#AVAILABLE ON GAGAOOLALA

[madeinjapan-thailand-blbambeyond]

MADE IN THAILAND

KRITTANUN AUNCHANANUN

[Nickname: PING]

NICHAKOON KHAJORNBORIRAK

[Nickname: MEEN]

[animeshon-anime-by-blbambeyond]

CHERRY MAGIC! THIRTY YEARS OF VIRGINITY CAN MAKE YOU A WIZARD (2024, JAPAN)

Kurosawa and Adachi each can't hold back what they've been feeling. Culminating in Adachi lost of not only his virginity but his newly acquired "wizard powers" of hearing thoughts of the ones he touches.

@pose4photoml

[madeinkorea-blbambeyond]

MCF: MADE IN KOREA

LEE JONG HYUK

LEE SEUNG GYU

[madeinchinataiwanhk-blbambeyond]

MADE IN CHINA, MADE IN TAIWAN

PARKER MAO

HSIAO HUNG

[lgbtally4ever]

Episodes 1 & 2 of Korean BL

LOVE MATE

Now, on GagaOOLala

**************************

And it’s over, almost as soon as it’s begun!

Love Mate, although not one of the very best Korean BLs, is still well-worth watching, because most Korean BLs, even the ones that may not be too great, are still better than most other country’s BL series, or at least as good as.

They will always give you ALL the FEELZ and hardly ever disappoint.

[lgbtpopcult]

ALL THE LESBIAN ASIAN ROMANCE SERIES

(GIRL LOVE) YOU CAN WATCH RIGHT NOW

The Secret of Us (available on Netflix in Asia and YouTube everywhere else)

Affair The Series (available uncut on the app IQIYI & censored on YouTube)

Reverse 4 U, available on Netflix

Blank The Series

23.5

Lucky My Love

Gap The Series

The Two of Us

My Marvelous Dream is You

Love Senior (on the app Gagaoolala & censored on YouTube)

Show Me Love

Sleep With Me (on the app Gagaoolala)

Love Bully

Chaser Game W (on the app Gagaoolala)

[guzhufuren]

Final trailer of upcoming uncensored wuxia BL Meet You At The Blossom, airs on July 11th

in 4k on youtube

"A young lord of a marriageable age meets a cold-blooded assassin."

Will their story be as sweet as the blossoming flowers in their hearts?

New version of synopsis from Viki: "Jin Xiaobao, the heir of the wealthiest family in Jiangnan, meets a young woman and falls in love with her at first sight. This “woman,” however, turns out to be a disguised young man named Huaien. When Huaien learns who Xiaobao is, he hatches a plot – hoping to use Xiaobao’s feelings for him to access the Jin family’s riches. But this vile plan backfires when Huaien starts to develop real feelings for Xiaobao. Will Xiaobao learn the truth about who Huaien is, and his real reason for wanting to be with him? Could their feelings trump animosity, and is true love around the corner?"

Will be available at 8pm gmt+8 on YouTube, iQIYI, GagaOOLala, Viki, WeTV.

[girlsloveupdates]

New Office Romcom Drama called “Ayaka is in Love with Hiroko”

“An office love full of confusion, at the brink of losing all reason! Their feelings are mutual, but the misunderstandings keep coming!”

Out July 4th, 2024 (Thurs.) Available to watch on GagaOoLala on July 5th.

Here is an official teaser:

Follow @ayahiro_mbs on X to stay updated!

[madeinjapan-thailand-blbambeyond]

MADE IN THAILAND

Series: KNOCK KNOCK BOYS

WICHAI SAEFANT

[Nickname: SENG]

JIRAPHAT SODJAM

[Nickname: JAONINE]

CHINNAWAT PHATTHARATHANACHOT

[Nickname: NOKIA]

VITTAWIN VEERAVIDHAYANANT

[Nickname: BEST]

[bl-bam-beyond]

BAM (BEAUTIFUL ASIAN MEN) meets AN APPRECIATION POST

Honoree: NIIHARA TAISUKE

Is art imitating life? Well not exactly but...

Taisuke has began a lead role in a BL called 25 JI, AKASAKA DE or AT 25:00 in AKASAKA playing SHIRASAKI YUKI.

Me personally I'm so thrilled for this young man. He has a lot of credits on his MDL page

However they are guest roles and support roles and that's definitely nothing to be ashamed of but his talent is leading man material regardless of the genre.

I watched him in support roles in 2 other BL's EIEN NO KINO (ETERNAL YESTERDAY) as well as SENPAI DANJITE KOIDEWA (SENPAI, THIS CAN'T BE LOVE) and even there his star power was apparent.

I hope all BL audiences or JBL audiences blows this up with support. I hope this is worth supporting because this actor definitely deserves it.

Taisuke plays Shirasaki Yuki along side Komagine Kiita, he plays Hayama Asami

@pose4photoml @lutawolf

[bengiyo]

Knock Knock, Boys! is an Ideal First BL for New Viewers

I often talk on @the-conversation-pod about how I react to BL from the lens of a queer media critic actively trying to recruit queer media viewers to BL. I want those viewers to join us in BL, and so I value shows that have strong character writing and satisfying resolutions for their drama. New viewers don’t always understand or recognize romance or BL tropes right away, and sometimes things go over their heads. In that vein, Knock Knock, Boys! may be one of the most useful shows I’ve encountered in the last year for this exact purpose. 

Rating: 9, Highly Recommended

Runtime: 12 50+ minute episodes

Country: Thailand

Network: WeTV

Availability: WeTV, GagaOOlala

Knock Knock, Boys! places four young men at a transitional point in their lives. Split evenly between first-year college students and working adults, each character is running from something. Peak is running from a marriage to a woman, Thanwa is running from a bad relationship with his ex-boyfriend, Latte is running towards graduation, and Almond is running away from his sheltered existence. Over the course of the show, these two pair off based on their shared age brackets in one of the most sex-positive shows I’ve seen this year, with a common theme about how honesty and commitment to each other gives people the space they need to grow. More than anything, this show values patience and kindness in relationships in a way that I cannot overstate.

As the ice starts to break, they learn that Thanwa and Latte have had active sex lives (Thanwa exclusively with men, and Latte with all sorts of people) and establish a rhythm within their home. Thanwa makes most of their meals, and Almond has to wake Latte up every day because he ignores alarms. The original conceit that connects our quartet beyond their shared housing incident comes from Almond promising to pay the rent for a year for anyone who helps him lose his virginity to his high school crush, Jumper. Hijinks ensue as the boys try to befriend Jumper, and angle for him and Almond to grow closer. As with any story like this, Latte ends up developing feelings for Almond, while Peak and Thanwa grow closer. 

More spoilers ahead, I want to talk about each character, and what I liked so much about each. These boys became one of my favorite friend groups we’ve had in a while. I am a huge fan of age gaps in queer friendships, and this show has much of it.

Thanwa: Played by the talented Seng Wichai, Thanwa is a great answer to the question of “Where do the quiet gays go?” He clearly knows his way around cruising spots, or knows how to use the apps, and yet everything we know about his shows that he’s geared towards domestic life and his hobbies. He dresses like a normie all the time, he loves cooking, and he loves eating. He’s clearly a thoughtful and reliable friend, and it’s that commitment and reliability that eventually gets him a job he actually wants to do. More than anything, he gave far more grace to a closeted man he cared about than I ever expected AND HE WON. Seng remains one of my favorite BL performers because of his ability to play ugly and goofy. He’s so beautiful because he is capable of playing weirdos well. 

Peak: Played by BL veteran Best Vittawin, Peak is running from compulsory heteronormativity. He’s expected to marry the daughter of a family close to theirs, and he is letting this all happen to keep his stern father happy. Peak has been running away from himself ever since his mom died. He saw how much that hurt his dad, and he’s struggled to be a problem-free son for a long time as a result. The weight of expectation on him presses down on Peak so hard that he can’t even focus half the time, and literally zones out as he tries to cope. Best gives a wonderful performance as Peak, especially in the final episodes, as he finally unburdens himself and blossoms as a result. This is my favorite Best character of all time, and Peak is one of my favorite portrayals of what it means to love someone enough for them to leave the closet on their own terms. 

Almond: Played by Nokia Chinnawat, who appeared in Thank God It’s Friday (2019), Almond is such a fun view into what modern gay boys could be like. He’s young and horny, and he wants to get laid! He’s not embarrassed about this, but he is shy. I loved the way the show used his enthusiasm as a way to further its PSA agenda in such a fun way. Almond is also one of the few rich kids we’ve had in these dramas that isn’t inherently insufferable. I like how his wealth mostly comes up as a problem solving tool, and he doesn’t feel too much like a snob after the first few interactions. I also loved his arc of getting over his unrequited crush on Jumper into recognizing his feelings for Latte. Nokia himself shows a real knack for physical comedy and expressiveness that makes me genuinely want to follow his career beyond this show. 

Latte: Played by Jaonine Jiraphat, Latte fills the role of our sexually experienced queer in the group. Confidently pansexual, Latte was so much fun for me because he and Thanwa had no shame about the sex and relationships they’ve had before. I loved how consistently Latte was shown to be emotionally present and sincere in all of his relationships. It could have been so easy to present him as promiscuous or slutty, and instead they present him as beloved. Every one of his former lovers we encountered seemed happy to see him again, and also resolved about the time they’d spent together. More than anything, I deeply appreciated how patient he was with Almond without suddenly becoming a sexless being because his boyfriend was shy or nervous. Jaonine was incredibly charming in this role, and I hope casting directors take notice. 

The Supporting Cast: The supporting characters were perfectly calibrated for their roles in this show. Jumper (Pak Varayu) made total sense as Almond’s crush, and has a great arc of Almond falling out of love with him, and becoming briefly enemies with Almond before reconciling. Lookpeach (Guitar Tunthita) plays the role of the modern faghag in a way that feels like Thai BL doing corrective work on the role of fandom in BL, and I have deep love for this character. Jane (Naya Gorrawiya) is the friend that everyone deserves; I loved the reveal about how personal her understanding and support for Peak has been this whole time. This show even calibrated it’s villain well in Max (Tuss Thotsawat), who showed that there are far worse things than cheating in broken relationships. 

Final Thoughts: I am so excited to show this show to my friend Emily, who’s been watching BL with me since early covid lockdowns. While this show has a few small stumbles that keep it from getting a 10, I don’t want to downplay how refreshing it was to watch a show that had a clear vision of what it wanted to be, and executed it the whole time. I commented during episode 1 that it felt more like a romcom than a BL, and the show said that through Lookpeach in its final episode! It built believable queer friendships in front of us, and understood the emotional core of most of its angst and drama all the way through. This show avoided veering too far into melodrama, and remembered that it was a romantic comedy the entire time. It also managed to be consistently sex-positive without feeling exploitative of its talent, or by letting the audience down on the sex front (I will be thinking about Almond and Latte’s first time and the morning after for a long time). This show also has parents apologizing for the knots they tied their children into. I don’t know a better Thai show airing during this season. This show is a real delight, and one I urge you all to show your friends who might be looking for a gay romcom. 

[lurkingshan]

hi there i hope im not bothering you but i was hoping you could recommend me some good japanese bls? hopefully completed ones? no pressure ofc!

Can I recommend you some good Japanese bls? *laughs maniacally* Oh my anonymous friend, you have come to the right place.

First, go here for a nice little variety pack of some of my all time favorites to get you started. I will add some more gems here in no particular order (all of these are complete and available to stream):

Kieta Hatsukoi (Viki)

You have probably heard of this tumblr fav about a very confused mess of a boy who gets into all kinds of Situations while trying to sort out who he has feelings for and what it even means to like somebody. This one is super sharp, funny, and has an endearing ensemble cast.

Kabe Koji Nekoyashiki kun Desires to be Recognized  (Viki)

Two childhood friends--one a doujinshi artist, one a pop idol--reconnect and get the chance to sort out old feelings. This one has great wacky energy while still being quite emotionally deep.

Life: Love on the Line (Viki)

This bl film follows a pair of high school lovers through coming of age and the challenges of adulthood as queer men. It's so lovely.

Seven Days (Youtube)

A short film told in two parts, this is a very simple story about a high school boy who is willing to date anyone who asks for a week, and the classmate who is so curious about this guy's deal that he decides to take a week for himself. I bet you can guess what happens next!

Takara-kun to Amagi-kun (GagaOOLala, Viki)

Two high school boys decide to date each other. That's it, that's the show, and despite that incredibly simple premise there's a lot here.

If It's With You (GagaOOLala)

A jaded before his time kid who doesn't believe in love meets a nice boy and reconsiders. Another very simple one, but so well executed.

My Personal Weatherman (GagaOOLala)

And on the not so simple end of the spectrum, this is a story about two men whose communication problems run so deep that they've managed to enter into a relationship with wildly different ideas of what exactly they are to each other. Equal parts kink and confusion.

Perfect Propose (GagaOOLala)

The story of an overworked salaryman who reunites with his old high school friend and moves him in as a de facto caretaker. This one is very cathartic for anyone who's ever had a soul destroying job.

At 25:00 in Akasaka (GagaOOLala)

Two former college classmates are cast opposite each other in a bl drama. Old feelings and insecurities return, professional and personal boundaries get blurred, and communication struggles ensue.

A Man Who Defies the World of BL (GagaOOLala, Viki)

This hilarious parody of Japanese bl is most fun to watch after you've immersed yourself in the others, because the jokes will land harder the more familiar you are with the genre and its tropes. There are now three parts to this and they play out as a continuous story.

I will stop there for now or we could be here all day. I hope you find some shows to enjoy, anon! Feel free to stop by for recs anytime. And for ongoing shows, I am always tracking Japanese ql here.

[sweetbottletops]

According to the official sm account the show is the number one GL on GagaOOLala (the official international streaming service) and number 5 overall (aka, vs BL).

Ep 1 (sub) is available for free. 🦌🐇🌺

[ineffable-opinions]

MAME & BL Literacies (Part 4)

Other parts: Part 1 | Part 2 | Part 3

Contents:

MAME’s queer characters and their lives

Fetishization of queer men and profiting off LGBT community

Why other queer genres like gei comi struggle to get live action adaptation?

(bonus) What Did You Eat Yesterday sexy times

BL and rape culture

Everyday ethnocentrism & BL

-

This is the last part of this essay series. In this part, I want to discuss the response this review of TharnType by @waitmyturtles generated. As always, corrections and criticisms are welcome.

-

Here are the points @solitaryandwandering raised:

1. fans will get SO rabid for MAME’s stuff yet resist tuning in for more queer-friendly Taiwanese BL or lower heat fare

I think that the BL MAME creates is "queer-friendly". Moreover, her BL focuses on the intersection of queerness with local forms of gender, patriarchy & heterosexism, class, race, skin color, age, employment, location & regionalism, abilities and disabilities, education, health conditions and access to medical care, urban-rural divide, migrant status, culture, etc.

MAME's BL have aspects of Thai queer culture and praxis that are otherwise overlooked. Here's an example.

Through Techno’s interaction with Tharn in episode 1 of TharnType, MAME highlights an important issue: invisibility of androphilic “man”. Techno comments that Tharn is the first masculine presenting androphilic male he has met, even though he has several queer friends.

This is in part due to skewed presence of androphilic male characters in mainstream media. In Thai soap operas and movies, androphilic men are 'presented as effeminate, overreactive, with a passionate but unrequited interest in men'.

Countering this perception is the hegemony of masculine aesthetics in urban Thailand’s queer culture. 'The English word “man” has been borrowed into Thai gay-speak to denote acting in a masculine way. Man describes a masculine presentation of either gay-identified or heterosexual males and contrasts with the Thai term phu-chai, which also translates as “man” but is used in the specific sense of denoting the gender role of a heterosexually identified male.

'Many Thai gays believe that effeminate gay men, or gay sao, will experience discrimination and prejudice because of their feminine characteristics and behaviours. Thai gays also think that performing gender-normative forms of manhood are useful in establishing sexual and romantic relations with other gays. These expectations are associated with the culture of images, known in Thai as phap-phot, by which many homosexual men feel compelled to act in accord with normative male gender roles.'

This is in contrast to Techno’s queer friends who blur the lines between the masculine and feminine domains. His use of the word kathoey is case in point.

Moreover, the need for social conformity for Thai gays in terms of their gender performance is an urban phenomenon. Ethnographic study by Wijngaarden traced the rapid adoption of more masculine gender performance by gay men who moved from rural setting to urban for the purpose of education and employment. Ambiguity in gender performance is more accepted in rural setting where there is gender-based understandings of homosexuality. Also, gay dating scene in urban areas seem to assign value to masculine presentation.

source

I don't really know what @solitaryandwandering mean by "queer-friendly" in the context of Taiwanese BL.

Support of fu-people (BL fans) for queer works in Taiwan is well-known. When the play 《愛情生活》 Life of Love by Xu ZhengPing was staged, they had BL version shows too.

The play has a short film adaptation which is available for free on GagaOOLala.

Fu-people have also shown their support for series like Breakfast by 想再見你.

2. Fetishization of queer men in yaoi

By that standard, is Minamoto Kazuki fetishizing straight women through his works?

source

Minamoto Kazuki is a gay mangaka who creates straight romance and smut.

Arguably, his most famous manga, at least in BL fandom, is Wall Circle’s Doujin Artist Nekoyashiki-Kun’s Desire for Recognition Grows which got live action adaptation: KabeKoji in 2022.

Apart from creating commercial BL and yaoi (self-published BL like the ones in the image given above), he has also authored an autobiographical work titled Shoujo Manga Artist Minamoto-San Comes Out and a manga exploring queer life and homophobia titled The Gay Who Turned Kaiju.

Moreover, many scholars, mangaka, fans, etc. from Asia and elsewhere have already spoken/written plenty about the issue of fetishization. Here's a compilation of resources.

3. zero critical consumption and leveraging of abusive concepts

I wonder why it is assumed that BL is consumed without critical thinking. It is true that BL, especially MAME's BL, are not didactic. TharnType is a BL with odo (royal road) narrative progression. It is not one of the sweet BL that GMMTV produces. Due to a general lack of BL literacies, there are off-the-mark expectations associated with BL, particularly Thai BL. Hence, odo BL seems to violate a lot of these misguided expectations.

TharnType is a well-done odo BL, in my opinion. "Leveraging of abusive concepts" is not a failure but a feature.

When it comes to depiction of abuse, there are those who think that it always gives the wrong message. There are variety in opinions on what is the right way to go about it. BL being an accommodating genre has space for all sorts of treatment. Even in live action, there is good variety in terms of how the theme is treated. But nothing is everyone’s cup of tea. This being the case it is understandable if someone like how MAME handles abuse, just as it is understandable if someone doesn't.

Assuming that fans don't engage critically with the theme and are mindlessly consuming it, have the implication of infantilizing the audience - as though they are without faculties of discretion and are incapable of making judgements. It also has the added implication of demonizing all media concerning queer people that deals with abuse. If MAME’s approach is deemed “unsafe” for queer population, based on that judgement, where does BL and gei comi that offer erotic treatment of abuse fall? What about queer people producing and consuming them?

That brings me to the points @nieves-de-sugui has raised.

4. how much all of these tropes where used (and still are). I believe that when things are made for tv they should take all the things you mentioned into account more than they do.

I believe that makers of live action queer content are very cautious. Thanks to that we are yet to get live action adaptation of any gei comi.

I have seen mainstream media ignore Gengoroh Tagame (probably the most popular gay mangaka creating content aimed at androphilic men) and his works for years in spite of his tangible influence on East Asian queer men. And then suddenly creating a live action adaptation of his all-ages manga My Brother’s Husband.

Who will dare to adapt his works Gunji or Fisherman’s Lodge or Pride? How can we show rape, trauma and taboo involving queer people on screen? What message will it give to the queer population? To the non-queer population?

A scene from Fisherman’s Lodge. Image courtesy of @finalatomicbuster.

If MAME was not involved in producing her BL, it is doubtful if it would have ever happened the way it did. Almost all BL adaptation is a censored adaptation, with notable exceptions like Sei no Gekiyaku. Recently, 25 Ji, Akasaka de (2024) removed complicated sexual content (including a dub-con episode) from the volume 1 of the manga, which was critical to the story and the couple’s development, in adaptation. Sukiyanen Kedo Do Yaro ka (2024) went as far as removing the more sexual second couple from the live action adaptation probably because makers thought it was better not to go anywhere near cruelty.

The first ever anime adaptation of a gei comi, Shin Yaranai ka based on Junichi Yamakawa's Kuso Miso Technique, is *sigh* disappointing to say the least.

I wanted to quickly mention What Did You Eat Yesterday yaoi version since @waitmyturtles mentioned the series.

5. What Did You Eat Yesterday

I want to highlight that What Did You Eat Yesterday was not a BL in publication. It was published in Morning, a conservative magazine for middle-aged men. This is what got a live action adaptation.

Fumi Yoshinaga has created a proper BL doujin series that includes content that couldn't be part of publication in Morning.

Here are some panels from the two latest volumes of the yaoi. I wonder if audience would have had the same impression of the show if they had incorporated the doujin bits too.

6. One piece of the puzzle that's missing here is Thai rape culture that blankets all of their society.

This is an important point @yousaygoodbyeandisay raised and it applies not just to Thailand.

Sexual assault as a theme in BL, handled in a myriad of ways, has been the case since the inception of the genre. I have discussed the history in the context of Japan here.

It was during the publication of JUNE magazine that the importance of depiction of sexual assault in BL became clear to the editor through response letters from readers.

June is a place of therapistic rehabilitation for those women who had experiences of mental and physical abuses as a female. Mr. Sagawa said that he cannot ignore that there are not a few readers who had such experiences during their childhood.

source

MAME studied BL and its production academically (you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล) before she entered live action production. She not only know what she is writing/creating but also is willing to deal with difficult themes without taking sweet, fable-like route.

Now onto the points @mikuni14 raised.

7. my shock seeing so much SA related stuff (the show covered just about every problematic sex thing there is, and finally forgave the heinous criminal instead of putting him in jail. I don't know how MAME can create for example AePete and also somany vile things

For those who don’t know, MAME is a unique Thai BL creator. Thai BL creators on average lack BL literacies for various reasons. MAME is one of the exceptions. This is because:

she is a BL author & hence, one of the creators of BL literacies

she studied BL and its production academically [you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล]

then she started producing live action BL

In an industry which is lacking in BL literacies, what she brings to the table is fu-culture (BL fan culture) in all its glory. Unfortunately, the live action audience who are fans of sweet BL, have a hard time adjusting.

Here are some typical narrative progressions for a (Japanese) BL:

あまあま – sweet

ユニーク – unique

シリアス – serious

邪道 – evil road (jadō)

王道 - royal road (odo)

Any theme/one-line plot can choose to take any of these narrative progressions. Moreover, Thai BL usually originates online which allows for innovation.

MAME employs different narrative progressions for different ships. AePete follows the typical sweet BL progression. KengklaTechno follows jado and TharnType odo.

TarTum is a sweet BL, complicated by them being step-brothers. While their pairing is barely on odo, Tum as a character has a complicated odo progression within their ship.

Since TharnType is an odo BL all wrong-doings are not punished. Take for example KinnPorsche, another odo BL, where the ending can’t be 'organized crime gets the main characters in jail'. In odo BL involving crime, most of the victims are usually cannon fodders. So, characters are not bothered much by the crime. But in MAME's universe, Tum is an important character, someone designed to make audience root for him. Hence the audience can’t dismiss the crimes against him. It is not wrong to want the narrative to have Lhong jailed. If TharnType was a sweet BL, it would have gone there.

8. selective memory

Selective memory is indicative of preferences and it helps to fine tune BL consumption. MAME's storytelling incorporates diverse elements. Those who enjoy her works also might find that there something or the other that isn't to their taste. This is an important part of BL literacies.

I enjoy dangerous characterizations over subdued ones and prefer a meriba more than a happy ending. While there are plenty of BL media with those, they are super rare in live action. So, I appreciate MAME for taking into account fans who want something different from sweet BL.

Here are the points @bengiyo raised:

9. What Did You Eat Yesterday v/s Old Fashion Cupcake

This has nothing to do with MAME but has to do with BL literacies more generally. Old Fashion Cupcake is more appealing to BL fans because it is a BL and hence not sanitized to continue run on a conservative magazine. So, it permeates moe (affect). Moreover, creators of Old Fashion Cupcake are better informed than creators of What Did You Eat Yesterday in terms of BL literacies. So, the direction and acting works better in the former than the latter.

9. The Effect feeling like the first huge volley leveled at BL from within the genre.

I am always amazed at the takes on the Effect. Somehow it is assumed to be a critique of BL genre. That's not the case. The Effect is a proper jado BL.

What audience are picking up on is the 'I can do it better' spirit that motivates a lot of BL creation. It is natural for audience to feel like the depiction of complex themes, such as sexual abuse, bullying, delinquency, identity theft, murder, infidelity, pregnancy, etc. are not dealt with well. Creating BL that fits one's taste better is one way authors and artists go about addressing the issue. That is how we end up with same theme dealt with in numerous ways. When that expands, we end up with sub-genres and BL categories.

Jado BL are rare, particularly in Thai BL.

It is difficult to sell BL with jado and other narrative progressions. It becomes even more difficult to sell branded pairings when the characters they play are not impeccable. It is unlikely that actors playing bad guys can sell products for advertisers. (Imagine the characters from The Effect being in ads together!) It is even more unlikely that fans would go broke behind wicked characters and would want to attend fan-meetings and concerts featuring them in some way.

This is also so as not to trouble the average audience’s worldview (世界観) and is clearly a low effort and low skill (in terms of BL literacies) approach. But since a lot of audience don’t appreciate villain-like characterization, it is clearly low risk, no chance of a backlash from angry audience and the best method for assured money making.

@respectthepetty has also flagged the next issue:

10. History3: Make Our Days Count.

Gays were being buried and put in prison in Taiwanese BLs in the same year it legalized marriage equality.

There is a lot of ethnocentrism in the hate that MODC gets, apart from lack of BL literacies. While I understand where that take is coming from given American media history in the context of Hayes code, AIDS crisis, etc., I wish media from elsewhere would be looked at independently.

Queer narratives everywhere have their own over-used tropes and historical issues. Malayalam media, for example, has the issue of having one of two queer characters having varathan vibe (Rosy in Ponnaranjanam, Kiran in Sancharram, Antony's boyfriend in Mumbai Police, Kiran in My Life Partner, etc.) that makes them look odd in Kerala's rurban landscape. Even Kaathaloram played into this trope. The problem is that it perpetuates the belief that queerness is an import of sorts.

Mindless application of media critique learned from the west leads to the brushing aside of pertinent issues with media of the region in favor of finding legitimacy via commonality with the west. That way we end up with crits accusing Moothon of employing bury the gay trope while ignoring that:

Moothon is a gangster action flick like Kammattippaadam

It is rare for romances irrespective of the gender of the main characters and genre of the movie to have happy ending in Malayalam. In fact, almost all great love stories in Malayalam movies are tragedies. This is unlike in Hollywood where heterosexual romances usually get happy endings.

more importantly, every queer character, including Latheef, is infused with varathan vibe.

Taiwanese BL has issues worth exploring. Issues of their own media - not varathan queer trope from Malayalam media or bury your gay trope from American media.

MODC was an dealing with well-established BL tropes (like any other show in the History franchise). It explored bereavement (a tribute to Lan Yu, first ever danmei live action adaptation) and substitute lover trope.

The series introduced a doppelgänger of Yu XiGu (Xiang HaoTing’s white moonlight), a perfect candidate for substitute lover trope. But instead of pursuing it, they subverted the trope.

History franchise, which was build to grow BL and BL literacy in Taiwan, ended up victim to prejudice since it failed to measure up to foreign standards. MODC offered something rare. The audience didn't appreciate it. They dismissed it for not measuring up to expectations colored by experiences which danmei is not connected with for historical reasons.

By that standard, would tongzhi literature from Taiwan too have to make amends for sins of the west towards its queers? Imagine stripping of death as a theme from tongzhi author Chiang-Sheng Kuo's works! Then there is also difference in how death is perceived in different societies.

Why must BL be arm-twisted to fit into norms from elsewhere and correct the wrongs of someone else?

11. BL profit off LGBT community

This is really interesting. There are many questions that I can think of that is linked to this take:

Is BL really profitable? Short answer is no. Long answer here.

Is it really LGBT community that BL profits off?

Probably not. It is moe that BL sells. That imo, is the main difference between BL and other queer genres.

Anyway, BL predates LGBT acronym. It predates de-pathologization of homosexuality in many BL creating regions. Fu-people were creating BL before mainstream media started representing queer people in media. Fu-people battled state and its censors everywhere along with queer people. Live action BL surely is commercialized. But that is capitalism reaping the dividends of decades of fu-people's labor of love.

@he-is-lightning-in-a-bottle raised the following point.

12. 2019 saw significant increase in quantity and quality of BL. Since then, live actions smoothed out the rougher edges of the source material (like what happened with Kinnporsche and Love in the Air).

While I understand the rational behind toning down dangerous characterization to appeal to the largest audience, I think that kind of censorship for commercialization limits potential of the genre. The impact is most visible in case of GMMTV BL such as Only Friend (where it could neither be sweet BL nor could it embark properly on jado).

Compare it with adaptation of the ero-BL Sei no Gekiyaku. It stayed true to the content and pushed the boundaries enough to bring about convergence between gay pinku cinema and BL. When BL is allowed to explore its potential freely, it not only imparts BL literacies but also makes it possible for other queer genres to gain new audience, which in turn encourages production houses to venture into different queer genres.

jjsanguine raised the following point.

13. I don't even hate toxic characters or plotlines, actually I love them. But like even if the characters don't know they're doing it, the show should. And it really really doesn't. And neither do the fans. Kind of alarming.

This is in relation to Lhong and San.

Lhong is a yandere in a odo BL. (for detailed discussion see Part 3) It is a matter of the world view and less about show's self-awareness (which I believe it has). If TharnType was an jado BL, Tharn could have ended up with Lhong and Type would be the stalking horse.

@jjsanguine later commented about how Lhong felt "goofy" by way of his over-the-top actions which made the show's convictions questionable.

San and Tharn's relationship was, to an extend, the most realistically depicted. I remember starting to learn about Thai queerness and realizing that a lot of elements in their relationship reads like ethnography. Consider for example Tharn being only fourteen at the time of sexual debut and San being older. This is not too different from the average age of sexual debut in Thailand. Despite it being a compoundable offense, average age of sexual debut is declining. Tharn's discovery of what he likes and dislikes and shedding cuteness (which San comments about) and adopting manliness (which Techno comments about) too is in line with what is observed among urban queer youth. Contrast this with Sky in Love in the Air whose sexual debut and exploitation are tied to his migration to urban landscape. Sky's backstory too read like ethnography and his vulnerability a reflection of the many others' in his society.

@absolutebl raised the following points:

14. Rape - as plot device - doesn't make good stories - lazy & bad writing: Feminist critique and modern narrative analysis.

Feminist and queer BL scholars from Akiko Mizoguchi to James Welker have discussed rape as a plot device in BL. Since experts have written plenty, I'll spare my effort discussing this misconception.

15. rape is an act of sexuality (or worse, sexy), it is NOT - it is an act of violence. But that is only the start to the way it’s chronically mishandled, especially in commercial fiction (of which romance makes the largest percentage). 

Akiko Mizoguchi's two decade of work have addressed this in relation to Japanese BL which I feel holds true for BL more generally. Moreover, BL is not a romance sub-genre. BL is a genre in itself. A lot of BL is romance. There is enough overlap between those genres to give the impression that BL is a romance sub-genre. But there are plenty of other works too. Like One Room Angel and Social Reform Season. Similarly, BL is not a porn sub-genre. A lot of BL is porn. But come on!

16. [MAME] produces consistent highly-profitable narratives by-and-about queer folks but utterly disingenuous to the queer experience and that defines exploitation in the ET industry... Right, just adding that yes BL does not represent (in any way) the reality of being queer in any of these countries.

I have already discussed how MAME's works are intersectional reflections of queer experience. BL has been reflecting different queer experiences in Japan even before the term boys' love emerged. But narrow, ethnocentric ideas of queerness doesn't lend itself to honest understanding of other forms and representation. Consider characters being addressed as เมีย ‘wife’. It is a Thai queer practice. One can always dismiss that since it sounds heterosexist in the culture one comes from as absolutebl does in this post. That, imo, is 'disingenuous to the queer experience' of Thai people.

The question is what are westerners missing in their own countries' queer media that they feel they must just judge everything with no care for the cultures and people producing content for themselves? Seriously, what have the westernization done to some in the audience that they emerge so desperate for queer content that they watch BL yet remain blind to the cultures (fu-culture in particular) that produce them and splooge vitriolic ethnocentrism?

-

That concludes this discourse series. I want to sincerely thank everyone who contributed to and inspired this 🙏.

Other parts: Part 1 | Part 2 | Part 3

[kerrikins]

FYI 4 Minutes is now officially going to be available on GagaOoLaLa!

[equalv]

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.