#and i really love the chiang mai parts

[waitmyturtles]

Okay, I’ll try to be quick about this. I’ll do it in list form to set some ground rules and get my analysis going.

(I am arguably very frustrated overall about what I’m about to write, because of how excellent The Eighth Sense was, and watching this was just a bit of a downer, man.)

1) I will own that at this point, I might be the only The Promise apologist on this site. I might have led friends astray at this show. For that, I offer a 90-degree wai of apology. I gotta check the tag, but I wouldn’t be surprised. 

(Senpai @respectthepetty...I’ll watch The Shipper as self-punishment.) 

2) Yes, Phu DEFINITELY sucks. BUT, there’s a but that I’ll get to in a sec.

3) For the first time in this show, I am actually frustrated by the pace. 

4) Party definitely rules, Mr. Sassy.

Alright, all that out of the way, get ready to hear why, once more, even I surprise myself by saying, I STILL like this show, but we’re on shakier ground. The Promise, episode 7, here we go:

We’ve now established two social rules by which Nan and Phu operate: 

a) Phu is afraid of loss, 100%. He’s scarred by his father’s death, and doesn’t want to lose anymore people in his life, especially his best friend. 

(HOW that equated to him RUNNING AWAY for 10 YEARS is STILL unclear to me, but I SUPPOSE that if Nan can STILL wait for an answer, then WE, as the audience, are expected to wait, TOO, which I THINK, dear director Khom Kongkiat/Uncle Tong, is ASKING a little MUCH of US, BUT ANYWAY)

b) Nan has said this shit in the past and present about how he wants FRIENDS, and separates that from LOVERS. And Phu is all up in his confusion about that.

I mean, I think I can get that those are legitimate reasons why Phu continues to hold back from revealing his truth to Nan.

But, fuckin’ GO PARTY. Party is like.... what the fuck, dude? Just come out and say it!

AND: Party put himself out there! He put himself out on the line! He revealed himself to Nan! Nan rejected him. But guess what? They’re still gonna be friends! PHU SAW ALL THAT!

Will Phu NOT be satisfied IF Nan rejects him? I mean, Phu will be sad, but... can’t they be like Party and Nan, and still be friends? NO? 

On the one hand, I say: WHAT THE FUCK? Phu -- you are REALLY hyping this up! Why should everything be 100% with you?

On the other hand, I say: My socio-emotional read is that because Phu experienced the death of a loved one at an early age, things might HAVE to be 100% with him. 

I just don’t know if Uncle Tong is weaving this complicated and emotional story as well as he could be at this point. I don’t know how efficient each episode is at selling the skincare. I absolutely loved the focus on the coffee farm and the process of the beans and everything. I love, love those slices of village life. It very much harkens to P’Khom’s actual role in Bad Buddy, and obviously goes to show how much he wants to profile these slices of Thai village life. I love those parts.

But at this point, as I said last week, we’ve waited too long. We need clarity. I get we have three episodes at an hour each, but the pace has now started to drag. I love what this show gives by way of a respect of the rural life these guys come from, but the imbalance is there among Devonte commercials/life in Chiang Mai/Granny and how she’s there to explain who Phu really is/Nan’s patience. 

It’s not quite working anymore. I’m gonna stick out this show, because who knows if Uncle Tong can give us a huge and surprise ending, and there are only three episodes left, anyway.

But seriously, Nan is getting fuckin’ seriously played, and like, I think Phu is not as dumb as he’s being written. Maybe Phu’s read is that he thinks Nan is a lot stronger than Nan actually is. I don’t know. I just don’t know why Phu would play his homey like this for SO LONG. WHY DID PHU COME BACK, ONLY TO ATTEMPT TO RUN AWAY AGAIN. 

Yes, you’re held back by your demons, but -- maybe it would have been best if Phu had just permanently stayed away. 

Come on, Uncle Tong. PLEASE clean up this mess. I HAVE HOPE.

[bengiyo]

We Must All Get Louder and Gayer About La Pluie Immediately

I understand that this show only airs on iQIYI and that most of us canceled that after KinnPorsche and/or Love in the Air, but I’m gonna need y’all to re-up those subscriptions and get on this train right now. This and Step By Step have been some of the most intriguing romance explorations we’ve had in the realm of Thai BL in a long time, and you are missing out on this incredibly breakdown of the soulmate and fast romance tropes that I’ve ever experienced.

I’ve seen some consternation about whether this show is honoring or defying conventions within romance and BL, and I don’t think that’s the most enjoyable way to engage with a piece of media in a mature genre. I think it’s more useful to ask questions like:

How is this show using those conventions?

What do these conventions fit?

What new things have we learned about ourselves or the genre as a result?

We’ve been unpacking the soulmate idea from the very beginning (@lurkingshan). The show upended our expectations about that from the opening scenes by showing us a romantic man who doubts in his own romantic destiny because his parents divorced. The show has then gone on to state quite plainly that it believes that the hearing loss connection is entirely coincidental, and that what people do in their relationships with other people is what matters the most.

We are sitting in the audience, and so we know that this is a romance. We fully understand that Tai and Patts will more than likely be together at the end of this story. What that knowledge and expectation allows the show to poke at the development of relationships in dramas. The characters are in a slow burn romance, but everyone in their lives doesn’t think they should be! That’s been incredibly fascinating because we so often see BL characters rushed into a relationship with each other that we are always surprised when they aren’t (Bad Buddy, My School President, Bed Friend). It’s been incredibly enjoyable for me to see a romance refuse to rush their characters into commitment with each other.

My good friend @lurkingshan wrote about this subversion of tropes and expectations this morning as they pertain to Lomfon. She makes the point that we expected Lomfon to be a bigger factor going into episode 7 than he was, and that’s also I think part of the point. He’s not a threat to the core romance, but he does have a role to play in this story. For me, I think he’s here to reinforce that skepticism and doubt are critical to making any sort of relationship or belief system function. Your ability to handle new challenges and things that confuse you are critical to being able to maintain a commitment. It doesn’t work if it’s forced.

As for misunderstandings, this show also continues to be intentional about this. As far back as episode 4, Dream chided Patts for not making things clear with Nara. Patts listened but hoped that his non-answer would be enough for Nara. Likewise, Bow has warned Tai twice about Lomfon’s clear desire for him, and how by not making things clear Tai may also face difficulties.

This comes to a head this week with Nara. I agree with @ginnymoonbeam that Nara’s return lets the narrative blow up Tai’s uncertainties he’s left bubbling since the beginning. I personally love Nara’s reintroduction here because Tai is romantic and because he genuinely seemed to like Nara. He liked that she still knew how to take care of her ex. He liked the determination she showed to travel all the way to Chiang Mai to pursue him. He was rooting for her! Even if he misunderstands the kiss, it’s not really about the kiss. It’s about the fact that someone he admires cares for Patts, and he likely worries that he’s the reason they didn’t work out. He’s also still questioning if the mutual attraction between himself and Patts can be trusted.

Moving on to the intimacy, I wrote last week about the way this show has made it clear that these are two men interested in each other. Following up on that this week, we entered an incredible liminal space in their relationship. Patts signaled earlier in the episode when they first got to their room that he is hoping to pick up where they left off with their last intimate moment. Both went into this bed fully aware of the sexual tension between them.

Tai is the one who opens the door this time by first offering the massage and then initiating the kiss. Things heat up between them, with Tai again on top to remain in control of the situation, something @shouldiusemyname points out here. Tai once again asks Patts to stop when he moves to escalate the encounter, but Tai shows Patts that he is interested in him. He offers to help him out by performing the act that Patts was most certainly going to do last week. This is incredibly fascinating for me, because I have always asserted that bottoms are the ones in most control of an encounter. I do not read Tai choosing to take care of Patts as him giving up control in any way. In fact, it’s a way for him to further maintain it. He reassures Patts that he is happy to be here and lets them release the tension of the moment.

Also, I just absolutely lose it over the lip flick.

gif by @pharawee​

Once again, I cannot overstate how radical it is for me to see a show saying that the one performing the act is the one in control of the encounter, and has the character who’s feeling unsure use that as a way to explore their own feelings. Tai needed to know that he likes making Patts happy. Please list the other BLs that have done this with sex in the notes. It’s not very often we get this!

Also, look at this man. This is not the face of a man who is being coerced. This is the afterglow of two people navigating their intimate relationship (@ginnymoonbeam).

He’s literally rubbing his hand because as they spoon because he’s so relieved.

I also just absolutely love Patts. I love that he keeps leaving notes for Saengtai to make sure he knows where they are.

Look at him walking around the next morning. He seems pleased...like a man can seem pleased.

We just never get this kind of stuff in genre. This is a classic romance of the Nora Roberts variety that’s allowing us to show two men navigating their romance and intimacy on their terms while also showing that even fated mates must be good partners to each other. This is a story that loves romance and loves the conventions of the drama. It is approaching each thread with clear-eyed conviction, and we as queer viewers deserve this.

So, I’m going to need you all to get louder, weirder, and gayer about this show. We gotta get more people on this one. We can’t let this show be forgotten because it’s not on YouTube.

Once again, thank you for coming to my post.

tagging @wen-kexing-apologist​ and @kyr-kun-chan​ for all the conversation we’ve had about this show.

[luthienmpl]

Look what just came up in my Youtube suggestions! I don't know how long pilots like this need to produce, but damn if it doesn't feel like this company saw people love I Feel You Linger In The Air and went "ok what else has this author written that we can adapt". That being said, Violet Rain really likes early 20th century Chiang Mai and time-crossed romances, huh?

Starring Benjamin Brasier and an actor who looks familiar but I can't name, pls somebody help.

Also in a support role Tian Atcharee, who apparently thinks being type cast as an old-timey lesbian (???) isn't the worst thing to be type cast as (wholeheartedly agree).

I guess this is the part where I tag people? @absolutebl @heretherebedork

[springjjjj]

In case of out of the box theories, please spread the word THAT:

1. This is NOT a ghost/horror story

2. This is a REINCARNATION & TIME TRAVEL plot

3. This is a HAPPY ENDING 100% unless— (explanation below but it is going to be a huge spoiler. Read at your own risk)

Gif by @earthpirapat

I warned you! ⚠️

If we remember the 1st trailer, that was a huge spoiler from the whole Part 1 of the whole novel. As we can see, Jom is from the present time. He is an architect sent to Chiang Mai to modify an old house where he also had his accident. He next woke up to 1927 which was Khun Yai's era (I won't discuss which era they live, we will watch the series together) in Chiang Mai BUT after the wormhole is done with his time in 1928, instead of going home, he will be traveling to another time, Ayutthaya period (beginning of Part 2), where Khun Yai also exists but as a commander and a different person than Khun Yai in Part 1. Part 2 will also explain Khun Yai's behavior that could not be explained in Part 1.

To clarify, we have 3 eras. Present, 1927-1928 & Ayutthaya period where we (and Jom) will be witnessing the different Khun Yai's in each lifetime.

Now, this is a happy ending because after Part 2, Jom will be sent home to the present time, there will still be a little bit more things that will happen to resolve everything in the present time but once he goes back, he will be meeting another version of Khun Yai who has the heart of Part 1 & Part 2 towards Jom. So don't worry, it will not be like your Scarlet Heart, Mr. Queen or Rooftop Prince and whatever is in your mind.

What's the possibility why it won't be a happy ending?

Obviously, it will have a happy ending 100% based on the novel but the only reason why it probably won't is because there's a huge possibility that Deehup is preparing a S2 for this series.

Analyzing P'Boss explanation, it looks like they will be ending the series only with Part 1 and will return with Part 2. Since he mentioned the older era will be an easter egg, there's a chance that they won't be covering it for this season. Besides, 12 episodes doesn't look like it's enough to cover the whole 2 parts of the story. So we might expect that the ending of the series will be a cliffhanger but that's only my analysis based off P'Boss interview, you may interpret it based on your own belief.

In my opinion, I do hope we'll get 2 seasons. Part 2's quite complicated, it will need a lot of preparation.

Among Deehup's works, I read Lovely Writer & I Feel You Linger In The Air (still reading 🥲). I would really enjoy discussing the novels (LWTS & KaoUp too). I'm also watching Step by Step, sadly there's no novel translation yet. In the future I might keep talking about IFYLITA here.

[morhath]

hey I saw your tags on that one simpsons linguistics post and like legit curious... what's linguistic relativity? (this is assuming you'd wanna talk about it; if not feel free to tell me to google it 👍)

as much as I love a good rant sadly I have a migraine on top of COVID so I am not up for one right now, so yeah, I recommend looking it up to get The Full Info, the wikipedia page is pretty good

it's also known as the sapir-whorf hypothesis but that's inaccurate

there's a strong version ("language super controls how you think") and a weak version ("language influences how you think a little bit") and as you may be able to guess the strong version is almost definitely wrong while there's decent evidence for the weak version

the basic points of my Entire Rant are:

honestly I'm still a lil suspicious of the weaker version at times/at least suspicious of how it's interpreted

I would like to confiscate the strong version from sff authors for at least twenty years. no more linguistic relativity for you. you can't use it anymore. I'm so tired. Ted Chiang you get an exception because Story of Your Life (short story that was the basis for the movie "Arrival") is very good even if it is scientifically inaccurate. but I think it's overdone, frankly often stupid, and playing into public perception of this kind of stuff which is a problem because...

so much racism all the time (this is a huge part of the previous two points) (I cannot overstate how much racism I encounter with this stuff) (primarily in non-linguistics spaces but still) (I've even fallen for it when I was younger and just interested in linguistics but hadn't studied it yet) (it's so pervasive and so many people believe this shit) (obvi you can't just Take This Theory Away b/c people are being racist about it but I really don't love how people generally talk about/use it)

giant disclaimer tho that this is not really My Area of linguistics so I am BASICALLY a layperson here

also the full rant involves exploding babies and [other main interesting bit redacted because it occurs to me there's a possibility for some sort of paper or talk there actually and I keep SAYING I want to return to the cold and unloving arms of academia]

[pharawee]

im sooooo glad you posted your text post on reading ifylita on the tags cuz ive been dying to discuss the book to someone since i finished reading it back in 2022 when the teaser trailer dropped. its such a good book. and the translation is top notch since it describes the setting in their specific timeframe and they also add footnotes for non-thai speakers. i also agree that the formatting could use some work but the book is just... so beautiful. it keeps you on your toes. im interested to know more about your insights with the book in the future

Hi! 😊 And yay, someone else who's read I Feel You Linger in the Air! What were your favourite parts? Did you also look up historical Chiang Mai architecture because the house(tm) seems just as much of a character as Jom and Yai? 🤣

I finished the book yesterday and now I'm a bit sad because I rushed through it in like, two days. I just couldn't help myself. It's so beautiful. I keep returning to my favourite chapters and moments. I'm not ready to let this book go. It has such a grip on me.

The author has said that this was their first piece of historical fiction and how they extensively researched Thai literature, history and architecture to be able to capture the distinctive style of both eras. It really shows, especially in the way Yai speaks. It's so poetic but not stilted at all and full of warmth and love. I wish I could read the Thai original with all of its linguistic nuances and different dialects (although the translator - as you said - did a fantastic job of conveying all of that).

And I did not expect the second part at all. But I loved it just as much. I'm curious how they'll tackle this for the series. Negl I'd be very sad if they ignored the second part entirely (although it would work, I suppose). I love Commander Yai just as much as I love Khun Yai.

And they cast Nonkul so well as Jom. I could picture him instantly while reading (I haven't seen Bright - the actor who plays Yai - in anything but I'm sure he'll do an amazing job, too).

I'm also super impressed that the author managed to avoid all the usual clichés and tropes. It's like you said, the book really keeps you on your toes. Everything - the past and the present, the mystery and time travel, the history and romance - fits together so incredibly well.

Lmao I'm sorry I'm just really, really in love with this story atm. And a bit sad that I probably won't find anything as beautiful for a long while.

Also, to the anon who asked me if the story ends in tragedy: no, it doesn't. It's a beautiful, satisfying ending with only a hint of bittersweetness.

[wordsandrobots]

[The following is not an essay. It is the author's attempt to grapple with the despair at losing something important to him, presented in hopes someone in a similar situation may know such things are worth grappling with.]

Apropos of Doctor Who's triumphant return to having writing and direction I can actually care about again, I've been reflecting on how much casual 'Moffat-hate' irritates me.

Obviously, I need to unpack that a bit.

I'm talking about the reflexive antagonism towards Steven Moffat's era as show-runner, writing tics, writing in general, moment of centrality to British TV and so on that I am no doubt going to run into if I go anywhere near Doctor Who reviews and analysis again. A sneer about perceived sneering here, another repetition of a narrative-construction gripe there. The regurgitation of old arguments because there is a strong contingent of people who loathe that era and Moffat in general, who have every right to that opinion, and who can quite reasonably bring it up when talking about Russel T Davies' new, second era of running the show, however that shakes out.

The me-problem here is, I loved a lot of 'the Moffat era' of Doctor Who when it was being broadcast. For whatever reason, it hit lots of nice buttons in my head and I had a grand old time watching it unfold. The 11th and 12th Doctors provided some really excellent examples of the show doing its best at what it does best. Indeed, 'Listen' may be my favourite example of a story delving into what Doctor Who is all about, ever.

But there is a degree to which my enjoyment is now perpetually enmeshed in defensiveness. Because the fandom was/is wild tangle of very strong opinions, much of them to the contrary, and that isn't likely to change any time soon.

[And for me personally, my best friend hates that era, which threw into sharp relief a lot of hang-ups I have around needing to justify the things I like. Having an emotional breakdown kind of sharp relief. That's not the sort of thing you just shrug off, even after all this time.]

To be clear, I am not here to defend Steven Moffat. I do not give a rat's arse about Sherlock – it was enjoyable at the time but I can't say it registered beyond 'a thing it was fun to watch once' – and I actively despise Twice Upon A Time, the last 12th Doctor story, for pretty much the exact reasons I think most people rag on Moffat's other work. It is a story ostensibly in conversation with a piece of source material that instead only concerns itself with the refracted, pop-cultural version of said thing, for the sake of being constructed like a joke.

Which in general is an approach far better suited to Doctor Who – a series progressively layering 'canon' atop stories that could not be recalled as anything other than half-remembered versions of themselves for a very long time – than it would ever be for something like Sherlock Holmes. Even if I didn't like Twice Upon A Time, I can at least forgive it as a wider pattern and oh for goodness sake, I've started defending the man anyway, haven't I?

You see the problem. I can't make a critique with any teeth because I am braced for the whole to be dismissed even as I home in on the specific part I wish to unpack. Must I defend a writer in toto because I vibed with one piece of their corpus? I don't think I would for anyone else and yet here we are. This is probably why I count myself lucky to have never been deeply invested in Doctor Who fandom in the communal sense, online or off. This and the people who fawn over the racist giant rat story.

[Talons of Weng-Chiang is a Yellow Peril tale, straight up, nothing else. It also jobs Leela, rendering her forever 'the savage' despite the entire point of her introduction being a rejection of the superstitions imposed on her people and thereafter proving herself extremely capable in new and strange situations. It was also written in Britain in the 70s so this is almost self-explanatory. Just fucking own the fact you enjoy the production values and excellent cast while accepting it's indefensible to claim this is the best the classic series produced, you chronic dipsticks.]

See, I can do it with other examples of what I dislike, bare my teeth and go for the throat. But few people argue we should write off Robert Holmes' extensive contribution to the series because he did a massive racism on account of being a British writer in the 70s. Maybe they should. I don't know.

What I do know is, I understand why the 11th and 12th Doctor eras work for me. I am a white cis man who thought he was straight when they started airing and who is exactly the kind of Doctor Who fan who'd want to solve the regeneration limit with a Five Doctors reference. I never felt like Moffat's grand arcs were talking down to me because, I suspect, I was the kind of person most easily able to imagine I was in on the joke by the end. Then again, the writer who's done some of the most extensive analysis and defence of this era is a trans American woman, whose work did more for my appreciation of Doctor Who history than anyone else. So – yeah.

When I said 'irritate', I meant exactly that. This whole topic is a burr, making it difficult to revisit things I once enjoyed. Maybe this would be the case anyway. I have grown a lot since then. So did Steven Moffat, over the course of writing more Doctor Who than any other person ever. He gave us gender-flipping regeneration, tried colour-blind casting and when it failed to make a difference, specifically cast for a black lesbian. And he revisited Donna's ending with an eye on querying the moral failure of it long before RTD2 wrapped around to the same point. Why should I look kinder on his predecessor, who presided over the abusive shit-show that was the production of the 2005 revival season and yet gets to come back to save the programme again?

Oh, yes. The writing. But Russel T Davies annoys me just as much in some places as Moffat does other people. So it goes. Although I suppose Moffat did hire Toby Whithouse to write the central part of Bill's arc and it was a chauvinistic wet fart because it was Toby Whithouse. He also worked for ages with Mark Gattis, whose writing I could shred on similar grounds. And around and around we go, sniping and arguing which of the middle-aged British guys tried their best, or wrote the worst.

[I am still mourning what Chris Chibnall's era of Doctor Who turned out to be. I was so hyped for getting Jodi Whittaker as the Doctor and then we hit Kerblam! and the oldest, most foundational piece of my inner cultural map no longer felt like something I wanted to be a part of. So yeah, he's the worst, for allowing that story to go out, 'the system isn't the problem, it's the people' and all. That's my 'hot-take', years too late. The man wasted dozens of excellent, interesting, diverse writers and actors on what is ultimately, in my opinion, the most mediocre crap since the Saward Era and his big contribution to the series going forward is to fanwank in an explanation for the Morbius!Doctors that essentially makes the Doctor the specialest special whoever specialed.]

At least Moffat previously made some attempt to spork the god!Doctor approach, before deciding they should textually be the reason evil doesn't triumph in the universe. Sadly, that endpoint seems inevitable. We're long past the days of the Doctor being a university drop-out, bumbling around the universe, interfering from the edges. Pick your saccharine alternative, I guess.

What was I talking about before I dived into my own bitterness and angry fan-ranting? How much people deriding one sitcom writer for his faults and prominence within a particular era of big British TV that sparked vast swathes of internet discourse continues to be an aspect of Doctor Who meta? How that makes me feel? Hah. Who cares?

There's no widely applicable point here, just an emotional sore making me wonder if I'm ready to 'get back into' Doctor Who. Because yes, actively being revolted by the Chibnall Era is the real reason I fell out with the show. And yes, maybe I've just grown beyond the point where Doctor Who satisfies, full-stop (let's leave the political rant about The Zygon Inversion for another time; I'll only be repeating other people). But sitting here, being honestly, genuinely delighted by The Star Beast and Wild Blue Yonder in ways I'd frankly forgotten I could be by Doctor Who . . . there's a still part of me that doesn't want to risk going back and running into those same old arguments. I've seen them before. They're boring. They annoy me. I don't have the energy to deal with it. And I haven't yet worked out how to thicken my skin against them.

Someday, maybe, I will sort the love for Doctor Who I had since I was six and watching Peter Cushing romp around in glorious Technicolor from a factional fandom pissing match I didn't even play a part in. I never was someone who picked fights online over this or tried to make grand sweeping arguments about why X, Y or Z was better. I want to be mellow about differing tastes and just like what I like. I certainly don't want to be the kind of person who rags endlessly on things I didn't enjoy, which is why the emotional outburst above is about as far as I'm prepared to go in talking publicly about the 13th Doctor's run.

[I want to go back. I want to love Doctor Who again, flaws and all. I probably will regardless of this. I am not making a plea concerning fandom's nature. I am neither asking for grace nor extending it. The answer is undoubtedly to carry on along the sidelines, a skulking hermit-crab of a Whovian. Yet the burr remains, the grief sticks and the solid ground of a long-held interest remains cracked. Perhaps that is growth. Self-examination does not entitle one to set discoveries aside, job done, card stamped, and return to pleasures-as-were. Yet I can't deny the raw emotional urgh that comes of hearing the same punches struck over and over, about a portion of the show that at least tried.]

Ultimately, however, I like picking apart the things I enjoy and I enjoy watching others do likewise. And I don't get to do that here without cautiously curating my experience to avoid the ten billionth iteration of ten-year-old internet arguments.

I'll keep doing it, obviously.

But it is irritating.

[This post brought to you by listening to El Sandifer's podcast about The Star Beast. Eruditorum Press is a great site for fascinating media analysis and her TARDIS Eruditorum series is well worth a read if you're interested in the show's development.]

[doorajar]

"Grey Rainbow" (2016) starts oddly, for a BL. During the opening credits we see mostly straight couples; the opening dialog presents gay marriage as a lecture-room topic, and then we meet our couple, reunited after being parted by circumstance for a couple of months (the time span is unclear).

They bicker like lovers who are getting a little tired of each other, until it develops that they are just roommates--or so it seems.

See what I mean ? Stay tuned. The fact that in the signature shot used at the front of the episodes Nuer has a bandage on his temple--and the somber hues of that same image--should maybe alert the viewer to the ultimately tragic nature of this story ...?

(An irony, considering l'm watching this series while KinnPorsche is front and center of each week, is that Nuer's opposite is called ... Porsche.)

"Do you know what I really wanna do most ?" "I want to travel alone with you, to somewhere far away ... far enough that no one knows us ... holding hands, and hooking arms over neck ... without having to care about what others think." "When will I be able to do that ?"

"Have you ever loved me at all ?"

A lot happens after the middle of Episode 2: Nuer's Jane breaks up with him, declaring him to be (not in these words) bisexual--whereupon he goes a little berserk and slugs her new boyfriend. Thus, the bandage on the temple--is this the first BL nursing carried out on the curb in the dark ?

By the end of the episode the two have become one. "You can't break up like this. I'll tell Jane she was wrong." Nuer: "What if she was right ?" They kiss. Porsche's soliloquy, above: Nuer wasn't asleep after all, and heard all of it ...

By the end of Episode 3 (of four hour-and-a-quarter eps) both sets of parents have gotten the news: their only sons are in love. Nuer's maa takes it hard at first, but comes around; Porsche's paw passes out at the table (nice timing, P ?) and wakes in a hospital bed only to start cussing out his wife. Bad scene, Bix ! After more fatherly histrionics, Nuer tells Porsche that he can't take it and is ready to quit the relationship. Aw, geez ...!

Yes, I know this story doesn't turn out rosy--I was told that, going in. But isn't there a pall hanging over this tale, more or less throughout ? From the title, to the dark signature image, the somber music often heard, and the curiously affectless Porsche, there's a downbeat atmosphere created and maintained, that the sunny smile that flashes periodically across Nuer's funny face can't really overcome.

So it's come to this: l'm taking bets with myself on who gets bumped off before this is over. (Call it a defense ploy against the angst of impending tragedy ?) Right now, Porsche is unreasonably insisting that Nuer remain in Jane drag for their visit to the temple to pray for Jane's recovery--thus he deserves to die, sez I.

But of course that's just a misinformed guess. The death when it comes, though sudden, is surrealistically announced just before it happens. And the aftermath is dreamlike--or it would be if not for some more of the clumsiness that mars this production at certain moments. Most jarringly, who is the girl we've never seen before but who Porsche seems to know: which little girl now a teen (?) is she supposed to be ?

Not a satisfying ending, l'm afraid, though there's an effort made to get us past it. There were a few sweet moments throughout the story; I won't say it was a waste of time. For 2016 perhaps it's as much as we could expect ?

The final lines, spoken by Porsche: "Being gay, unlike being a drug addict, isn't a choice; it's natural." (I paraphrase). There were other and longer lessons for the audience, about acceptance and forgiveness, sprinkled throughout. The actors and the acting were fine. The latter half of the drama was set in rural Chiang Mai, with domesticated elephants filling out the cast of characters. About five hours running time in total.

I'm sorry this four-part miniseries didn't inspire a more spirited or informative review from me. Maybe next time ...?

[khaothanawat]

Omg, I'm shipping the OS2 ot4 soo hard. tbh PhuTian could use PatPran's bluntness and amazing communication like omg. I love how Pran overhears Pat saying 'I always help him, he can't do anything without me' and it doesn't lead to some angsty misunderstanding. Instead Pran smirks and is a lil shit about it bc that's their dynamic. And their relationship is still 10/10.

I doubt we will get canon poly so now I wanna write a fic where after PatPran help PhuTian they realize they work so much better with them and then all 4 of them just. End up together. Bc I need it. Aof knows what he's doing...

you’re speaking my LANGUAGE ANON YOU’RE TALKING GOLD TO ME

honestly i’d even take a one night mountain hook up situation, i think that would be equal parts delightful and hilarious.

although i’m just imagining them getting into a little polycule situation and having a lovely time. i think it could be good for them! i mean, longtae would truly come back to a surprise hdhdhd. inevitably though, pat and pran would need to go back to bangkok and finish out college etc etc so perhaps it would be more of an every-so-often-we-meet situation. a bi-annual trip to chiang mai scenario. like… it may be long distance, but that doesn’t stop there from being potential!!

if nothing else, i think phupha and tian deserve to know that pat and pran have been using their relationship as sexy roleplay fodder. i really think they’d be into it. they need someone to remind them to have a bit of sexy dumb fun. and who better than two horndog college students?

[preferenceandpriorities]

Schöne welt, where you at?

Amidst all this ruin, maybe the looking was the good part. Should we ever find something we should be alarmed.

If I am the type to write poetry, I know this. But I have no friends or lovers to read me. And if no one is to read me, what is there to write? What good am I if not seen or consumed? Made to do things I wish not to? Made to withhold things I wish to express? Who am I without the burdens of living, the punishment of society, the relief of friendship?

I find poetry is rid of difficult words, old words. Poetry is made up of a thought, that continues into the next, a shorter story than a short story, An invitation to feel a feeling.

This is a poem I wrote instead of the review I've been trying to write since August 2022. It encompasses what I felt around the time I finished the book. I keep thinking, I'll actually perfect it, I'll shape it into something readable, but alas, that still hasn't happened as I am too busy living life. Yet I still feel that there's something to it, reading it as an unfinished piece, so here it goes:

Probably the most straightforward out of Sally Rooney’s books regarding the relevance of “non-important” stuff. I think she’s brilliant at looking at the contrast there is between our post-modern concern with the “state of the world” and how incessant our small lives actually are.

With Conversations with Friends and Normal People, this same theme is underlying, it is nearly subliminal. You could still describe either as a completely different book and get away with it (i.e., about cheating, or the latter a book about soulmates), but not this one.

It’s interesting to see a white female writer (who is clearly very aware of her whiteness and female-ness) tackle themes of mindfulness and the idea of sanctity. Religion is clearly the pivotal thing in this novel, and its comparability to celebrity culture or the deification of popular media characters seems to be fascinating to contemporary writers. Ted Chiang, who wrote Stories of Your Life and Others (what the movie Arrival was based on), wrote about it in his foreword to Everything Everywhere All At Once’s A24 book release, saying the archetypes of superheroes in media are equivalent to a modern religion. Both books and films cementing their importance in the discussion of time and meaning. And personally, I also felt compelled early in 2022 to write about why Euphoria seemed to hit a bone with its internet audience. All of these artpieces that seem to be worth talking about at all are concerned with this idea of “goodness,” just like Beautiful World, Where Are You?

(switch up?) I rarely sit down to talk about religion (and how it clearly coincides with depression), mostly because I’ve been through it. I’ve done the dirty work of confronting the mundanity of life, forgetting my self and concerning myself with others. I only feel like I may talk about it now because it is not with someone else on the other end that may misconstrue me. Most conversations I’ve had were of someone trying to convince me of a worldview that made life bearable, and the rest are of people looking for any answer that can make them happy. As someone who grew up in a religious country, I’d have to say I’m over it!

What makes Beautiful World intriguing to me is not the exploration of religion in isolation, but it is the way the characters look for what they think is God in other people.

Is religion solitude or company?

I wonder what it is to have someone be kind to you. Does this graciousness really not exist in everyone? Why is it so hard to find? What does it feel like to have someone want to bathe you without hesitation? With no hesitation? To help you go to the restroom when you’re sick.

I think this is the reason I avoid hospitals. There’s just no lying in hospitals There’s no sugarcoating anything. And everyone is there to help you. I used to love it growing up but the past three years hospitals have terrified me.

I almost feel like I wish I was sexually assaulted. I would have a reason to be sad, then. Now I just, I’m floating in a space where no one cares about me, if I died, people would be sad but no one would really miss me. Maybe that’s selfish, self-centered. But I would love to know if that would at least give some meaning to my life, to touch someone else. If I was assaulted everyone would call me strong, unbeatable.

Sally Rooney is one of those writers that I just trust will carry me on an insightful journey. It doesn’t matter so much the plot she uses as much as it matters what she says throughout.

The doctor came to me and kept repeating you are not okay. You are not okay. This isn’t normal. And I had to keep believing her. It feels nice knowing someone can see that.

Is kindness really rare? Is it God because it’s not there?

*

I wonder what it feels like, to share a smile in secret with someone Or to make someone smile to themselves, without me seeing I wonder what it feels like to feel someone sniff outwards fall on my cheek Someone happy to see me I wonder if I’ve ever given that to someone, or ever will

It cost me my life to know that he loved me

[watching-pictures-move]

Movie Review | The Sand Pebbles (Wise, 1966)

This review contains spoilers.

I watched this as part of the Hollywood Chinese series on the Criterion Channel, so naturally my attention turned to the portrayal of the Chinese characters in the movie. The last movie I watched from the series, Daughter of the Dragon, was not free from negative stereotypes. But it surprised me with the way they were navigated, getting some mileage out of the tension between the magnetism of the stars and the roles they either embraced or repelled, depending on the situation. The first hour into The Sand Pebbles, Robert Wise’s epic about a US Navy gunboat on Yangtze River Patrol in 1920s China, I did not think it was finding such ways to subvert the material. The portrayal of the Chinese here is at best condescending and at worst outright xenophobic, with the positive characters infantilized and the negative characters outright treacherous.

One of the positive characters is a coolie played by Mako, who the gruff but upright hero played by Steve McQueen (effortlessly cool and stoic as always) teaches ship maintenance and courage. The character is portrayed sympathetically, cooperating with McQueen even when his coolie boss discourages it, but also as childlike, absorbing lessons from McQueen only in simplistic forms. Mako is likable in the role, but there’s only so much he can do in the face of such blatant stereotyping. The movie does try to bestow upon him a certain dignity, having us root for him in a boxing match against a thuggish racist aboard the same ship, but cuts his arc short in a startlingly violent (by mid-‘60s standards) scene in which he is brutally tortured by locals in full view of McQueen’s ship and eventually put out of his misery by McQueen himself.

The other positive Chinese character is a woman played by Marayat Andriane forced to work as a hostess in a bar where she’s pressured to be a prostitute, but falls in love with McQueen’s shipmate Richard Attenborough. The sexually charged nature of her indenture to a slimy creditor (James Hong in a minor role), and the unimaginably horrible fate she suffers (promptly blamed on McQueen by the real perpetrators) highlights the treachery and cruelty of the Chinese. Yet I think Andriane is able (or at least given the screentime) to humanize her character more than Mako, and I did find her arc quite affecting. On a side note, what might really throw viewers for a loop is that Andriane, whose character is a bastion of purity in a seedy, sinister milieu, is also known as Emmanuelle Arsan, who wrote the Emmanuelle books supposedly inspired by her real life sexual adventures. Needless to say her character here does not partake in similar activities.

That being said, similar to Zulu, which set up a bunch of cliches in its first half only to blast through them one by one in the second half, this movie substantially complicates matters. As tensions rise between the Communists and Chiang Kai-shek’s Nationalists, with both sides itching to bait the American presence into combat, the heroes retreat onto the ship, and the surrounding events become filtered through an increasingly narrow perspective as they hold fast on this aquatic stronghold. Adding to the tension is that the ship is essentially stranded due to low water levels, and under orders not to fire at the hostile locals. This was released as the Vietnam War was starting to ramp up, and it definitely invites parallels to the situation, although depending on your political views, your sympathy may be limited for the imperialist dilemma of maintaining an image of strength while being unable to use force and futility of humanitarian aims when you’re an unwanted presence. I don’t know how much I agreed with the film’s conclusions, but I found the way it grappled with this subject pretty fascinating.

These ideas come to a head in the film’s most thrilling sequence, where the gunboat fights its way through a blockade set up by Chinese boats. It’s exhilarating not just because it’s a well directed action sequence, which it certainly is, but also because of the way it shows war as a unifying force, diffusing tensions among the crew as they direct their aggression towards a common enemy. And the switch from relatively distanced naval combat to swashbuckler style action plays like a commentary on how these characters view the locals (“pirates”, to use one character’s words). And a late reveal involving a previously minor character gives us a sense of how badly the heroes had misread the locals’ motivations. Again, the Vietnam metaphor can’t be ignored. I do think the performance of Richard Crenna as the ship’s commanding officer is pretty key to all of this as well. Crenna can have a certain stodginess  and that quality is well deployed here, his control of the situation proving increasingly tenuous in the face of the mounting tensions among the locals and on his own ship.

And on the whole, this is just a gripping piece of capital-C Cinema. I’m a sucker for any movie from this era with a sizable budget, and I certainly found the substantial production values, used to meticulously recreate 1920s China, appropriately dazzling. But this is directed by Robert Wise, who as in West Side Story, uses that scale in the service of several bracingly directed sequences. There’s of course the aforementioned naval battle, but even a smaller sequence like a brawl between McQueen and some unfriendly locals turns into a thrilling shadowplay. And there’s the final sequence, a suicidal shootout lent an immense poignancy and futility by the cavernous, shadowy soundstage it’s set on. It’s hard not to be swept up by this, and it’s hard not to feel implicated either.

[waitmyturtles]

Thank you Turtles for yet another great piece on IFYLITA. I'm so excited that you picked up the novel. So having known the context, how would you have fixed the IFYLITA finale, if you were the director and didn't know if it was possible to have a S2 or not? Would you still have included all 3 Yais or do you think you would have tried to extend IFYLITA into a 16-18 episode series in order to adapt everything from start to finish? Is there anything from Part 1 of the novel that you are glad/happy that it wasn't adapted into the series or things you like that the series have done differently/taken different approach from the novel?

You must be so tired after your work trip and I'm really sorry for bothering you about IFYLITA even though you just wrote such a long post about it 😭

@clairedaring, I will take ANY EXCUSE to keep talking about I Feel You Linger In The Air -- I LOVE this extended conversation, thank you for engaging me in it! <3

Here's my thinking on how this first season shaped up, and a lot of this comes from conversation that I had with @lurkingshan and @neuroticbookworm before I read the novel last week into this week.

The material for the 1928 Chiang Mai era clearly fit a style and a tone that director Tee Bundit knew he could do a lot with. (@clairedaring, my recent history with Tee Bundit has been in watching many of his shows -- TharnType and Lovely Writer in particular -- for my Old GMMTV Challenge project, where I'm watching older Thai BLs to learn more about the genre. I also watched Step By Step -- TT and SBS are two of my most passionately hated shows, and I utterly LOVED Lovely Writer, so I have a real love-hate relationship with Tee Bundit, lmao.)

Since I've read the novel -- I'm glad he stuck with one era for the first season, and I really liked how he expanded it. We know that Eaung Peang and Robert have much more minor roles in the novel, and Tee Bundit greatly expanded EP's role to include a lesbian main couple, as well as a dialogue about women's reproductive health and freedom. There was Yai's arranged marriage in the drama that got extended, as well as the criminal downfall of Uncle Dech, Robert, and Yai's father by proxy. Yai's mother gaining power to run the family after that, etc., etc. -- these are all themes that Tee clearly glommed onto in expanding that era, and @clairedaring, to the point you made in the reblog tags of my previous piece from yesterday, I am SUPER glad we spent most of our time in this era. Tee also just made it GORGEOUS for us to watch, which was a treat.

I think if Tee had tried to include all three Yais, we would have felt short shrifted. The Seehasingkorn/Ayutthaya era of the novel is so lengthy. And there are HUGE behavioral change moments for both Jom and Commander Yai in that era. Especially for a Thai audience that's familiar with the novel, if that had gotten shortened, then there definitely would be public criticisms and outcries. (Plus? That era was so much FUN in the novel. Jom was SO SASSY and bold to start courting Commander Yai first!)

I think, if Tee Bundit gave a huge bunch of energy and attention to 1928 Chiang Mai, he'd want to do the same for an even older, more nomadic era. I cannot imagine how beautiful it would be to see that depicted.

And then Tee could fix the order of some scenes from the first season, and we could see more reveals in context, as well as the present day? A season 2 would just be ridiculously awesome for all of that.

The one thing I would have liked fixed was the redundancy from episode 11 to episode 12. I also would have liked more specific clarity about pieces of Jom being lost every time a drawing was made -- we saw that he froze and transcended himself, but that was illuminated pretty early on in the novel, and I think the same could have been done in the series without losing dramatic effect.

But these are minor quibbles. We got to center ourselves in the development of the incredible relationship between Khun Yai and Jom to start the dramatic introduction to this series, and the way Tee Bundit did it defied nearly all of my expectations about this work. He didn't miss any of the big themes of the novel, which I so appreciate, and I think he enriched our experience of the novel by expanding greatly the plight of women in that era. I'm glad we had mostly one Yai to deal with, because more of them would have been a lot!

[venomsreviews]

I have to talk about how much I love Sun Chien’s character in The Brave Archer 3 (1981). When you first see him, he’s so gentle and pleasant. He is clearly enjoying what he’s reading while he sings such a lovely song. There is certainly a reason why he’s named the Scholar, as he doesn’t break away from what he’s reading until Huang Yung (played by Niu Niu) starts a discussion about the Analects of Confucius. I feel like it’s lovely to see Sun Chien have such an intelligent, sweet role since he shows off his variety of acting skills since this is not a villain or your typical hero. He plays it so well since he is a lot friendly than the other characters you initially see (played by Chiang Sheng, Lu Feng, and Wong Lik), so it does seem much easier to approach him.

He is serious though since he won’t let Huang Yung or Kuo Tsing (played by Fu Sheng) get to their destination without passing his test first, but I think it’s part of his charm. Mainly because it’s his job to make sure no one gets through unless they permit it so he can’t play around about that. What I really fell in love with is how humble the Scholar was. He openly accepts that Huang Yung and Kuo Tsing were skilled after they passed, instead of acting like he was the most intelligent. Aside from that, the character’s fighting skills are phenomenal. He may be caring, wise, and rather calm but he is ready to protect people when it comes down to it. His fight scene against Hsiao Yu in this film is so entertaining. Sun Chien is armed with both his fan, as you see in this gif, and another weapon which he uses in addition to his kicks. In my opinion, it makes for a very well rounded character! I like that they flash back to when the Scholar was younger too. It gives a feel of him as a whole.

[if-i-was-a-cucumber]

currently watching part 5 || my gear and your gown

ONCE AGAIN = DON’T READ IF YOU DON'T WANT SPOILERS.

this is mostly about the ending of episode 7, which has me crying on the floor with how pai and itt leave each other before going to university. there, that was my last spoiler warning (though i guess it’s in the premise).

the cutest thing in the world to me was pai knowing that itt hates him now but still caring that he got into the university his mom wanted for him. even when itt confronts him later about the chemistry notes pai anonymously made for him, he just has the most resigned look on his face, like he doesn’t expect itt to believe him, or care about his intentions. i LOVE this little act that proves that pai cares about itt for no sake of himself, no personal gain, not even for itt to acknowledge it and love him back; he just wants itt to be successful and happy, even if he still hates pai.

and of course, itt doesn’t get it, which is heartbreaking enough. he thinks everything all comes back to pai wanting to play the good guy, be the smart one, act like he’s the victim when itt’s the one who was lied to. i understand it, but it makes my heart cry 😞 😞 please be happy again you two!!!

and here’s pai, picking up the chemistry notes itt threw on the floor before he stormed away. “our friendship is completely fake.” I’M IN TEARS OVER HERE JUST LIKE POOR PAI IS IN HIS HOUSE. LOOK AT HIS FACE. HE’S REMINISCING ABOUT ALL HIS MEMORIES AND I’M SOBBING ALONG WITH HIM.

but i’m also confused. this is episode 7/12 but the premise on MDL hangs on the idea of a time-skip, like them all later in university, so is all of this just supposed to be the background for the real story?

pai’s smile after seeing itt found it he got into the engineering university is everything. this is probably the furthest thing from a hot take i’ve ever seen but pai and waan and really the best people in this show. this is such a good example of selfless love, and of course waan proved himself to us through his interactions with pure and lack of discrimination.

love those boys with all my heart.

PAI NEEDS TO STOP PROFESSIONALLY HURTING MY FEELINGS. do you see this?? waan is just trying to convince pai to go say goodbye with some well-placed math about the distance between bangkok and chiang mai, and pai had to make me all sad again.

this episode ending was so depressing it deserves its own awards:

most emotional line!: “even when we’re only a meter apart, he still doesn’t want to talk to me.” – pai

honorable mention!: “quit acting like you’re my friend, because you’re not.” – itt

[tm-trx]

La Pluie, ep 12

Sigh.

Sp*ilers ahoy

I have very few notes, but here they are:

Pingpong clocking Lomfon’s Tien-based short film was such a great friendship moment; that whole conversation was so good. I just wish the film hadn’t turned into a confession, because that was legitimately awful and I fast-forwarded so fast to skip that scene.

Nara/Dream FTW - I was giddy during their whole ‘date.’ Of course, they almost immediately started talking about Tai and Patts’ relationship. But thankfully, they quickly refocused on each other. Highlight of the episode. (Which really should not have been the case, show.)

I’m pretty sure I recognized that Chiang Mai aerial shot from Chains of Heart. The location is beautiful and I can see why they keep returning to shoot there.

Tai motoring around on his scooter visiting locals and getting to know the area was very cute.

But getting filmed backstory of random strangers just to seemingly give Tai more love advice that he didn’t actually need? Why? That screentime could have been much better used later. [see next bullet point]

The reunion - Tai said his piece, Patts took him back with barely a word, the end. ???? [insert iguess.gif here]

AND THEN

The show gives Tien hearing loss and a soulmate in the last shot of the show. 

FFS

Because if getting a soulmate was truly spontaneous like this (and not something that happens at a set age range like in most depictions), then the society in this show’s world would not have romanticized it to the point that Tai has so many issues in the first place. 

In a world where anyone can get a soulmate at any time, long-term relationships would either not be a thing for the most part (because most people are waiting for their person) or it would just be treated like a random sci-fi event connecting two people and they would form relationships like in a non-soulmate world. In that second scenario, I’m sure there are people who believe in the romantic ideal of soulmates and either wait for it to happen to them or ditch their current partner as soon as it happens. But, if that is the case for the La Pluie world, we weren’t shown that, and I have to believe that considering Tai’s issues, we would have.

Final Rating: Two stars (one star for Nara, half star for the OST, and a half star for Title because I really liked him as Tai)

Rewatchability: Low (I was planning to do a rewatch at some point, but that last nonsense with Tien changed my mind. I likely will never rewatch it.)

[travelseewrite]

Travel The World On A Budget: Cheapest Foreign Destinations Under 20,000 Inr From India!

I have just been back from almost a 20 days trip from Europe, and the most frequently asked questions I get are, “How do you get to travel so much?” and “Which are the cheapest foreign destinations to travel from India?”. “are there any destinations that you can travel under 20,000 or 30,000 INR from India?” and many more budget travel questions. I know you, too, like me, would be feeling the itch to explore new destinations but don’t want to break the bank. Well, you’re in luck! As a seasoned traveller, I’ve discovered several destinations that you can travel to for under 20,000 INR from India. These destinations offer a wide range of experiences, from vibrant cities to tropical paradises. So, let’s dive in and explore some of these fantastic destinations together that would give you the experience of doing international trips under 30k from India! And many of these foreign trips are not only cheap from India, but they even allow you to travel visa-free or have easy visa procedures like visa-on-arrival or e-visa.

Table of Contents

KATHMANDU, NEPAL

COLOMBO, SRI LANKA

BANGKOK, THAILAND

PHUKET, THAILAND

KUALA LUMPUR

BALI, INDONESIA

DUBAI, UAE

MALDIVES

SINGAPORE

MUSCAT, OMAN

HANOI, VIETNAM

LUANG PRABANG, LAOS

YANGON, MYANMAR

Kathmandu, Nepal

First up, Kathmandu, Nepal, is one of the most economical destinations to make a foreign trip under 25000 from India, and you don’t even need a visa to visit Nepal. As a lover of the Himalayas, ancient temples and vibrant streets, I was immediately drawn to the charm of this neighbouring country. The historic temples are a sight to behold, and the markets are always bustling with energy. The food is good too, and the people are really nice. Plus, with an average cost of a round-trip flight to Kathmandu from India being around 10,000 INR, it’s an affordable destination to visit. Kathmandu is also very convenient for doing day tours to Bhaktapur, Panauti and Nagarkot (the sunrise is to die for). Once you are in Kathmandu, you can explore other parts of Nepal on a budget, such as Lumbini, Chitwan, Pokhara and even Everest Base Camp.

Colombo, Sri Lanka

If you are tight on budget, you can do a trip under 30,000 In Sri Lanka.

If you are looking for international tour packages under 20000 with a flight, then Colombo in Sri Lanka could be another good option. As someone who loves a good beach, Sri Lanka’s lush forests and beautiful beaches immediately caught my attention. The capital city, Colombo, is a perfect blend of modern and traditional culture. The hotels and restaurants are top-notch. It’s also the gateway to other popular tourist destinations in Sri Lanka, such as Kandy and Galle. With an average cost of a round-trip flight to Colombo from India being around 15,000 INR, it’s an excellent budget-friendly option for travellers. When in Colombo, don’t forget to visit the famous landmarks such as Galle Face Green, Viharamahadevi Park, Beira Lake, Colombo Racecourse, Planetarium, University of Colombo, Mount Lavinia Beach, Dehiwala Zoological Garden, Nelum Pokuna Theatre, One Galle Face, Gangaramaya Temple, Dutch Museum, Colombo Lotus Tower and the National Museum. A trip to Sri Lanka would be incomplete without visiting its coast, Dambulla Cave Temple, Sigiriya, Adams Peak, tea plantations in Nuwara Eliya, getting up close to gentle giants at Yalla National Park, and going whale watching at Mirissa.

Bangkok, Thailand

Thailand is a super popular destination among budget travellers from India to visit under 25000. If you’re looking for a vibrant city with a mix of modern and traditional cultures, Bangkok, Thailand, is the place to be. The street food, lively night markets, and magnificent temples are sure to leave you in awe. Bangkok is also an excellent base to explore other parts of Thailand, such as Chiang Mai or Phuket. With an average cost of a round-trip flight to Bangkok from India being around 15,000 INR, it’s an affordable option for budget travellers. You can do your entire international trip top Thailand for under 40k from India. Flying from Kolkata to Bangkok at times works out cheaper than local flights within India

Phuket, Thailand

Phuket is another Thai destination that’s perfect for budget travellers. If you plan well in advance and look for good deals on MakeMyTrip, Agoda, Yatra, and Booking, you can get international trips to Phuket for under 30k from India. The island is home to stunning beaches, vibrant nightlife, and delicious street food. Whether you’re looking to party or just relax on the beach, Phuket is a destination that won’t disappoint. With an average cost of a round-trip flight to Phuket from India being around 12,000 INR, it’s an affordable option for travellers. In the off-season, neither you get crowded beaches nor expensive flights. I travelled to Phuket in June, and it was the perfect time to explore the place at ease and within my budget. You can read more details about Phuket here.

Kuala Lumpur

Kuala Lumpur, Malaysia, is another vibrant city with a mix of Malay, Chinese, and Indian cultures. The Petronas Twin Towers are an iconic sight to see, and the street food is delicious. Kuala Lumpur is also a gateway to other popular tourist destinations in Malaysia, such as Penang and Langkawi. With the average cost of a round-trip flight to Kuala Lumpur from India being around 12,000 INR, it’s an excellent budget-friendly option for travellers. Also, when you visit Kuala Lumpur, you can extend your trip to either going to Selangor or Kota Kinabalu.

Bali, Indonesia

Bali is a tropical paradise that’s home to beautiful beaches, cascading waterfalls, lush rice fields, huge volcanoes, beautiful mountains and ancient temples. The island is known for its unique culture and welcoming locals, as well as its delicious food. Whether you’re looking to surf, hike, or just relax on the beach, Bali has something for every type of traveller. Most tourists stick to its southern part, but I found its northern part more stunning and peaceful. With an average cost of a round-trip flight to Bali from India being around 15,000 INR, it’s a budget-friendly option for travellers. The villas, food, transportation, and everything is pretty economical in Blai, and the culture is quite similar to Indian culture.

Read more About:- Travel The World On A Budget