more people to do the same 😁

@hughungrybear thanks for the impossible assignment! lol It was fun.

These are my favourite characters, in no particular order (only from queer media, because that's what my tumblr is for):

Tae Myung-ha from Love for Love's Sake

2. Togawa and Nozue are equally adored. (Old Fashion Cupcake)

3. Oumi Mitsuru from Eternal Yesterday

4. Sun from Sense8

5. Luisa Cortés from Y Tu Mamá También

6. Lady Hideko from The Handmaiden

7. Bison from the Heart Killers

8. Black and White from Not Me

9. Choi Yu Na from Semantic Error

I have no idea who's been tagged, so sorry if I repeat. Also, no pressure to post, it's just for fun if you have time/energy:

@almayver @absolutebl @nabi-unveiled @italianpersonwithashippersheart @magpie24601 @respectthepetty

@small-dark-and-delicious @fadelbison @dekaydk

#bl series #thai bl #korean gl #tag game

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saveahorserideaneddie · 1 year ago

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Hi Louis, are there any plot points/mentions on 9-1-1 that you wish were expanded further on the show (not just Buddie related)? For myself I'm still a little bitter they never mentioned all Buck did during the tsunami.

And when Buck and Eddie get married, what song do you think will be their first dance to? (I already made 3 playlists for them but Strangers by Maddie & Tae makes me go This is so them every time I listen to it. )

Thank you for making scrolling through the Buddie tag so much fun, Carly

ooohhhh im so gald you brought this up bc ive been dying to talk about it—

but in all seriousness i love this question!!

1. plot points i wish were expanded on more

i have a few but im only going to narrow it down to this one because it is something that has always kind if rubbed me the wrong way… but i really wish they could have spent more time exploring Hen’s relationship with her mom. I might be in the minority here, but to me the whole arc of Toni coming back into Hen’s life felt very quick and almost…. too simple? (not that it was simple at ALL but) As a queer person who has had a rocky relationship with my parents, it is always something i love to see portrayed in media more rather than just automatically jumping to the “supportive ally” trope as a way to make a story more feel-good if that makes sense. And i saw the bones for that in the storyline with Hen and Toni, but because of the state of the show at FOX that season i understand why they didn’t make it a bigger deal….. however i really wish they had!

(also i agree them never mentioning what buck did in the tsunami has always rubbed me the wrong way— i definitely feel like they all should have already gotten medals at this point for other rescues in the past so the fact that they only just now are getting them has annoyed me, but im just glad the firefam is getting recognition for something)

2. Buddie Wedding Song

I am kissing you on the forehead for this question bc i love love love love LOVE talking about stuff like this….

This isn’t for their first dance, but i have always loved the idea of Karen singing “At Last” during the ceremony (a la bones, which wasn’t what inspired it in my head but upon further inspection is actually really similar to what i would want their wedding to look like) bc i think the fact that we haven’t heard tracie thoms’ voice on the show yet is a CRIME.

As as far as a first dance song, i love the idea of them dancing to something softer— a couple that come to mind are Love Like This (Ben Rector) and Love Me Tender (Norah Jones). If they wanna cash in on the Adele hype now, i DEFINITELY wouldn’t be opposed to Make You Feel My Love (maybe even sung by Maddie so that we get JLH’s vocals again??). i also could see You Are The Reason (Calum Scott). If they wanted to go the taylor swift route, i could see You Are In Love, Enchanted, or even Daylight (which daylight would admittedly have me sobbing like a baby).

Also strangers by maddie & tae is SOOOOOO BUDDIE…. this wouldn’t be their first dance song, but Friends Don’t is such a quintessential Buddie song to me 👌👌👌

thank you for the ask, and your sweet note at the end! I really loved getting to answer this ask 💕💕

#911 abc #eddie diaz #buddie #911 #evan buckley #buddie 911 #buck and eddie #911 on abc #eddie diaz x evan buck buckley #eddie diaz x buck #eddie diaz x evan buckley #buck x eddie

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neuroticbookworm · 6 months ago

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2024 Tumblr Top 10

Tagged by @wen-kexing-apologist here, thanks bestie! <3

Find your top 10 posts on Tumblr here

List of hot Jane moments

Simp post for Jane (welp, a pattern is emerging)

Indian queer media and fandom analysis

Prem's Grandma appreciation post

Tae x BaMhee relationship analysis

An ode to Kasuga and Fujita-san's IG trauma conversation

The Trainee praise post

Cooking Crush praise post

Asian parent-child conflict in Cooking Crush

Tiny rage post on class depiction in Thai BLs

Not this post exposing my can't-handle-more-than-one-live-show-at-a-time ass like this -_-

No pressure tags: @my-rose-tinted-glasses, @starryalpacasstuff, @impala124, @colourme-feral, @twig-tea, and anyone else who wanna play, consider yourselves tagged!

#tag game #tumblr top 10 #bl superlatives 2024

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lurkingshan · 1 year ago

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Hi. I recently finished watching Coffee Prince based on a few recs posts that you had put out and MY GOD I'm so glad I decided to give it a try. (This was the first Kdrama where I got past 2 eps) I loved this sooo sooo much.

Do you have any recs for media (queer or otherwise) with similar strong characters as Eun-Chan? Even otherwise, thanks for your great rec posts!

Another Coffee Prince convert! Thank you for telling me, anon, it gives me so much joy every time someone gets to experience it for the first time. And I am not surprised Go Eun Chan captured your heart, everyone who meets her feels the same.

Since I don't know exactly what about Eun Chan captivated you, I am not entirely sure what kind of characters you are looking for. Is it her generosity of spirit? Is it that endearing mix of bravery and naïveté? Is it the way she keeps going through confusion and uncertainty? Is it that she is just so lacking in artifice and unapologetically herself? Or maybe it's her gender questioning journey that spoke to you.

Given that I am not precisely sure, I am just going to give you a mix of great dramas of various genres with strong characters that give me some aspect of that Eun Chan swag--feel free to come back and ask for more recs if you have something else in mind! In alpha order:

Be Melodramatic (Viki)

Shan found another excuse to rec Be Melodramatic? Must be a day ending in y. But seriously this drama is full of fantastic characters and there's a strong thread here about being yourself unapologetically and finding the people who love you for that.

Great Men Academy (grey)

Another character experiencing gender, but this time via a magical-unicorn-induced body transformation (don't ask I could not possibly explain it). This story is all about Love figuring herself out and the bisexual king who loves her in any body.

Healer (Viki)

Chae Yeong Shin is Park Min Young's best character ever and it's not close. She has a lot of Eun Chan's relentless spirit and optimism in the face of life's nonsense, and she's a spunky one. Healer is also just a great action romance with a lot of fun hijinks and a very swoony male lead, if you're into that kind of thing.

Joshi-teki Seikatsu (Life As A Girl) (grey)

Miki is an all-time great character. A trans woman rebooting her life away from home, she is more assured about who she is but has a lot of Eun Chan's core generosity and bravery. I love her so much.

Kieta Hatsukoi (Viki)

Chaotic confusion with a heart of gold, thy name is Aoki.

Koisenu Futari (grey)

Sakuko, my beloved. This show is about two people on the aroace spectrum connecting and finding companionship and family in each other, and it's so beautiful.

Light on Me (Viki)

Woo Tae Kyung is definitely sitting at the "unapologetically themselves" table with Eun Chan. And he has a love triangle, too!

My Lovely Sam Soon (Viki)

If you're up for an even older kdrama, I love this one to pieces. Kim Sam Soon has a lot in common with Go Eun Chan, in that she doesn't perform femininity the way people expect and she is trying to find her place in the world, all while crushing on a guy who feels very out of her league. This is a journey for both lead characters, and I was so moved by where they ended up that I burst into tears at the end.

She Loves to Cook and She Loves to Eat (Furritsubs)

My girls!!! I love every character in this show. I don't think it's possible to watch this drama and not find someone to connect with; it's all about exploring the many different ways to be a woman and finding the people who will love and respect you for who you are. And it's very queer while doing it!

Twenty-five Twenty-one (Netflix)

Na Hee Do is a legend, and not just because of the fencing. This show is her coming of age story and you will love her.

Weightlifting Fair Kim Bok Joo (Viki)

Kim Bok Joo, another heroine wrestling with her femininity as she navigates coming of age and changing relationships. She's fantastic.

As always, if you have trouble finding any of these, you can always hmu (off anon, because we don't share secret files in public lol). Hope you find something to enjoy among these!

#coffee prince #be melodramatic #great men academy #healer #life as a girl #kieta hatsukoi #koisenu futari #light on me #my lovely sam soon #she loves to cook and she loves to eat #twenty five twenty one #weightlifting fairy kim bok joo #shan recommends #shan answers

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