#SUPERNATURAL BL

[bl-bam-beyond]

Premiering Tomorrow

November 22, 2023 on

WeTv (& or Tencent Video)

7 DAYS BEFORE VALENTINE (2023, THAILAND)

Trailer Highlights (Clips)

12 Episodes

Genre: Supernatural, Drama, Romance

Starring: SOMJET SAEJANG [Nickname: JET] as Kyu

NATHAPHOP KANJANTEAK [Nickname: ATOM] as

Sunshine

EKDANAI CHAISAAT [Nickname: THANK] as

Rain

TEERAPAT SAMCHAI [Nickname: EARTH] as Mek

MDL SYNOPSIS: Sunshine's life is plummeting fast. On the day he's trying to decide what to do with his life, fate sends someone with special powers to restore his previous relationship within 7 Days. However, nothing is free in this world. Everyone must pay something in return and that person is teaching him a very expensive lesson.

Adapted From a novel. Atom who plays the lead role is also currently playing the role of Atom (a support role) in the recently released short series BL BAKE ME PLEASE.

Anyone watching this Supernatural Angsty BL @pose4photoml @lutawolf @bengiyo @absolutebl @kingofthereblog-boysloveed @wanderlust-in-my-soul @kingofthereblog-boysloveed

[live-from-flaturn]

American Television after 5 years of pushing for queer representation: I hope you wanted unnecessary drama, angst with a maybe resolution, and three unfulfilling seasons of questionably written flirtation. And that all comes before anything is half-confirmed with a singular lukewarm kissing scene between two conventionally attractive, white bisexual women!

Thai Television .3 seconds after they figured out queer content is marketable: Did you want something kinky, soft, or stupid? Did you want cat ears? We’ve got cat ears! We’ve got safe/sane/consensual OR off-the-charts bad etiquette BDSM. We’ve got college students out the ass! As long as they’re an engineer or architect, choose your flavor. Do you want an age gap or classmates? Something for adults? Teens? Everyone was childhood besties, how about that??? This is a short order restaurant and I will flip you some gays like they’re hotcakes, just tell me what you want.

[paunchsalazar]

deancascrowley

[pharawee]

—You'll know what it's like to taste the sweetest torture.

MY GOLDEN BLOOD · เลือดนายลมหายใจฉัน · Coming Soon

[spirit-of-anime]

Kurakura Inma

[hawnks]

HEY Mint, this is probably a hefty question to ask, but what’s Guideverse?

Guideverse is essentially the sister of omegaverse! The trope originated in BL web novels, and trickled into other realms via scanlations. It’s a shared sandbox that a ton of people now play in.

It carries connotations with it, particularly of obsessive love interests. As far as I’ve seen, the two most popular guidverse manhwa are B-class Guide and Profundis, both of which feature a whole host of dark subjects.

Here’s the opening sequence of B-class Guide, which is a very quick run down of the basics:

Essentially, at some point in the future, magical rifts begin to open up and spew monsters into the world. The rifts also cause people to develop powers, but if they overexert themselves they become a monster. The only thing that can stave off corruption is the touch of a guide. (Above board, this is done by holding hands. However, all physical touch can become guiding).

The rifts are continually opening and closing, so it’s cyclical. Espers have to use their powers to fight monsters, so they have to be guided. A symbiotic relationship.

In most iterations of the trope guides and espers also have to register their abilities with the government, and sometimes (depending how dark you want to go) they’re forced to join the military.

When they’re registered, guides and espers are asigned a ranking from F to S, based on how powerful they are. Specific guiding-matches between an esper and a guide can also be tested and measured, although that’s done in percentages. Typically, the efficiency/match rate between a guide and esper is around 60%, so espers can become very possessive of any guide they have a higher than average match rate with.

Higher ranking espers typically get whatever they want, because they’re in such high demand. They might have an exclusivity clause with a guide, meaning the guide will only guide them.

Bonding is also possible, which greatly increases the efficiency rate of guiding, but also means that an esper can never get guiding from anyone else…which also means an esper can never outlive their guide.

There’s a whole bunch of diverging lore about whether guides and espers have “soulmates.” Something that comes up a lot is that an esper can “always recognize their guide,” like the one. I think this is to personal taste though.

I’m sure I’m forgetting something, but thems the basics <3

[save-the-data]

The Hidden Moon | S01E01

Thai Drama - 2024, 10 episodes

~~ Adapted from the novel "The Hidden Moon" (เดือนพราง) by Violet Rain.

Native Title: #เดือนพราง

Genres: #LGBTQ+

Tags: #Mystery #Romance #Writer Male Lead #Supernatural

Cast:#Kin Thanachai #David Matthew Roberts #Santa Napakawat #Tonkla Patittada

Links:  Gaga | Viki | YouTube | iQIYI | WeTV | Youku | Tencent

Catalog: Episode GIF sets | Thai BL | Thai Drama

[hiraya0-0]

No wonder the other top 10 didn't respond to his challenge. They're probably creeped out 😐

[bl-bam-beyond]

BL- BOYS' LOVE:

Pluem (NATTAPON WONGVANICH aka BOY) has made intentions toward Kevin or Kawin (TECHIT PANYANARAPON aka TOD) clear. He wants him. He likes him. He thinks he's lovely.

A moment of fear brings Pluem & Kevin (Kawin) close. As Kevin asks Pluem to take him away from this place...

[chickenstrangers]

Time and Grief in Eternal Yesterday

Eternal Yesterday (Eien no Kinou) is an astonishing show. It is one of the most visceral explorations of grief, letting the audience sit with the feeling of it, that I have seen on screen for a long time. I especially loved how it explored the experience of time while grieving.

Grief alters time. It changes your internal sense of time. It takes you out of equilibrium with everyone who is not experiencing grief with you. The world moves on. People move on. People forget. The clocks don't stop despite our pleas. Grief bisects time; events become labeled Before and After. Everything reorients around it.

This disorientation of time is what Eternal Yesterday conveys so powerfully, both in its magical realism conceit and in its technical structure and pacing.

First, I would also like to talk about a poem. @bengiyo also shared a phenomenal poem by Shane Koyczan in this wonderful post about this show which I have been thinking about and listening to again and again (reading by the poet here, transcript here). While I was watching, I had another poem ringing in my head. I think there is something about grief that is often best captured in the sparseness of poetry for me personally, and in that way Eternal Yesterday feels a bit like a poem, and echoes these poems.

Recently, I have been reading Victoria Chang's poetry book Obit, which frames her grief over her mother's death and her father's illness as deconstructed obituaries.

The difference is called grieving. I think this is the space that Eternal Yesterday occupies. It uses magical realism to forcibly extend the period before reality and grief can fully set in. Mitsuru is desperately clinging to the moment of before, when Koichi hasn't actually died yet, because once he leaves that moment he can't go back.

In the moments before the truck driver comes and sees the body, Mitsuru is in a state of denial, an impossible version of events in which Koichi survived the impact and being thrown in the air for meters, even though all the evidence points to his death. He calls his name, expecting him to just wake up. The truck driver's reaction cements the truth of his death that Mitsuru could not even let himself imagine in those first few moments. There's a moment where we can see the flicker of horrific recognition on Mitsuru's face. But then Koichi starts moving again, and Mitsuru is once again in an impossible reality where Koichi can survive as the living dead, a miracle. Eternal Yesterday effectively resets the timeline to the moments before the death becomes real for Mitsuru.

The rest of the story takes place within that moment, but elongates the stage of denial. It takes place outside of time. Koichi's body has disregarded time, the doctor tells them. It is staving off all actual evidence of decay, but it doesn't erase the damage that has already been done and the bruises and cuts remain as a terrible reminder. This really effective element of body horror forces the audience and the characters to sit in a very specific moment in time; this is not a ghost who has cast earthly wounds aside, nor a zombie who continues to decay. Koichi and Mitsuru are trapped in the moment of death, the eternal yesterday. Mitsuru isn't ready to let go yet, and neither is Koichi.

The drawn out nature of this undeath contrasts with how suddenly Koichi dies. Instantaneous (I think again of Koyczan's poem). There is no way for the characters to anticipate this death. Compare this to Mitsuru's mother, who was chronically ill, dying in a hospital away from her son in an attempt to insulate him from grief. But despite her prolonged illness and her distance from Mitsuru, it doesn't seem like Mitsuru was really able to process his loss, just creating a wall around it to protect himself. With Koichi's undeath, they get that extra time together, and maybe that helps in some ways. As @waitmyturtles writes, they get to spend those final moments together, knowingly, intentionally, in a way that Mitsuru only got with his mom after her death when he saw her ghost. The magic gives them back these moments.

At the beginning, it seems as if time has stopped for everyone around them as well, but slowly people start to not be able to see Koichi. They begin to move on, and forget. Koichi seems to have reconciled with this fact: "If you die, you're slowly forgotten. It's normal. The living are busy thinking of other living people." Mitsuru is angry at the thought that anyone could forget about Koichi, and that the signs of their forgetfulness are proof that Koichi is getting closer and closer to disappearing.

This is such a beautiful metaphor for how it feels to grieve someone when the rest of the world keeps spinning. Time has stopped for Mitsuru, but not for all his classmates, even though they cared for Koichi too. It's a cruel truth. Time starts to speed up again as Koichi begins to disappear in front of others, but Mitsuru is still clinging to him.

Mitsuru holds onto Koichi with both fists. There's anger behind his denial of Koichi's death. He repeatedly tries to remind Koichi that he's still alive, gets angry when he's referred to as dead, and when people can't see Koichi any more.

But it is Mitsuru's love that sustains Koichi for this long, and his unwillingness to let go of his memory. It seems like love itself is what keeps Koichi here. Even when he disappears for most people, Mitsuru and Koichi's family still see him. Even after Koichi truly dies, when he stops being a living corpse, we see that his memory does live on in Mitsuru, and in the lives of the other people who loved him. The teacher who sent Mitsuru a photograph that shouldn't exist. Koichi's friends and family continuing to honor and remember him, and staying in contact with Mitsuru.

@gillianthecat writes beautifully about Japanese dramas and the use of place and space. There's a quietness and a stillness often. Eternal Yesterday echoes this, and in some ways turns time into a place, anchoring the drama to a liminal threshold, the pause that allows Mitsuru and Koichi to process what has happened.

Koichi and Mitsuru's story takes place outside of time. The editing and structure of the show also interrupts the linearity of time. Multiple times we are shown the end of a scene, and then shown its beginning scenes or even episodes later. The show revisits scenes, recontextualizes them, like when they get back from the hospital and Koichi admits he's scared that he's a corpse; the teachers in the stairwell we later learn were found in the aftermath of their breakup. Koichi is hit by the truck in the very opening of the show, but we don't see all of it until the end of the episode and the beginning of the next. Through this editing, the show destabilizes time, and calls into question our perception of events.

It also does this with the opening and closing credits. Each episode grounds the audience at the start in a joyful past that the characters can never return to, and at the end in an impossible future that they will never see ("If we were adults, would we be making a toast and drinking beer?"). The show oscillates between these two endpoints, and they put the viewer off balance for what to expect. But at the close of the show, we see the camping scene recontextualized. Mitsuru is alone, but he still has pieces of Koichi with him. The false insinuation of a happy ending is replaced with bittersweet reality.

How long does it take to grieve someone? Does it ever stop? Their teacher is still mourning his boyfriend's death 20 years later. Mitsuru is shown grieving 5 years after Koichi's death. He tells us his sadness never went away. The experience of grief is different with that distance, but it doesn't disappear. The show invites us to sit in a specific moment of that grief, but it shows us also how it continues afterwards.

Koichi's death is drawn out, the stage of denial extended, but eventually time catches up with both of them. Koichi knows it ("My time is almost up"). Mitsuru begins to understand it ("Isn't it just a matter of time?"). The day Mitsuru's home sick, "the time felt too long." The dissonance between this piece of time that they have carved out for themselves and the reality of time's continual passage becomes impossible to ignore.

Koichi lingering as a living corpse gives both him and Mitsuru a bit more time together. Even if it's just a few days, there's beauty in that. Because of that time, Koichi gets to hold his newborn sister. He gets to be a part of that moment with his family. Koichi and Mitsuru get to love each other for just a little longer. They get to say goodbye.

This is a sad show. But it's okay to be sad sometimes. It's okay to explore this sadness is art, in queer art. It can be healing to sit in these emotions for a little while, like Mitsuru and Koichi do in the show. To take the time to process it and connect with these stories.

Thank you to @bengiyo's post and the podcast for putting a new favorite show on my radar, and @lurkingshan and @waitmyturtles for sharing their thoughts and love for the show.

[grimoniasworld]

Okay, I have gathered my thoughts about the Dead Friend Forever ending:

I loved how it ended. Classic for a thriller

I have no problem with White just being a plot device.

The way I see it, they all died and are now in a purgatory. Bound to the house forever re-living their guilt and fear.

This series was so fun. A lot of the show is open-ended, I don't think anyone is wrong. I love seeing the different interpretations.

Bonus - My husbands thoughts on the finale:

He is still convinced that White is somehow Non.

He thinks Janta has trapped them in the house.

[usertoxicyaoi]

okay @aejeonghae is TEMPTING me to it so i've started reading the summer hikaru died manga and literally 2 chapters in and -

OKAY. that 'i do.' being light and 'i'm crazy for you.' being dark??? the half and half contrast foreshadowing hikaru's light and dark sides????? OKAY. OKAY I GET YALL NOW. I DO.

[pharawee]

SPIRIT REBORN || ซีรีส์เขมจิราต้องรอด || coming soon 2024

[spirit-of-anime]

Tabetemo Oishiku Arimasen

[athousandbyeol]

i actually ended up finishing this edit... hehe yeay for another jiangtian edit because i'm obsessed! <3

[save-the-data]

The Hidden Moon | S01E02

Thai Drama - 2024, 10 episodes

~~ Adapted from the novel "The Hidden Moon" (เดือนพราง) by Violet Rain.

Native Title: #เดือนพราง

Genres: #LGBTQ+

Tags: #Mystery | #Writer Male Lead | #Supernatural

Cast:#Kin Thanachai | #David Matthew Roberts | #Santa Napakawat | #Tonkla Patittada

Links:  Gaga | Viki | YouTube | iQIYI | WeTV | Youku | Tencent

Catalog: Episode GIF sets | Thai BL | Thai Drama