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waitmyturtles · 3 months

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Turtles Catches Up With Old GMMTV: KinnPorsche, and Analyzing the KP Cultural Zeitgeist Edition (Part 1)

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

Hot damn! It has been a MINUTE since my last OGMMTVC review, so I'm glad to be back. I've been very much looking forward to writing my thoughts about my recent KinnPorsche rewatch: I enjoyed this ENTIRE process, especially in regards to watching KinnPorsche in the context and chronology of past Thai BLs, and man, did I ever see KP WAYYYYY differently than the first time I watched it.

Why's that? Welp -- *KinnPorsche was my first-ever Thai BL*. (Not my first BL drama ever; that award goes to the GOAT, Kinou Nani Tabeta?/What Did You Eat Yesterday?)

But when I joined Tumblr officially in July 2022, just about a year and a half ago (in the heat of passionately obsessing over Old Fashion Cupcake), my dash was awash, AWASH, in KP posts. AWASH.

I had no idea what the fuck the algorithm was telling me.

I went into KinnPorsche knowing absolutely NOTHING about Thai BL tropes, the history of the genre, the actors in the roles, what made KP so innovative by way of its storyline, NADA. Dudes -- I'm half-Malaysian, and I had never even watched a show from the Southeast Asian region, let alone Thailand, and I was unaware of how prolific the Thai drama industry was (at least compared to the Korean drama machine).

When I first watched KinnPorsche, my perspective was that I had watched a pretty good show, and I was left surprised back then in particular by the No Homophobia Bubble (well, almost no homophobia, Big) that I now know is so much more common in Thai BLs than I realized.

It was through KinnPorsche that I discovered Thai BLs, and it was subsequently through Bad Buddy that I realized that I NEEDED to understand the development of this national genre -- so back to the history annals I went, through my OGMMTVC project, starting from 2014's Love Sick, and here we are at this moment of the timeline, the hot hot late spring and summer of 2022, enjoying the ✨vibbbeeezz✨ between Mile Phakphum and Apo Nattawin, and leaving me wondering why there was a national shirt button shortage in the midst of a Thai mafia crime drama. I'm glad I have history on my side now as I think about KinnPorsche as a standalone drama, and as I also think about the impact it has had on the Thai BL genre and fandoms prior to its premiere, up to today's moment in time.

I took my time to draft this piece partly because I was busy watching Be On Cloud's second and latest serial drama in Dead Friend Forever. I think BOC is doing something very interesting by way of their acting and contracted scripting choices, which I want to ponder by way of the context and aftermath of KP's airing. As such, while I had intended to write just one post about KP, I have a bunch of thoughts that'll spill over to tomorrow. So here we go, a quick overall outline for the lovers for today and tomorrow on my ruminating thoughts:

1) My critical thoughts on KinnPorsche as a standalone drama in the context of the history of previous Thai BLs, 2) My thoughts on how new arrivals to the wider Thai BL fandom shaped the perception of KP vis à vis older Thai BLs, 3) How I think KP has impacted how other studios approach, market, and write Thai BLs now, and 4) A quick passing thought on BOC's own continued influence on the Thai BL genre and industry since 2022, particularly by way of Dead Friend Forever.

I'm going to concentrate on numbers 1 and 2 in this piece, and they're actually going to be a touch conflated, because I want to lean into a now-obvious fact that the BL Elder community knew all along about KP when it first aired in 2022: there was not much that was new about what KinnPorsche was doing. (This is not necessarily a bad thing, as I’ll get into below.)

When I was a newbie on Tumblr, and the algorithm was feeding my dash, I remember seeing posts about how Be On Cloud, the studio behind KP, was doing things differently than the rest of the Thai BL field -- I recall posts about the studio hiring the best acting coaches, how the cinematography was nothing like what we had seen in other shows, and how Be On Cloud was committed to creating safe environments for its actors, particularly Apo Nattawin, who had reportedly faced discrimination in his past acting career, reportedly leading him to leave the Thai drama industry for a number of years.

While some very early Thai BL studios were known to not have the safest or friendliest environments (the filming of What The Duck comes to mind by way of this lore), by the time of KP's airing, GMMTV had strongly established itself as the leader of Thai BL productions, and other players, including New Siwaj and Cheewin Thanamin, had produced quite the number of dramas under each of their respective studio outfits. The industry, by 2020 and 2021, when KP was in its development origins, wasn't new anymore. Acting coaches, such as Aof Noppharnach, were now also regularly writing, directing, and producing original shows, and major BL studios had introduced workshopping as a regular step to production. On the artistic end, studios and writers had established expected artistic tropes -- 2018's Love By Chance is the first example that comes to my mind of when the Thai BL genre crystallized in a structurally derivative piece of art by way of containing and using prior trope references and dynamics.

Be On Cloud, in picking up the KinnPorsche script from Filmania during the pandemic (I use these posts here and here for my non-primary sources of KP lore) clearly knew it had something innovative on its hands by way of producing the genre's first mafia-based BL romance.

But 2020's Manner of Death had already introduced crime and mystery to BL, and 2021's Not Me continued a multi-genre perspective somewhat successfully around romance. And regarding sex and heat: KinnPorsche didn't do that first, either. MaxTul brought it first in 2017's Together With Me, and MAME has owned this corner since 2018's Love By Chance and 2019's TharnType. (Props to MaxTul for being in both Together With Me and Manner of Death; MileApo owe those dudes some beers.) By way of cinematography, which KP does extremely well: we had already begun seeing prestige cinematography in 2020's I Told Sunset About You, and 2021's I Promised You The Moon and A Tale of Thousand Stars.

It was natural, I think, for much of the KP fandom to think that KP was innovative in a lot of these categories, because, like me -- KP was our first-ever Thai BL. By way of money clearly spent on the show, the directorial purview of the show, the utterly gorgeous cinematography (man, that nighttime pull-away shot when the guys are in the roof pool, oof, why couldn't I find a gif), a new fan might think, geez, this has never been done before! But it had, and not just in Thailand, but for years prior in Japan, and more recently in Korea.

This is ALL not to say that KinnPorsche “suffered” because of what I'm uncovering by way of KP's misunderstood innovation. I think a perception of KP being entirely “new” in the BL field has contributed to its lore and enduring influential status. On this rewatch, I appreciated the mafia-based storyline as a support system to the central KinnPorsche romance. Yok being centered as an important mentor to Porsche, played by the inimitable Sprite Patteerat, was refreshing to see. Porsche accepting his bisexuality, especially with Yok's support, without the typical BL head-spinning queer revelation, was a welcome element to the show. And, frankly -- I had, on my first watch, missed, of course, the clear references to Thai BLs of the past in this show, references that I really loved seeing this time around.

From the old school, we got Kob Songsit, the OG BL dad, no longer Tong's dad in the seminal movie, The Love of Siam, nor Dean's dad in Until We Meet Again. This BL veteran is now a damn dad don, weapons and all.

We've also got Na Naphat, who played important side characters in IPYTM and UWMA. We have former BL lead guys in Jeff Satur and Perth Nakhun. We've got guitars and singing, we have underwater smooching, we have a cute-cute first date. We arguably have questionable kabedon in Kinn's and Porsche's first intimate moments. We have cooking for your lover, we have feeding your lover, we have the towel-drying of the hair. KP, by 2022, keeps up with Idol Factory's Secret Crush On You in prominently featuring a femme-presenting side character in Tankhun, PHENOMENALLY ACTED by Tong Thanayut, who we had seen previously in TharnType.

KP was, in part, directed by Pepzi Banchorn, who served as an assistant director on 2019's Dark Blue Kiss and 2021-22's Bad Buddy, and had a quick guest spot in 2022's The Warp Effect. KP was also, in part, directed by Khom Kongkiat, who played Uncle Tong in Bad Buddy, and subsequently directed The Promise in 2023. AND, finally, one of the KP screenwriters is Bee Pongsate, who has co-written so much flippin' BL: Last Twilight, Bad Buddy, Dangerous Romance (😬), Vice Versa, My School President, A Tale of Thousand Stars, 2gether and Still 2gether, and that's not even scratching the list -- you get it.

KP's supporting cast and crew was simply stacked with BL vets, who clearly knew the scene, and who helped to support Mile Phakphum's rookie acting and Apo Nattawin's return to the screen. I'd posit that this group of people knew EXACTLY what references they were putting into KinnPorsche, from actors to tropes, and also knew when, where, and how to innovate around those references to still make this show unique.

Certainly, KP's approach to sex and heat -- by way of Kinn's and Porsche's first drunken encounters (hi again, MaxTul), the uncut intimate scenes between them, and Vegas's and Pete's union by way of, well, semi-torture and/or kink -- was bold enough to be overall quite notable. But again: Thai BLs had been pushing that envelope for years past, and it has continued to do so in shows like MAME's Love In the Air and GMMTV's Only Friends.

In other words: after this rewatch, with the history of the older Thai BLs I've watched under my belt, I don't see KinnPorsche as firstly innovative. But I appreciate the show differently now, in particular for how very obvious it worked to include past Thai BL references in its production, and I actually gained a different appreciation for it.

I also want to made a quick tangential note about Apo and Tong specifically by way of innovation. Dr. Thomas Baudinette, a long-time BL fan and academic researcher on Thai and Japanese queer media, notes in his book, Boys Love Media in Thailand, that an ideal trajectory for a Thai BL actor is to debut in BLs in order to transition to more popular primetime het Thai dramas, as Gulf Kanuwat of TharnType, and Ohm Thitiwat and Kao Noppakao of UWMA and Lovely Writer, respectively, are notably doing at the moment. Apo Nattawin did this the other way around: he had established his career in het lakorns, most notably in 2015’s major hit drama, Sut Khaen Saen Rak, and subsequently left the Thai drama industry after reportedly being discriminated against for his skin tone and fashion choices. And his way back to the industry was through BLs. Taking the lore of Mile Phakphum recruiting Apo for KP out of the picture for a moment: I think this indicates a shift in how BLs are increasingly perceived in Thailand, and even globally, as being a career-worthy genre of content on its own for actors. (Apo's exploding fashion career is proof of this.) And BOC has now recruited another lakorn vet in Jes Jespipat for its third upcoming drama, 4 Minutes.

As well, Tong Thanayut’s very public coming out after the conclusion of KP’s airing is notable for how Be On Cloud has continued to center Tong in its productions after that fact, most notably in 2023’s film, Man Suang, while other out BL actors are not as lucky by way of guaranteeing and attracting future work.

I have a lot more to say about KinnPorsche's and Be On Cloud's impact on the current Thai BL industry, and how I think that impact has affected the marketing and creation of more recent shows like 2023's Only Friends, and 2023-24's Playboyy. But this first post has gotten long, and I actually haven't written much about the actual show itself, HA. So let me say this:

I think it's notable that the first shows that played around with themes outside of romance, like 2020's Manner of Death, and 2021's Not Me, were not perfect shows. We see now how multi-genre BLs are just exploding, what with Dead Friend Forever and the upcoming slew of vampire BLs that are going to drop (and let's not forget the first omegaverse BL drama in Pit Babe -- or should we forget it, I dunno). Not all of these shows are perfect, but the genre has only been around for a decade. There's a lot of time, and a tremendous amount of interest and funding, that upcoming shows can leverage to become better, especially these multi-genre shows that we're seeing more of.

KinnPorsche as well, was not a perfect show. I have some thoughts particularly on VegasPete to offer tomorrow, and I think, overall, that KP could have easily been a shorter series with more impact.

But I'll still give the show some of its flowers, because I think, unlike MoD and Not Me, that KinnPorsche did a better job of centering the Kinn and Porsche romance for dramatic effect, particularly by leveraging comedy. Were there many moments of hibbly-jibblies? Oh, totally. Dudes, also, Kinn fucking forgot about Pete! Pete coming back to the house and reminiscing about Vegas while holding his neck? Eeeeyikes, no thanx. There were a number of these weird bumps that I think could be explained by way of intentional camp (which I think KP did pretty well), but I do believe the show could have been tighter with more editing.

But, I gotta admit: I had a great time re-watching KP. That says something. Was it the heat that tiddled my dopamine cycles? Probably, somewhat. (No shame in my game.) Or -- a more reasonable theory, ha, is that Apo, as a veteran actor, demonstrated more range than I originally remembered. He can really do comedy well, and he timed his comedy perfectly for the absurdities that peppered KP through the series (the bread crawl, the constant throwing of hands, the jumping-on-Kinn when the ghost of Pete showed up, oh shit we're in the forest now, etc). Apo and Tong, in particular, stayed true to the bit many times during the show, and I think the series benefitted greatly from their collective comedic talent and timing -- which I thought was nicely refreshing for the genre.

With that, I'll have more ruminating tomorrow about the show itself, about how I think the impact that KP and BOC have had on the genre after KP's airing, and other thoughts about the cultural moment that KP demarcated when it aired -- see you tomorrow!

[MORE MORE MORE KP tomorrow! And I'll have more thoughts about the watchlist then. But for now, here's the classic OGMMTVC list for you to chew on!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 34) Secret Crush On You (2022) (review here) 35) KinnPorsche (2022) (tag here) 36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist

...interrupting the OGMMTVC list here to watch War of Y (2022) (watching) in chronology to decide if it gets listed...

37) The Eclipse (2022) (tag here) 38) The Eclipse OGMMTVC Rewatch to Reexamine “Genre BLs” and Internalized/Externalized Homophobia in GMMTV Shows 39) GAP (2022-2023) (Thailand’s first GL) 40) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 41) Moonlight Chicken (2023) (tag here) 42) Bed Friend (2023) (tag here) 43 La Pluie (2023) (review coming) 44) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 45) Wedding Plan (2023) (Recommended as an important trajectory in the course of MAME’s work and influence from TharnType) 46) Only Friends (2023) (tag here) (not technically a BL, but it certainly became one in the end) 47) Last Twilight (2023-24) (tag here) (on the list as Thailand’s first major BL to center disability, successfully or otherwise) 48) Cherry Magic Thailand (2023-24) (tag here) (on the list as the first major Japanese-to-Thai drama adaptation, featuring the comeback of TayNew) 49) Ossan’s Love Returns (2024) (adding for the EarthMix cameo and the eventual Thai remake) 50) Dead Friend Forever (2024) (thoughts here) 51) 23.5 (tag here) (2024)]

#kinnporsche #kinnporsche the series #be on cloud #mileapo #mile phakphum #apo nattawin #kinn x porsche #porsche x kinn #tong thanayut #bible sumettikul #turtles catches up with old gmmtv #turtles catches up with thai bls #turtles catches up with the essential bls #the old gmmtv challenge #ogmmtvc #pond krisda #dead friend forever #kinnporsche meta #kinnporsche the series meta

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lurkingshan · 9 months

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A Time Called You: A Great Reminder to Go Watch Someday or One Day

This past weekend Netflix dropped a new kdrama called A Time Called You in its entirety, and I became particularly interested in watching it as soon as I realized what it was: the Korean remake of Someday or One Day I knew had been in the works for awhile. If you’re not familiar, Someday or One Day (SOOD) is a beloved 2019 Taiwanese drama that is widely considered to be among the best dramas the country has ever produced (there is also a 2022 film version of the story, but that’s less relevant to this post). Now, I love Korean dramas, and I know that countries remaking each other’s best shit is very common in the Asian media landscape, but I couldn’t help but feel protective of the original work and a bit resentful of the choice to adapt something that was so original and unique and specific and put that generic kdrama sheen on it. Taiwan has a small film industry, and this is one of its jewels. We didn’t need Korea’s take on it.

And having watched the adaptation in full now, I am feeling pretty justified in that initial feeling. Let me just say upfront: A Time Called You (ATCY) is a perfectly good drama with a solid cast and competent storytelling. Had I seen it absent the knowledge of what it was adapting, I probably would have liked it a lot. But I have already seen and loved Someday or One Day, so I feel compelled to break down why it is the better version of this tale, both for my fellow SOOD devotees who are wondering how this adaptation stacks up and for folks who have only seen the kdrama in the hopes that you’ll decide to watch the original. As usual, I did the most, so reader be advised that this is long (tagging @troubled-mind as promised and @smittenskitten because I saw you were looking for a comparison of the two dramas). TL; DR: if you liked ATCY, or have seen neither version and are wondering which to watch: go find Someday or One Day, because it’s an overall superior and more satisfying execution of the same story.

The Vibe

Let’s start here because it’s the most obvious and immediately striking thing as someone who has seen both versions. SOOD has a bit of a rough and unpolished feel, which makes it feel more grounded in reality (important when you are getting into fantasy elements like time travel but you still want the characters to feel like real people). We open our story in 1998 in a record shop with a young girl playing Last Dance by Wu Bai and China Blue, a 1996 mando pop rock ballad, and thus setting the tone—this will be a somewhat raw and bittersweet story about grief and hurt and longing that will invite us to wallow in our feelings. And that melancholic vibe stays throughout the drama, even in the explicitly happy scenes, because you are always aware that the joy you are seeing has already been lost.

By contrast, ATCY feels… emotionally flat. Don’t get me wrong, it is a very faithful adaptation. The early episodes are practically a shot for shot remake of the original drama. But it’s too polished, too shiny. The filmmaking is bog standard kdrama fare; everything is soft focus and warmly lit and too beautiful and consequently nothing feels real. It feels right in line with the standard aesthetics of recent mainstream Korean dramas, and that choice undermines the emotional weight and grit of this story.

A great example of this can be seen in the way the two dramas handle the iconic scene where our female lead runs in the rain, looking back over her shoulder to smile in delight at the male lead before continuing on her way. This is a moment of realization for him about his feelings for her—one he will later immortalize in a painting that becomes part of the mystery of the past she is trying to unravel. In Someday or One Day, this scene takes place on a regular street, in the utterly mundane surroundings of their everyday lives as they walk home, and she runs down the middle of the road as puddles gather in the uneven pavement; in A Time Called Love, they are in a picturesque park for this scene, surrounded by green and encased within a grove of giant trees, and she runs right down the middle of a tree lane that looks like it came straight out of a fairytale. One story is very much about a love grounded in a reality we can recognize; the other is pure fantasy romance.

The Music

I already mentioned the song that anchors the Taiwanese drama above. Last Dance is hugely important to the story, both thematically and as a plot device, and in its ability to set the mood and tone of the drama.

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The Korean remake similarly uses a real 1996 ballad as its main song and time travel mechanism: With My Tears by Seo Ji Won. And, uh, the vibe is a bit different.

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Discerning listeners might recognize this as one of the many classic love ballads performed by our favorite doctors by day, rock stars by night over on Hospital Playlist. It’s a perfectly fine song. But it sets quite a different tone for our story, doesn’t it? It also is meant to be a song that a teenage boy is hankering to listen to on cassette, and listen, I wasn’t living in Korea in 1996. I have no idea how culturally accurate that may be. I’m sure there were in fact baby Lee Ik Juns running around trying to get their hands on this cheesy love song. But the edgier sound of Last Dance definitely sounds more in line with something the teenage male lead would listen to and what the music is meant to convey. And frankly, since we hear this song about 30 times in the drama, it matters that Last Dance is just an objectively better song.

And that’s just the tip of the iceberg, because beyond the classic song each version chose to use as its centerpiece, there is also a stark difference in the quality and tone of each drama’s OSTs. Here is a compilation of the Someday or One Day tracks, including the utterly gorgeous main theme by Shi Shi. The music is hugely important in the Taiwanese drama and is used to set the mood as well as emphasize its themes, and the tracks feel specific to this story.

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And here is a compilation of A Time Called You OSTs.

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If you’re familiar with kdrama OSTs, you will recognize most of the artists on here, as well as some new covers of old songs. And again, the vibes are quite different. Whereas SOOD was very intentional and specific in its music choices, ATCY just sounds like every other kdrama. There is nothing on this tracklist that stands out or evokes the kind of feeling that the SOOD tracks do.

The Main Couple

The name and timeline situation in this show makes this section unnecessarily difficult, so let me just make a little reference sheet here:

Someday or One Day

Alice Ke plays Yu Xuan (2019) and Yun Ru (1998)

Greg Hsu plays Quan Sheng (2019) and Zi Wei (1998)

A Time Called You

Jeon Yeo Been plays Jun Hee (2023) and Min Yu (1998)

Ahn Hyo Seop plays Yeun Jun (2023) and Si Heon (1998)

All of the actors here are seasoned and very good at their jobs, so I am not casting shade on any of them—they are executing their performances based on writing and directorial choices. But I cannot deny that the Taiwanese version of these characters are more compelling all around. In SOOD, the main characters have a real spark; despite the melancholic undertone of the story, there are moments of genuine joy and when they connect with each other, you feel why this bond is strong enough for them to find each other through time and despite all the trauma they endure. In ATCY, however, the characterizations are muted.

This is most evident in the difference between Quan Sheng/Zi Wei and Yeon Jun/Si Heon. Greg Hsu plays Zi Wei as magnetic, playful, mischievous, utterly lovable, and very intense about his feelings for his lady. He has a real joie de vivre about him that clearly brightens up Yu Xuan’s life considerably, and his devotion to her is not just shown, but deeply felt. Experiencing their memories, you understand immediately why Yu Xuan can’t move on from his death; he was the joyful, relaxed counterpoint to her more ambitious and serious personality. Si Heon, though? He is a nice dude and a generous partner and he is very good looking. But he doesn’t have the playfulness or the intensity that his Taiwanese counterpart does. His personality is just more moderate all around. One great example of this: upon discovering that he has traveled forward into the body of the person that would become Yu Xuan/Jun Hee’s boyfriend, Zi Wei (in Quan Sheng’s body now, are you still with me?) actively decides to find her, love her, and try to solve this time loop quagmire they are in; Si Heon (in Yeon Jun’s body) waits for a moment of fate to give him a sign, and only makes the decision to pursue Jun Hee after running into her by coincidence.

Similarly, Jun Hee is not quite as spunky and sassy as Yu Xuan and Min Yu is not as dark and awkward as Yun Ru; when Jun Hee travels to the past and takes up residence in Min Yu’s body, the differences between the two characters she is playing are not as evident. In SOOD, I could tell at a glance who is in Yun Ru’s body; in ATCY I need more context to be sure. Where Yun Ru had more of an edge, Min Yu simply reads very shy. It’s not as compelling. One scene that really stands out as an example of this: when Yun Ru is pretending to be Yu Xuan in 1998 and looks in the mirror to practice smiling, it looks downright creepy and sinister; when Min Yu is masquerading as Jun Hee and looks at herself in the mirror, she just looks awed and happy, if a bit awkward. It’s subtle, but it changes the way you feel about the characters.

The difference in Jun Hee and Yeon Jun’s characterization also affects the couple chemistry, which is just not nearly as strong in ATCY. The characters are more muted and thus the expected sparks are more like smoldering embers. The relationship feels cozy and warm and nurturing, but it doesn’t feel vital. It doesn’t feel like the kind of relationship you would fight through time or break the rules of the universe to return to. I recall gasping or crying or laughing out loud throughout SOOD because I was constantly taken aback by Greg Hsu’s arresting presence and the chemistry he and Alice Ke generated was just emotionally riveting. When Yu Xuan told Zi Wei (as Quan Sheng) that they were officially together, that man literally jumped for joy and shouted out his love for her; Si Heon (as Yeon Jun) reacts to the same moment with a quiet smile and a hug. When Zi Wei saw Yu Xuan in Yun Ru’s body again in the finale, he knew instantly that it was her and the smile overtook his face as he reached for her; Si Heon initially called Min Ju’s name before getting closer and taking several beats to realize it was Jun Hee (ruining this iconic moment is perhaps this remake’s greatest sin against romance, my god).

Everything between the couple in SOOD was just more, both in happiness and in despair. I liked Jun Hee and Si Heon, and Ahn Hyo Seop and Jeon Yeo Been are very competent actors whose performances I have loved in other dramas, but they didn’t achieve that level of chemistry here, the writing and directing choices worked against them, and I didn’t feel that same desperation for them to figure this out that I did with Yu Xuan and Zi Wei.

The Story

The Korean version is a very faithful adaptation overall (I haven’t mentioned Jun Jie and In Gyuk because his character and story is more consistent across the two shows), but does make some small tweaks to the story, some of which seem to be out of necessity due to a shorter run time (one episode and a couple hours total less than the Taiwanese original) and some just… because? The shorter amount of story time does lead to them having to cut corners on some aspects of the mythology and time travel lore, making it all a bit less clear for folks who don’t already understand what’s going on, and they put in a few nods to typical kdrama tropes like amusement park dates and hand of fate stuff that we really didn’t need—they are already trapped in a time loop together, we get it!

ATCY also messed with the timelines and ages for reasons I don’t really understand and that don’t really track. In SOOD, Zi Wei traveled forward from 2002 to Quan Sheng’s body in 2010, met Yu Xuan, and then died in 2018. In ATCY, Si Heon traveled forward from 2002 only to 2007 and did not die until 2022—but the relationship dynamics are all the same. It made sense for a young couple who had been together about 7 years and who were in their mid-20s to be having the kind of relationship problems they did—fighting about prioritizing careers and time abroad and whether it was time to get married. But a couple who has been together nearly 15 years? Who are in their mid-30s? They would have already been married probably and had a couple kids to boot. The choice to change the timeline like this had me scratching my head and accomplished nothing for the story.

But neither of those things are the change to the story that is weighing on me most. That occurs in a very small and brief backstory for the real Yeon Jun, where the drama introduces an original character who has no counterpart in SOOD: Tae Ha.

In SOOD, the real Quan Sheng is a closeted gay teenager who meets a tragic end: he confesses to his crush, gets brutally rejected, then gets bullied when the crush tells others about his sexuality, and ultimately decides to walk into the sea in an attempt to end his life, a choice that leaves his body in a coma until Zi Wei’s consciousness takes it over. In ATCY, this backstory changes and Rowoon is brought in for a brief but impactful cameo as Tae Ha, Yeon Jun’s cram school friend. We see that the two have mutual feelings for each other but are both struggling to confess. One day as they are driving together, they finally explicitly acknowledge their feelings, holding hands and smiling at one another—and then immediately get hit by a Truck of Doom (easily one of the most tired kdrama tropes), Tae Ha dying on impact and Yeon Jun ending up in a coma with Si Heon’s consciousness eventually taking over his body like in the original story.

Now on first glance, you might be inclined to give the show some credit for including a new gay character and giving the original Yeon Jun a happier experience with his crush. Explicit gay representation? In a mainstream kdrama? Still very rare and a big deal if done right. But if you think for a moment longer you’ll realize we can’t give the show credit for this, because this is a textbook execution of the Bury Your Gays trope and the narrative punishment that befalls gay characters who act on their attraction. Essentially, what the Korean remake did here was reveal these two characters are gay, killed them both immediately after they decided to pursue a relationship with each other, and then had the het male lead character take over the body of this gay man and use it to enter into a relationship with a woman. Some aspects of this plot were present in the original tale, but this choice to add an additional gay character only to kill him and tie it to their moment of acknowledging their mutual attraction? Made it significantly worse. It was badly done and I will not applaud the drama for representation when they did it in such a cruel way.

The Ending

SOOD ends on a hopeful but somewhat ambiguous note, with Yu Xuan in 2020 finding a way to go back and save Yun Ru (and Jun Jie by extension) and then breaking the time loop, sacrificing her relationship with Zi Wei in the process even as it breaks her heart (because the only way for them to meet and fall in love in 2010 was to stay in the loop). She sacrifices their romance, and all their memories together, because it’s the right thing to do—she inadvertently destroyed Yun Ru’s life with her time traveling, and she couldn’t live with that knowing there was a way to fix it. We are left with a broken time loop, original teen Zi Wei meeting child Yu Xuan again in 1998, and the hope that they will find a way to make their fates align again and be together without time travel complications. It’s just the right bittersweet touch to end the story on; their previous relationship was lost and their sacrifice was real, but there is hope for another version of a happy life together, someday.

By contrast, ATCY goes for a more explicit happy ending: Jun Hee makes the same choice to go back and save Min Ju, and to break the time loop and sacrifice her relationship with Si Heon, but in ATCY we then jump forward to 2011 to a happy epilogue to see Si Heon and Jun Hee meet as adults. And look, I love a happy ending! But what I said above about the sacrifice Yu Xuan and Zi Wei made in SOOD really resonating because of its bittersweet ending? That’s absent here, because ATCY decided they needed to put a bow on it and reassure us they would get back together. ATCY was just never willing to let us stay in the grief or commit to the darker and sadder aspects of this story, and as a result, the whole thing loses some of its impact.

#someday or one day #a time called you #tw drama #kdrama #long post #why yes i did write a 3k word post for the ten people on this website who care about both these dramas #shan shouts into the void

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thatwizardofearthsea · 4 months

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This is the best Asian drama I watched since 2022

#house of ninjas #jdrama #kdrama #kdramas need to go back their originality #a killer paradox was so underwhelming

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heavenboy09 · 7 months

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Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To The Most Amazing Chinese American Actress On The Planet

Born On December 2nd, 1968

Lucy Liu was born in the Jackson Heights neighborhood of the New York City borough of Queens.

She is an American actress. She has received several accolades including a Critics' Choice Television Award, two Screen Actors Guild Awards, and a Seoul International Drama Award, in addition to a nomination for the Primetime Emmy Award.

Liu has starred as Ling Woo in the television series Ally McBeal (1998–2002), Alex Munday in two Charlie's Angels films (2000 and 2003), and Joan Watson in the crime-drama series Elementary (2012–2019). Her film work includes starring in Payback (1999), Shanghai Noon (2000), Chicago (2002), Kill Bill: Volume 1 (2003), Lucky Number Slevin (2006), Watching the Detectives (2007), The Man with the Iron Fists (2012), and Set It Up (2018).

She voice acted as Master Viper in the Kung Fu Panda franchise (2008–2016) and Silvermist in the Tinker Bell series (2008–2014). Her other voice credits include Maya & Miguel (2004–2007), Mulan II (2004), as well as the English and Mandarin-dubbed versions of Magic Wonderland (2014) and The Tale of the Princess Kaguya (2013). She also voiced Callisto Mal in the Disney-animated film Strange World (2022). Most recently, she starred as Kalypso in Shazam! Fury of the Gods and directed the Disney show American Born Chinese.

She is Very Well Known for Her Iconic Roles in Various Films & Several TV Shows Over The Years

From Charlie's Angels, To Kill Bill, To Kung Fu Panda, From Ally Mcbeal, To Elementary.

She is also a Critics Choice Awards & a few other Award winning Awards

She is A All Asian Magnificent Work Of Art & is a Talented Artist 🎨 herself on her spare time of course.

PLEASE WISH THIS MAGNIFICENT ASIAN 🇭🇰🇲🇴💛 AMERICAN ACTRESS OF PHENOMENAL ACTING A VERY HAPPY BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊

THE 1

ONLY

MS. LUCY ALEXIS LIU🇭🇰🇲🇴💛

HAPPY 55TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. LIU & HERE'S TO MANY MORE YEARS TO COME

#LucyLiu #CharliesAngels #KillBill #KungFuPanda #Elementary #StrangeMagic #ShazamFuryOfTheGods

#Lucy Liu #Charlie's Angels #Kill Bill #Kung Fu Panda #Elementary #Strange Magic #Shazam Fury Of The Gods #Kalypso #Spotify

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gabrielokun · 1 year

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Hi. You watch a lot of dramas/series. Do you have any favorites? If you do, what's your top 20 favorite Asian BL dramas/series?

Hi, anon)) thank you for asking. Sorry, it took a while) but I have to prepare a visual representation to compensate for the lack of writing skills))) english is hard T_T

anyway, here are some of my favorite things

Love by Chance (2018)

The show that started it all (づ ᴗ _ᴗ)づ♡ Yep, my first Bl therefore I just must include it. Is is a good show? - not really. BUT! AePete are my babies, I love them. Nobody does it like them ٩(ˊᗜˋ*)و ♡

2. My Only 12% (2022)

Childhood friends to lovers done right! My favorite show of the last year. It is a slooooow burn but it's so worth it! Very lively and real boys. great family and friend dynamics, kind of meh last story outside of CakeEwi but still…If you want some great friendship slowly blooming into romance this is the show

3. Kieta Hatsukoi (2021)

Super cute show. All characters are amazing, story well written, minimum hurt all the comfort. Good girl-not an enemy (im really easy too please ( •̯́ ₃ •̯̀) xd)

4. 30-sai made Dotei Da to Mahotsukai ni Nareru rashii (2020)aka Cherry magic

JapBL are totally for me when they do fluff, (cause their angst is on a such level I need a lifetime to process it xd)

but this one is so fluffy (ฅ́ ˘ฅ̀)♡ They make me happy and I grateful for it

5. My Ride (2022)

Speaking of fluff °ʚ(´꒳`)ɞ° Other couples are kind of boring But! Mork's uncles, MorkTawan's adopted son (still a bit salty we didnt see him again, Tawan should've had more parenting time, he is clearly a great dad ଘ(੭◌ˊᵕˋ)੭* ੈ♡‧₊˚) natural growth of their friendship into love *_*. This one is good!

6.Color Rush (2020)

I love soulmates. Its short, simple story but with very interesting and original idea.

7. Hello Stranger (2020)

Such a simple story but the way it was done is amazing! Falling in love through web camera (੭ ˊ^ˋ)੭ ♡ Characters have such an incredible chemistry even tho they have minimum personal contact(kudos to actors they done well)))

I Will Knock You (2022)

Okay, yes age gap not for everyone. But again it was done very respectful. ૮₍ ´ ꒳ `₎ა I love love love Noey's ˖°.✧aesthetic✧˖°., his room is my fave ngl, i want everything he has))))I love this delusional king He was so sure Thi is into him from the second they met and i live for it.

9. Until We Meet Again (2019)

I love soulmates 2. I just love this show. Its gonna traumatize you and then comforts you with cutest fluffiest boys that going through it

10. Vice Versa (2022)

I didn't like it at first

Puen annoyed me too much ૮꒰˶> ༝ <˶ ꒱ა but then I binge rewatch it in one weekend and I just fall for it. Its so good))) I love soulmates 3 and it's super pretty. I love colors

11. About Youth (2022)

Show where I love main and second couple the same ପ(๑•ᴗ•๑)ଓ ♡ thats rare))) Again very simple story but told beautifly

12. HIStory2 Right or Wrong (2018)

Let's talk HIStory. They kind of getting worse imho. 4 and 5 were just fine. thats sucks ʚ₍ᐢ ›̥̥̥ ༝ ‹̥̥̥ ᐢ₎ɞ i still love them tho

HIStory2 Right or Wrong (2018) 13. HIStory3 Trapped (2019) and 14. HIStory2 Crossing the Line (2018)

are superior for me. but just watch any of them they all are worth your time

15. Our Dating Sim (2023)

Second chance romance done very very right!

16. Oxygen (2020)

Good fluffy fluff. P'Phu and his bunny are so precious. Main are cute and sweet and adorable. Ignore weird girl and doctor everything else is just so lovely

17. Light on Me (2021)

Love triangle done right. Good light fluffy show that did hurt so good (๑˃̵ᴗ˂̵)

18. To My Star Season 2: Our Untold Stories (2022)

I love how they told this story

19. Not Me (2021)

its hard to explain how good this show is, its more serious than usual bls, great acting, amazing story, strong message told through not just cinematography but art and dance too. its truly great show

20. Triage (2022)

Time loops are fun

+ some honorable mentions

Ingredients (2020)

not a show))) just an add but damn. It such a feel good little comfort add Jeff and Gameplay have an amazing chemistry, simple slice of life stories but so good , mutual pining done so well

anything by strongberry, literally just go at their YT chanel and enjoy ଘ(੭ˊᵕˋ)੭ ੈ♡‧₊˚

emmmm that a long post sorry

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organ-market · 1 year

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Bilingual Cinema: Language and Great Representation in Media

Everything Everywhere, All at Once, 2022

One of my favorite little things about living in such a diverse American city on the West Coast is the multitude of languages flowing in and out of my ears as I commute, people watch, or even sit idly in class. Elderly Asian ladies filling a bus with the sound of Vietnamese chatter or blaring music with lyrics woven in Spanish erupting from a truck zooming down the road. While I am only properly fluent in English, I’ve found beauty in the bilingual streets of my home town and am overjoyed to see this same beauty translated onto the big screen as the movies we produce more closely reflect the diverse cultures present throughout America.

There appears to be a growing trend of bilingual movies which heavily feature multiple languages that are baked into the infrastructure of the dialogue. No singular language takes precedence over any other as languages, dialects, and accents all flow together naturally. Americans who previously incessantly whined about subtitles are now sitting in theaters reading subtitles in The Farewell and Everything Everywhere, All at Once which took home Best Picture at the Oscars earlier this year. These bilingual films continue to push the bar of representation as people of color begin to tell their own stories using their own languages.

Stephanie Hsu in Everything Everywhere All at Once, 2022

The Daniels’ 2022 Chinese-American absurdist amalgamation of wildly varying genres, Everything Everywhere All at Once proudly features English, Mandarin, and Cantonese. The film proudly introduces us to a realistic portrayal of an Asian-American family and coaxes us into their family dynamics and larger than life sci-fi story as the movie branches off into much more imaginative territory.

To those of you who haven’t had the pleasure of watching it, (seriously if you haven’t, go see it) the film follows Evelyn, the mother of a Chinese-American family and the struggling laundromat business she runs with husband Waymond while she attempts to reconnect with her daughter Joy. As an exclusively English speaker so much of the nuance of the film’s use of language goes completely over my head but Youtuber Language & Film has uploaded a concise little video on the film’s clever use of language which I wholeheartedly recommend checking out. If anyone wants a more in depth analysis of language’s role in the film, I’ll put a link down below.

What I particularly love about Everything Everywhere All at Once is how unashamed it is of Evelyn’s immigrant narrative. While Evelyn appears at times to be somewhat insecure about her broken English, the film never once equates intelligence with fluency; a vicious mistake Hollywood frequently makes with stereotypical Asian characters. The reason why myself and so many others connected so deeply with the film is just how honest and grounded the portrayal of this family is. Not once does it flatten the characters to the archetypes we commonly see of Asian characters in media, they aren’t the model minority or even a completely cohesive family unit as divorce looms in the back of Waymond’s mind. Despite the business of life and the film itself you can feel the cluttered love of this family throughout its runtime and I was so glad to have been able to hear the mixture of different languages that just adds to the chaos of the household.

Past Lives, 2023

I left with a well of emotions brewing deep in my gut after finishing a viewing of Celine Song’s Korean-American romantic drama, Past Lives, earlier this week. Beautifully shot and written, the romance between two childhood friends is told throughout decades as Nora Moon and Hae Sung weave in and out of each other’s lives. A mix of Korean and English is used throughout the film as Nora becomes more fluent in English after she emigrates and Hae Sung speaks almost exclusively in Korean. Director Celine Song told Polygon “...she [Nora] sounds like a kid when she speaks Korean — because she emigrated when she was a kid, and she only really speaks to her parents in Korean. So it kind of made sense that she spoke Korean in a childlike way.” Little details like this really flesh out the characters and make them seem real, the same language logic is applied to the whole cast as they each have varying levels of fluency in both Korean and English.

Similar to Everything Everywhere All at Once, the film’s bilingualism is informed by its distinct Asian diaspora and is told through the eyes of Nora Moon who moved to Canada at the age of 12 leaving Hae Sung along with her old name Na Young behind in South Korea. When Hae Sung visits Nora in New York much later in the film, after all those decades Nora notes that Hae Sung has all these “Korean views” on everything and that she somehow feels less Korean and at the same time more Korean while being with him all at the same time.

I felt very deeply connected to Nora in this moment, neither of my parents had ever imbued in me the cultural values of my heritage. I am Vietnamese on my mother’s side and Mexican on my father’s. I find myself feeling self consciously Viet around my Vietnamese friends and self consciously Mexican around my Mexican friends but throughout it all a strange Americanized shame persists within me since my parents have been thoroughly white washed. And although it was a small moment in a nearly 2 hour film, I still can’t stop thinking about that confusing, conflicting feeling Nora described regardless.

Los Espookys, 2019

The wonderfully idiosyncratic, beautifully queer Latino comedy show, Los Espookys has spoken dialogue in both Spanish and English and often goes back and forth between A plots in Spanish and B plots in English. Created by Ana Fabrega, Julio Torres, and Fred Armisen, the show itself is about a couple of friends who decide to follow their passions and start a “horror group” performing various oddball tasks with spooky theming. In one episode they manufacture a sea monster sighting to revive tourism in a coastal beach town, in another they create a monster mascot named Bibi’s to teach an elementary class a school lesson. It is simultaneously hysterical and charmingly strange almost constantly.

Los Espookys main cast of characters consists of proud queer goth Latinos, they’re aware their infatuation with horror is a little weird but they never shy away from that and honestly love that about themselves. The only part of their identities that the main characters have trouble with is getting others around them to accept that strangeness into their lives. The show’s original ambitions were to air on a Spanish-language cable channel but when presented to HBO Latino, the team was offered a chance to bring it to HBO’s main channel to a much wider audience and, like the show’s characters, the creators had to find a way for American audiences to let that strangeness into their living rooms. Dave Itzkoff writes in the NY Times that, “...he [Armisen] wanted to create a Spanish show “that isn’t an explanation of Latino culture, that’s moving past the foreignness of it.””

Watching the show itself really impacted me, not only did my lungs hurt from laughing but being able to laugh along with queer Latino goths who had similar queer experiences as me was a real empowering treat. What struck me most, besides the gags, was just how natural this representation was, there are seamless transitions from the English spoken parts in America or the embassy and the parts in the fictitious Latin American country the show is set in. No member of the cast is reduced to a simple trait based on sexual orientation, race, or any other archetype, there is so much personality and life present in each character. Renaldo for example, is aro ace, loves all things horror, hates when people misspell his name, and is incredibly passionate and caring about his friends. Nobody’s sexual orientation nor accents are the focus of any one joke or define them as individuals, it is an overwhelming uplifting show and the bilingual nature of it is just another proud part of the show’s hand crafted identity.

Sr. Bibi's from Los Espookys, 2019

What I really want to hone in on and celebrate about the appearance of bilingual media is how filled with pride these works are, how lovely it is that the media we consume is starting to better reflect the colors, languages, and cultures that populate the world around us. I really can’t recommend Everything Everywhere All at Once enough but I’m sure almost everyone online has already praised it to the moon. Be sure to catch Past Lives while it’s still in theaters because it is a real treat and one of the best movies so far this year. Los Espookys is a total sleeper hit that I fell in love with from episode 1, if I get at least one more person to watch that show I can die happy. I was tempted to lengthen this post with 2019’s Sound of Metal (which I am a little more critical of) which features American Sign Language but I think I’ll save it for a later post since this one is long enough. If anyone wants to recommend any bilingual pieces of fiction whether it be movies, tv, or even games please, by all means, let me know! I’d love to hear all of your recommendations and opinions, keep it real guys.

-Ghost Emoji 👻

Links and Stuff :P

Language & Film Youtube

Past Lives Polygon Article

NY Times Los Espookys Article

#organmart #om-ghostemoji #writing #personal essay #language #movies #film #movie recommendation #tv recommendations #eeaao #past lives #los espookys

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boozles · 6 months

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Boozle's 2023 Top Ten Dramas

I've been really enjoying reading everyone's top lists of the year, and I've actually been thinking about my own for a few weeks now, because I knew how hard it would be for me to put my lists together! Basically, in terms of Asian drama series, I watched a lot this year. According to my MDL, I have completed 99 dramas for the whole year. (Disclaimer: not all of these were BL, and a handful were short films. Regardless, I still think that's a ridiculous amount and I understand why people think I have no life x_x) So, I think you all can understand why these lists are going to be a little difficult for me!

Note: Everything I say here is my own personal thoughts and opinions. I'm not trying to attack anyone for liking something I don't, or disliking something I loved. We're all pals here, okay? <3

Top Ten Dramas (Note: not all dramas were released in 2023.)

(i) He's Coming to Me (2019) After watching Something in my Room last year, I swore to never watch another 'ghost boyfriend' series because gosh, even if ghosts are my favourite spooky thing, my heart cannot handle the pain of a sad ending. However, Ohm and Singto sucked me in, and this was just lovely and even gave me a happier ending than I'd expected. I'm a little sad that I was so late to this series, but it has definitely found it's place in my heart.

(ii) My School President (2022/23) I still can't believe that I originally thought this was gonna suck and only started it because I wanted to see what everyone was fussing over. I became so invested in these lads and gosh, I fell in love with the cast (minus Prom, who still irks me). Fourth, Gemini and Mark were absolute standouts in this, and I honestly cannot wait for My Love Mix-Up! because they will be fantastic.

(iii) Moonlight Chicken (2023) This is a surprise to no one, because it seems like it's on everyone's favourites list. Again, though, this was a surprising hit for me; I originally only planned on watching for First and Khaotung because I didn't really know Earth and Mix very well (I only started watching BL at the tail end of 2022, so I feel like I was still a little bit of a newbie at the time) and I just fell in love with EarthMix. They have chemistry that is just so mesmerising and belongs to them. The writing of this series was also just perfect, and the cast was wonderful. It deserves all the accolades it's been getting, and I honestly think this will always be a favourite of mine.

(iv) Choco Milk Shake (2022) In all honesty, I expected this to be weird because it's literally about a guy's pets coming back as humans and his dog falls in love with him and his cat falls in love with his uncle. It sounds like it should be creepy, but it really isn't. I sobbed like an absolute baby during this, and whilst I found the ending a little confusing, I loved it. I really hope we get that rumoured second season.

(v) The Gifted (2018) & The Gifted: Graduation (2020) Okay, I'm including both seasons of The Gifted because I loved them both for their own reasons. However, one of the main things I loved about this series was that it made me appreciate actors I'd never cared much for before. I didn't get all the fuss about Gun Attaphan until I watched this (and yes, I'd already seen Not Me), but I thought he was spectacular in this. Chimon and Nanon were fantastic, and I really loved Mek and Victor, even if they weren't as porminent and I'd have liked.

(vi) A Boss and Babe (2023) Ah, my first experience of ForceBook. I would die for these men. This was a bloody brilliant series, and if you want my honest opinion, it really showed how fantastic Book is at acting, because Cher is nothing like any other character he has portrayed. I loved the backstories and the little nuances, and the supporting cast was fantastic, too. This series deserves more credit and respect (but can we pretend the Our Skyy 2 episodes never happened? Because they were so weird.)

(vii) Beyond Evil (2021) This is probably the best Kdrama I watched all year. It had everything I need - murder, mystery, tortured men with tragic backstories, plus twists and turns in every damn episodes. The acting and writing was superb and I'm honestly depressed there isn't going to be a season 2 (as far as I know?).

(viii) Only Friends (2023) Okay, I know we all have our complaints about things that went wrong with OF, but you know what? I still loved it. Yes, I still think the creators made mistakes with allowing fan opinions to influence the editing and I'm bitted about the treatment of Boston in the end, but I loved these characters and their stories. The cast put their heart and soul into their performances (especially Khaotung and Force) and I really hope we get to see them in future series' together again, as they all work so well together.

(ix) I Feel You Linger in the Air (2023) This was another series I didn't expect to enjoy as much as I did, yet I was there with the rest of you, bawling my eyes out when it ended. Despite the fact my dream career is a historian, I often don't enjoy historical dramas, so I put this off for the first few weeks of it airing until all the gif sets finally forced me to check it out. The cast was fantastic, and the writing was brilliant. I will be broken hearted if they don't get a second season, because they deserve it.

(x) I told Sunset About You (2020) & I Promised You the Moon (2021) I'm including both series as one since technically it's just season 1 and season 2. I loved these shows. They were the most realistic portrayals of young teenage queer love that I have seen in so long. I know a lot of people get angry with Teh in IPYTM but by gosh, my heart just hurt for that confused boy; Billkin's crying is so tragically realistic and as much as I too hated that he was hurting Oh-Aew, I also could understand the confusing feelings that come with growing up. Oh-Aew was just...perfect. PP Krit really just cut my chest open, crawled inside and made a little home for himself with this performance. My only issue is that these two haven't been in anything else together since, and I really hope 2024 fixes that, because as much as I support their music careers, I need them on my screen again.

Honorary Mentions: (i) Kiseki: Dear to Me (2023) (ii) The Warp Effect (2022) (iii) Home School (2023) (iv) Our Dating Sim (2023) (v) La Pluie (2023)

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stuff-diary · 5 months

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Silent

TV Shows/Dramas watched in 2024

Silent (2022, Japan)

Directors: Hiroki Kazama & Mai Takano

Writer: Miku Ubukata

Mini-review:

In the 10+ years I've been a part of the J-drama fan community, very few shows have taken it by storm like Silent in Fall 2022. There was so much hype and buzz around it that it felt daunting to watch it, so I ended up putting it off time and time again. Now, I regret not starting it back then, cause it really is that good. All the characters and their relationships are beautifully complex, even if I have to admit I didn't always understand/agree with their decisions. Also, I loved that the writer put the focus on healthy communication, pretty much showing that it's the key to everything, no matter what shape it takes. The drama's reflections on society's perception of disabled people are also quite interesting, and most dramas would never dare to talk about this stuff so frankly. On top of that, Haruna Kawaguchi and Ren Meguro give two beautiful, nuanced and unforgettable performances, making the whole thing all the more special. And kudos to the drama's team for actually casting some deaf actors, even if they only play very minor roles. (Yes, that's not much, but it's really rare in Asian dramas, so it's a start). Anyway, I'm really glad this gorgeous show met my crazy-high expectations.

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poachedeggssocool · 2 years

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Going to write a few things on of the best asian dramas I have watched in 2022.

Love Between Fairy and Devil.

This drama surprises in many ways and let me just say Donfang Cinqang is probably the antihero that we all need to understand that ML does not necessarily have to be a glorified hero all the time.

What surprises me with his character is not that he's violent. Despite having to remove all his emotions, we do witness a few moments where we can see his compassion and empathy towards things that he cares for. He wages war not because he is power hungry like The Fairy Realm ruler. He rages with war because he wants his tribe to be protected and look up upon. For thousands of years Moon Tribe have been misunderstood, misjudged and discriminated as barbaric and uncilvized. So when he brought Xiao Lanhua to Cangyan Sea, it was probably, to me, one of the best decision, cause who else need to see the true story other than the fairy realm person herself. His goal for being a ruthless leader is pretty much very clear to show what kind of person he is in the core.

I wasn't expecting this drama to touch a lot on the struggle of wars and civil wars and these are aspects of the drama that I appreciated a lot when watching it. Wars often happened due to power struggle (civil wars within Cangyan Sea) and power monopoly (big power like Fairy Realm trying to start war with any reason available just so they could suppress people around them). I love how this drama highlighted with struggling region like Moon Tribe, war have costed them a lot. People losing families and loved ones to the battles, having to be on toes at all time as their support system is gone bit by bit. Dongfang Cingqang knows this, emphatizes with this situation even, by making this as one of the main reasons he rages wars with all 3 realms; to save his people from being stepped on by the power like Fairy Realm. He knows very well his people need him to survive and they just simply could not survive another invasion. He had no other way other than to take the war onto his hand rather than waiting for it to come for them.

This drama have very well showcased diversity in terms of showing gender is not correlated with power. The fact that everytime the realm needs to be saved, the ones that will save it, is always female trult solidifies this point; Lady Chidi, first goddess of Xilan, goddess Xi Yun, Xi Lan Hau, Fairy Dan Yin aiming to be God of War - it's truly a long list of powerful woman whom have carved or decide to carve, their own fate and destiny to save the realms, despite the emotional struggles that they are dealing with. I think it is one of the important things to show in a drama - that women are not only worth portraying as a damsel in distress to move the plot. Women can be emotional and also heroic when needed to. This dual aspects to me are just chef's kiss.

Lastly I would like to talk about the character progress for both ML and FL. FL starts as someone who is ignorant, but as the episode goes by, she is showing more understanding on complexity and fragility of the situation. It is simply not about her siding with Fairy Realm or Moon Tribe. In a way she's maturing in terms of having a wider perspective of the situation. She, later on, understand perfectly why giving up on war is not something on the table for Dongfang Cingqang. At the end of the day, she chooses to be with the person she loves, realizing that home is not a place, but rather a person. For the ML he starts of with full of hostility and eventually progresses with more compassion and consideration towards people that he cares about. It is not just about FL changing him. He progresses because of the more awareness that he regains and learns from being with the FL. I love that there are certain aspects of the ML that are always consistent no matter what circumstances and situation are being thrown at him - his priority for his people despite having confronted by Xiao Lanhua multiple times, his nature to protect people that he cares about regardless of the ways that it needed to be executed, and his willingness to understand things rather than just attacking on impulse.

Of course for the romantic plot, I LOVE how everything started with the heart curse and spirals into an actual life and emotional connection. I want to mention here, the fact that Dongfang Cingqang acknowledges and understands how much Xiao Lanhua has to sacrifice for him, is just top grade. Not only that, he makes an effort, multiple times, to not put her in a difficult spot for choosing him. I personally don't see this a lot in many period cdrama because more often than not FL is expected to sacrifice for ML (unconditionally) when it comes to overcoming hardship.

Best to say this is one of the well written xanxia drama for 2022. I rate this 8/10. (maybe it will be a bit higher if the ending wasn't too rushed lol). Believe it or not, I think there are so many life lessons that can be taken from this drama. There is no black and white in real world and I think this drama have successfully portrayed this in many of the characters - people are not inherently bad. There are only bad choices and decisions. Make sense when you think about why ancient evil God Tai Sui is actually the biggest villain in this drama.

*I have edited some of the points here

#love between fairy and devil #cdrama

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accio-victuuri · 2 years

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some weekend sweets : asian games, roborock, duck and double standards.

before we all celebrate 9/5, have some candy from the past days. 🍭 i hope you are all having a good weekend.

1. Last friday, a statement from Asian Games was going around and it’s about them recognizing the film One & Only. People were quick to connect the fact that GG is the Ambassador for the HZ Asian Games and this is an indirect collaboration for our boys.

this is part of the statement :

The Organizing Committee of the 19th Asian Games in 2022 plans and exclusively authorizes Ruyi Pictures (Hangzhou) Co., Ltd. filmed the Asian Games-themed movie "One and Only" in 2022.

It started in Hangzhou on May 27, and was successfully completed on August 5. The film was directed by Dapeng, Huang Bo and Wang Yibo lead the cast, and Chen Zhixi serves as the chief producer. A new competition item, breakdance, will be added as a carrier, telling the story of teenagers who are pursuing their hip-hop dreams. Under the guidance of the coach, overcome many obstacles and shine on the stage of love.

The film integrates the beautiful image of Hangzhou city and the concept of the Asian Games into it. It lets the general public feel the charm of the Asian Games and the beauty of the city inside and outside the stadium, constantly deepen the understanding and understanding of Hangzhou at home and abroad, and enhance the popularity and reputation of Hangzhou city.

Turtles always ask when the boys will work together again or collaborate, and I think this kind of connection is what we will be having first. It may not be a direct drama/movie collaboration yet, but expect to see them be involved in the same efforts like this one. It is definitely on brand for them because they are all about representing their country and promoting things they love. This “thank you” from the asian games committee is decided by lots of people and takes into consideration that the film will be a good way to promote the games and the city. It’s nice that XZ/WYB are both ( in a way ) at the forefront of endorsing the games to the larger population.

I also remembered this bit today ( and thought about making a CPN post ) because in the let’s chat episode, Bobo was talking about the dance competition championship he watched. Then he said they have a better chance to participate in the Olympics. He really is serious in promoting street dance as a sport and i’m sure it’s no problem for him to lend his celebrity status to do so.

I am excited to see their names pop up in other events together, where people don’t really have a choice but to shut their mouth and support whatever it is they are working on. The Asian Games are postponed because of COVID and is to resume next year. I hope it goes well and both boys get to be a part of it and represent their Country 🇨🇳

2. So funny because in SDC episode 4, we all saw Roborock as one of the sponsors. Not just roborock, but the G10s model, which GG recently endorsed. I’m not saying GG made this possible or what— it’s just a coincidence. Lol. Thank you Roborock for supporting this season of SDC 🙏🏼 and I think it’s a good thing they are gaining sponsors because it wasn’t that much when they started. Just shows that the program is popular so brands wants a piece of it.

3. In the let’s chat episode 3, while everyone was busy playing — Bobo was fiddling with other things. Specifically, a Duck toy. Hmmmm. Why did he get that? Mayhaps, it reminds him of a certain someone who recommended it to use when you are soaking your feet. This is the kind of thing that only turtles will know because of what we know of them. ☺️

4. I just have to spotlight this again! Ahhhhh!!!! I don’t remember the 🦴 necklace getting this much visibility before! and Bobo is extra happy/giddy in this episode. Having said that, I will be keeping an eye out on every frame of next week’s episode in case I see the reason why. Lol.

5. Lastly, have some good old double standards in Yibo’s POV. 🤍

• When asked in his Cosmo interview how people often describe him, he says someone who doesn’t talk much. Well, not a new information, but with ZZ he is the most talkative. We see him interact with his colleagues and even on SDC, but he has to be prompted. Or he will say something and then it ends for a while. It’s not the kind of pestering he does with ZZ 😂😂

I know I said I don’t like doing double standards anymore, especially like this, implying that Bobo won’t open up to anyone other than ZZ. We do like him having friends — and actually, what I think about is that his relationship with ZZ allowed him to be more relaxed in interacting with people. 💕

• A BAH bts showed one of his co stars asking him where his injury is. A normal question from a colleague, not really worrying much. Compared this to ZZ’s constant worrying even in the slightest chance that Bobo will get hurt 🥺

AND OH, I noticed this in the Let’s Chat episode!

I don’t know what Bouboo’s relationship status is but his reaction and Yibo’s is making me 👀. Is he shy because he does not want to be put on the spot and talk? Or is it something else? I didn’t expect Bobo to do this. HAHAHAHAHA! He is like the kind of person who is in a loving relationship so he wants his friends to have a partner too! 😂😂😂 Bobo, not all of us can be in a sweet relationship like yours! 🙃

- END.

#yizhan #bjyx #all of this is cpn #there is no science here folks im just clowning like i always do #hello to me and a long weekend ☺️☺️☺️

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waitmyturtles · 7 months

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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