#os2:bb

[dimpledpran]

6 days for the Our Skyy 2 Bad Buddy Preview and 12 days till PatPran come home! (Non-Crack Version)

[dimpledpran]

Was not expecting to see my tweet pop on tumblr, but just to clarify this is a speculation. I just translated what the original tweet said, and even that is not confirmed since the schedule is only out until 1 June. But since the schedule for next week is 1 whole BB episode and 1 crossover episode, the assumption is that it’ll be the same case with ATOTS the following week.

This might already be up on Tumblr, but the latest from Twitter.

If this holds, my heart — already full — WILL combust.

@telomeke @telomeke-bbs @miscellar @dribs-and-drabbles @bengiyo @shortpplfedup

[youdontloveme-yet]

Pran Parakul and his 1000 stages of suffering.

[idlesugarpuff]

Forever 💚❤️

PatPran, and the Architecture play..

A3, charcoal.

[malepresentingleg]

THAT WAS NOT ON MY OUR SKYY CHECK BOX BUT I'LL TAKE IT

[airenyah]

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

[ranchthoughts]

thinking of pat and pran and genre awareness

I've been thinking a lot about this as the Bad Buddy x A Tale of a Thousand Stars Our Skyy 2 episodes air. Like @lurkingshan notes here, Pran is self-aware enough to notice the parallels between his situation and Tian's, and I've seen a lot of people wondering how Pran's self-recognition through Tian (and perhaps Phupha's self-recognition through Pat) will contribute to the emotional and narrative conclusions of these episodes. Furthermore, Pran and Pat keep talking about trope moments - either their own from their series (e.g., Oishi green tea) or Tian and Phupha's which they know about from Tian's posts online. Pat and Pran take it upon themselves to replicate trope moments from ATOTS (like the looming mosquito net hanging) for themselves, and to discuss how to leverage classic romance tropes to get Phupha and Tian back together (e.g., getting them drunk and singing karaoke together). Self-awareness, and the related genre-awareness, are the Bad Buddy brand - we've seen how well Pat and Pran know how to weaponize BL tropes to get what they want.

Bad Buddy itself is a show that was created by genre-aware people to be genre-aware. @miscellar writes here about how Bad Buddy's directors and actors set out to make a BL while being fully aware of the pitfalls of BL. Bad Buddy includes soooo many tropes and other genre conventions (being set at university, the sound editing, etc.) which place it firmly within the genre of BL. However, the show deliberately subverts BL conventions in order to make broader points about the genre itself - I go into (a lot) more detail here. As miscellar says in this post: Bad Buddy labels itself a romcom to subvert romcoms.

Bad Buddy also demonstrates its genre- and self-awareness through its repetition of tropes and callbacks. We see that especially now as the Bad Buddy Our Skyy 2 episodes are airing (@grapejuicegay outlines many of the parallels between the original series and the Our Skyy episodes here). The show remembers what it did and repeats them, intentionally, to draw new connections and make new arguments.

So the directors, show runners, and actors of Bad Buddy are genre (and self) aware... what about the characters?

In this post miscellar makes an interesting point - to the BL viewer, the first three episodes of Bad Buddy seemed like a pretty typical university BL, and it seemed clear that Pat, the deliverer of most of the tropes, would be revealed to be in love with Pran. But that's not what happens.

I talked about this here, but to recap: in the lead-up to his episode 5 revelation, Pat often fulfills the active or seme role in tropes (grabbing Pran, looming over him, saying flirty things, etc.). However, Pat is not genre-aware in the first few episodes of Bad Buddy: he does not know he is in a BL, so he isn't analyzing these interactions through the "code" of a BL, therefore he doesn't recognize these moments as significant. To a BL-literate audience, Pat seems the perfect "seme", but he doesn't even know he's in a story with a "seme" yet.

On the other hand, Pran has been in love with Pat for ages, and he is fully aware of how their story reads. He does not take the active/seme role in tropes very often in the first few episodes (and when he does, it's an accident, like their wrestling match) because he is trying not to be in the romantic narrative, he's trying not to pursue Pat. Pran is genre-aware, he recognizes all of their looming and suggestive commentary as BL tropes, but he knows that BL stories typically end happily. He knows they are in a queer love story (he's in love, after all), but he doesn't see any way this can be a happy queer love story, not with their families.

This is why Pran's "You can't keep doing this to me Pat" line on the roof at the end of episode 5 hits so hard - Pat has been acting like the lead in a BL series to genre-aware folks like Pran and us, the audience, but he doesn't even realize what he's doing. And to Pran, who is painfully aware of what type of story they seem to be in, but he doesn't think they can ever truly fulfill, this is devastating. Pran is trapped, with narrative awareness, in a story that can never come true, with someone who doesn't realize how they are playing along, hurtling the story towards its inevitable crash.

In episode 5, Pat comes to the realization that he is in love with Pran, and that Pran is/has been in love with him. In this post, @functionalasfuck writes how back in high school when Pat first heard Pran's song, he recognized it as their story but didn't see where Pran was taking it (even when Pran mentions secret crushes). Only on second thought does Pat realize what Pran meant by that and what the song was conveying. Pat and Pran's story slams into context (and genre) for Pat: this is a classic enemies-to-lovers, childhood-friends-to-lovers, long-term pining story; this is a BL.

And after Pat's episode 5 realization, things change. Pat acts again like a typical seme trope-wise through episode 6, as he follows Pran on the architecture retreat. He's trying to get Pran to talk to him, to join him in the BL he now realizes they are in. But Pran doesn't want to go down a road that he believes will end in heartache - he's known, from the beginning, that their story can be read as a perfect BL, but he's also known it can never end happily, not with their families - and so he avoids it, and Pat, at every turn.

It's finally at the end of episode 6, with the bet, that things change again. Both Pat and Pran realize they are in a romantic narrative. Pran has learned Pat isn't interested in Ink, so there is one barrier towards their genre-typical happy ending eliminated. Their families are still a concern, but Pran's in love and who can resist a bet, so they go forward.

The trope usage becomes deliberate - and it's always been deliberate on the part of the directors and show runners, they've always known what they have set out to do (make a BL that hits all the BL conventions yet subverts them) and have deployed tropes intentionally to uphold the messages and themes they want to explore (more here) - but now it is deliberate on the part of the characters too. Through the first part of the series, genre-aware Pran was trying to avoid acting the seme, trying to halt the progression of the romantic narrative he believed could only end in tragedy, and genre-unaware Pat was throwing himself into trope instances headfirst without realizing. Now, they have made a pact to both be the active pursuers, the seme: whoever falls in love first loses. They both deploy BL tropes with razor sharp precision (Pran looms, Pat takes off his shirt and douses himself with water, etc.) showing that they do understand what these actions mean, how they fit into and read in a BL-coded context. The most obvious example of this in episode 7 is when Pat and Ink and Pran and Wai eat at the noodle stand together. Pat and Pran leverage their respective "faen fatales" (more on that here) to make the other jealous by deploying a litany of BL tropes (feeding the other, wiping their mouth, etc.). Pat and Pran show they know what these actions mean in the context of a BL story, like their own.

Pat and Pran are in on it now - they are self-aware enough to recognize their genre, they know the beats of that genre, and they know how to manipulate them to get the outcomes they want.*

And it soon becomes apparent to us that Pat and Pran are in on more than just the genre of their show - they are onto the fact that there is an audience. @miscellar writes here about how Pat and Pran break the fourth wall several times throughout the course of Bad Buddy (e.g., Pran's comment about not needing to be called wife, or the voiceover in episode 12, which @chickenstrangers also talks about here, where Pat and Pran reveal they hid their continued relationship from their friends, their family, and us, the audience).

I'm very curious to see where these final two Our Skyy 2 eps take us, as Pat and Pran have shown they know Tian and Phupha are in a gay love story; and have shown they can identify the trope moments we, the BL-literate audience, notice too; and Pran at least has shown he recognizes the parallels between his own BL narrative and Tian and Phupha's. How will Pat and Pran's genre awareness, and their self-recognition through the other, affect the resolution of both pairs' story lines?

*(side note: this reminds me of @chickenstrangers' post on Bad Buddy and queer futurities - Pat and Pran have to work for their happiness, to make joy in the face of hardship, to claw their story back into a happy ending that Pran didn't even think was possible at the beginning of the show. They know they are in a BL, and they are going to get that genre-typical happy ending on way or another.)

[letgomaggie]

We know P’Aof is a creative genius and his use of literary references are very purposeful and never in vain. I was struggling to see the point of using something like Snow White -- a very happy fairytale -- as a play reference, especially against ATOTS, which is intertextual and meta and lines up so well. Of course, of course it wouldn’t be that easy right? So, I have a few thoughts on how the Snow White allusion will play out. 

1. The first and most obvious one to me was about, again, perspective. (It’s always perspective with P’Aof I swear). We have with us yet again, two tales, and two perspectives. One is a classic Western tale that’s always been up for revision. The other is a native text, that ponders the act of revision and retelling itself. 

I think a lot of this is referential to their futures and their present. @chickenstrangers talks about queer temporality and queer futurity here. Let’s remember that the events of BBS EP 12 are still in the future - yet to happen - for OS2 PatPran. We know the destination - and this is what makes this version very obviously a happy story. But Pat and Pran are still walking the path to this destination. I think we’re seeing them at a point in their relationship where they are not in complete sync with each other. They’re still walking the same road, they’re just not in step with each other. And that’s okay! 

It’s also important to look at who is bringing forth what to the table. The engineering faculty is the one which has chosen Snow White. Architecture is choosing ATOTS. One is Western, far removed from Pat and Pran’s lived realities -- it is instead a dream, a fairytale. It’s also bold about love, where differences exist but love exists alongside it. The Prince and the Princess didn’t have to fight with the world to love each other, they only had to find their way to each other. (I’m recalling Pat’s realisations about his feelings for Pran, the blind optimism he brought to the table, the way he kissed Pran and felt good vs the way Pran approached the kiss -- with despair, sadness, guilt, fear. Please look at this wonderful exploration of the kiss here.) Pat was in a romcom! His optimism bleeds through -- he still wants to be able to love Pran openly, he’s got a charade going -- the charade of death! Snow White! -- but he’s hopeful of living without the charade in the future. (look here as well!) For Pran, he’s very much living in the present. ATOTS is a real, lived story of queer love and struggle. He too wants to live without the charade, but for him, the nuances of the struggle are much more pronounced. 

One is an old story, and its simply a story. One is a new tale and its a lived reality at that. We’re exploring hopes and dreams in the face of reality and imagination baby! Pat and Pran want to chart their own course, and they need to find a way to blend these two outlooks together. 

They’re both trying to explore the question of “If they can, why can’t we?” but they’re looking for hope in different places. Considering the open ending of the BBS storyline, and the fact that one of them goes abroad while the other stays with his family business -- the future they end up choosing is the one their partner looked at first. They’re still learning from each other, and they continue to grow together. 

P’Aof, let me kiss your forehead PLEASE. 

2. We’re addressing underlying themes of patriarchy! We know that P’Aof’s shows are genre aware as well as time aware. We also know that retellings for him are heavily about subversion, among other things. I’m focusing on the subversion right now because it’s not just any story -- Its Snow White, a classic Western fairy tale, that is well known for its revisionist retellings! Retellings and fairytales (especially the Grimm’s) go hand in hand. Retellings are, in the postmodern context, about unmasking the ideologies inherent in the story and then flipping it. 

Early on, we establish that Pat is the so called prince and Pran is the so called princess in need of rescue. Or is it? Pran has been the one leading Pat this time on divergent and creative thinking. It’s Pran who is taking risks, doing things on his, going after what he wants. It’s also Pran who gets lost (with Tian) and needs rescuing. Pat is part of the rescue effort. But who ends up rescuing whom? 

A sidenote to this point: Pran is also hurt and exploring his independence from Pat while being in a relationship. The fight they have seems petty on the outside and they are certainly mature enough to try and find a way of communication that best fits them i.e. the bet but Pat is the one who needs to apologize and relearn this time. It is clear that there is a modicum of hurt on both ends. They are trying to solve their concerns on their own, as well as together, as well as with the help of others. So, who is rescuing whom and where? Is it Pat rescuing Pran? Is it Pran rescuing Pat? Is it Pran rescuing Tian? Or is it Phupha rescuing Pat? Or is it any other way around? We don’t know yet, but the whole tiger thing makes me think this will definitely be alluded to, if not addressed. 

3. Mirrors! Mirrors in older gays! Mirroring each other stories! 

The first mirror is again, related to perspective. Pran is the one showing Pat how to look at the wooden bench as a mirror for the Snow White adaptation. I also read it as Pran holding up the mirror of reality for Pat -- atleast, a foreshadowing of this, because Pat wants to be open and Pran is more focused on the reality of it all. That they address this in a fantasy situation where anything can veritably happen is so interesting because I think it hints at how BBS EP 12 ended: the future they live there is still happy, and its all a lot of careful planning. Planning, I think, that took place in the time period we see in OS2. They’re figuring it out, laying all the what ifs out and seeing how it goes. 

But they’re still young, and they’re still kids, so Pran gives into a little pettiness and leaves Pat at the bus stop. Pat follows anyways. 

Onto Phupha and Tian: they’re messy y’all. They’re able to see each other in Pat and Pran, and this has been discussed elsewhere. 

Here’s a few posts that examine mirroring/elements of it in the OS2 episodes: here, here, here. (These are the three that stood out to me the most but there’s a few more out there.) 

 Overall, we have been able to see these two episodes address crossovers, the metatextuality of ATOTS, and parallelism across the two shows - of each other AND of themselves. 

 Phupha - Pat and Tian - Pran is genius mirroring in my opinion, and the fact that they examine peril in these pairings is going to be interesting. 

The most important thing jumping out to me is the whole: I see him in you but I also see myself in you. I’ve been here before. I want to be where you are. Literally, pick one of the four and they fit all of these simultaneously. It’s so potent, I cannot shake the fact that this is really going to be super important soon.

I’m not expounding too much on mirroring right now because we have two episodes more to go, and I have also linked all the places this has already been touched upon. We must wait for further insights.

4. The setting. We move from the city to the forest. The city is where ATOTS wants to be. The forest is where BBS wants to be. One show desperately wants to address reality and move out of the liminal space it exists in (ATOTS). The other has been grappling with reality for so long that it seeks the safety of the forest, where reality cannot touch them if they don’t want it to (BBS). BOTH shows have couples that are seeking to strike a balance in their relationships. 

Although we are yet to see Phupha and Tian come down from the mountain, the trailer for OS2 seemed to imply they will. With BBS, we have seen them move already. Even though they are seeking the independence the setting provides them with, let’s also remember that Pran is trying to put on a show based in lived reality. And so, they continue to call each other buddy here -- they can’t shake it off. Even in front of an older queer couple -- who they know have seen their fair share of trials and tribulations and will be safe around -- they keep to their reality. I think an echo (mirroring!) may happen with Phupha and Tian when they descend the mountain. 

Other implications of the forest include: isolation, independence, freedom and fear. The City vs The Forest in OS2 is simply about finding your place in the world. Snow White moves from her life of luxury to a life of daily toil that she does not resent. She moves back to royalty at the end of her story, but her stay with the dwarfs was formative for her. BBS x ATOTS x OS2 is investigating movement and change.  

Tian has made the choice to move from his life of luxury to the forest with Phupha and its not a choice he regrets. That’s been made clear for us. He however, does wish to strike a balance. He is okay with new things in a way Phupha is not. Phupha finds the city a place he does not know his place in. He’s afraid of what it means to not have his duty define him first and so he sticks to what is familiar to him. (hmm who else do we see this in, I wonder.) Pran and Pat are living in a glass closet and its stifling. Each time they try to ‘escape’, its to places that are very far removed from their reality, and where they can only be guests. They yearn for the freedom these places -- Zero Waste Village, Chiang Mai -- provide. Pat immediately wants to recreate the honeymoon, and he goes so far as to pitch a tent in their house to bring in a sense of that freedom. He’s thinking about their time in the Zero Waste Village as an ideal he would like to have for them permanently. Pran is not comfortable evading reality. He’s scared of what the relationship might do to everything else that he is and has. (Ahem, this is such a clean mirror guys, what did they use to get this shine?) I can continue to ramble about fear of loss of control, what does freedom really mean, change and adjustment in relationships, growth etc. etc. but I want to see what P’Aof and co have in store for us. 

5. Someone gets injured. They have to, its implied heavily and also -- Snow White. It could be literally any of the four or it could be the kid. The whole rescue thing is also about returning from the point of no return. (Death in Snow White, I don’t know what in OS2?) A little bit more on the death motif here by @chickenstrangers .This is also in conjunction to my point on who saves whom (point 2). This is one I really think the next two episodes will shed better light on, so I’m simply jotting it down here and hoping for the best.

Anyways, this was me holding a sermon in the town square, thank you for listening. Come Wednesday, P’Aof and co will come strolling in to the square, drinks in hand, and say “see you looking, catch it, here’s your cola” and dump all their soda all over me. And you know what? I will welcome it. 

A small biblio of bad buddy meta and other posts I have been reading and thinking about, and posts I think in some way or another talk about the things I have mentioned here: 

Growth and Aging of Queer Relationships by @moonlitfantasyblr and @waitmyturtles 

They Love Each Other! by @gracefulnosplinters​

Nong Nao Mask by @lurkingshan​

A Full Circle by @jemmo

[dribs-and-drabbles]

The Thai Communal Wardrobe™ strikes again.

You're My Sky (ep 7) | Our Skyy 2 ATOTS (ep 15)

You're My Sky (ep 7) | Vice Versa (ep 5)

(with thanks to @respectthepetty for the yms screenshots)

[dudeyuri]

I liked a lot of the first episode (the third episode turned iffy characterization here into a pattern of bad characterization but isolated I liked it). I liked their little lovey dovey not-fight behind the curtain. I liked their domestic little apartment they share, genuinely this warms my cold heart. I liked their camping in the living room, i liked Pran telling Pat he likes him. I liked Pran saying he has OCD. I liked any moment Pat and Pran were in cahoots with each other. I liked when they held hands at the waterfall. I liked their cuddling under the blue netting and I liked Pat’s seductive “withstand the shake” line, very flirty A+. I liked that “Secret” is now a confirmed written-by-Pran-about-Pat song, Pat’s status as muse lives on. I liked when Pat said Pran was going to be okay because he’s smart. I liked their last morning in Pha Pun Dao and the “love sprouts” they planted. I liked that despite all the roleplay, Pran played Phupha and Pat played Tian!! I liked that they kissed on stage. I liked that they kissed in (not quite wink wink) private. I liked Pat’s hair in a ponytail and Pran grabbing his face and kissing his cheek. I like that this is not chronologically where we leave Pat and Pran off, lol.

[distant-screaming]

I think something really interesting about patpran's dynamic is that together, they're the intersection of what they're supposed to be and what they want to be, the overlap between who they could have been and who they are. And it's so good because they can only really be this way with each other - no one else can fully understand what they've had (and what they've lost) as neighbours who are supposed to hate each other -

- but they as a couple are not an inevitability. Every single time, they choose each other, over and over again. It is a choice they make to love each other because of and despite everything.

[dimpledpran]

Pat Napat Jindapat and Pran Parakul Siridechawat in Our Skyy 2 X Bad Buddy Preview

[quodekash]

SOUNDWIN PATPRAN PARALLELS bc soundwin = patpran shut up 

(specifically sound = pran and win = pat but there will be some outliers with that, but itll still be soundwin = patpran) 

the timing of their kisses is like. exactly the same. yes, soundwin is 1.5x faster, BUT the timing increments between the two kisses are EXACTLY the same which cant be a coincidence (woah look at that a sneaky little self plug here, i put the music from the patpran rooftop kiss over the top of the soundwin kiss, swhshwshwshwshwshw youre welcome) 

sound wrote a song about win and performed it at the beach. pran wrote a song about pat and performed it at the beach. 

their first kiss is WAY more than just a peck 

sound liked win for longer, pran liked pat for longer, and yet their first kiss was initiated by win/pat: the one who had feelings for less time 

pat is an engineer, win is a sound engineer (korn is also an engineer) 

the soundwin red/yellow agenda (you can find the original posts of those brought to you by the wonderful @ashedddaisy right here. this is the reason i can no longer see a red skittle and a yellow skittle next to each other without thinking of soundwin), and the bins outside their houses are red and yellow. adding on to that, yellow is sound’s colour and red is win’s colour, and the bin outside pat’s house is red while the bin outside pran’s is yellow. 

sound and pran are both singers, guitarists, and songwriters 

sound and pat are both ASTONISHINGLY good actors 

sound and pran were both in a band with their high school crush 

in episode 9 (his sixth episode in the show), sound confesses to liking win after pretending to hate him the entire time. in episode 6, pran makes the “whoever falls in love first loses” deal with pat, after pretending to hate him the entire time. and i wont get into it right now, but that deal/bet thing was essentially a confession (if youre wondering precisely how, ask me and ill tell you) 

bathroom interactions (patpran with the “did you wash your hands” and soundwin in their first interaction and in episode 7) 

win and pat both like and attempt to hit on a girl who is clearly a lesbian, right in front of the guy who is in love with them, and whom they dont yet realise they are also in love with, while the guy who is in love with them stares on in gay jealousy (with a hint of sadness) 

this one is strictly os2 but both sound and pran run off after their first kiss 

win and pat are both very impulsivley angry and get into fights fairly often 

sound and pran both bounce off win and pats anger, meaning soundwin and patpran get into fights a lot 

pat and win both take pran and sound places in their vehicles (win on his motorbike, pat in his car) 

PRAN AND SOUND BOTH HAVE UNBELIEVABLY ADORABLE DIMPLES THAT MOSTLY COME OUT WHEN THEYRE SMILING AT PAT/WIN 

win wanting to sit next to sound on a long bus ride to the beach, but sound is ✨moody✨ for some reason || pat wanting to sit next to pran on a long bus ride to the beach, but pran is ✨moody✨ for some reason 

aggressive declarations of love in front of large crowds (sound with his song, pat with his declaration in front of the entire architecture faculty) 

sound/pran realising their feelings after win/pat does a silly little tiny thing for them thats revealed in a flashback (win hugging sound under the umbrella to keep him dry, pat with “the worlds one and only handsome pick”) 

win spooning sound under the umbrella | pat spooning pran at the xylophone 

again, this is an our skyy 2 thing, but pat wants to race pran up the stairs cos the elevator isnt working, and pran seems to disagree at first, but he’s actually tricking him and then he gives himself a head start. likewise, at the start of episode 2 msp os2, sound wants to race win, and win seems to disagree at first, but he’s actually tricking him and then he gives himself a head start 

forced proximity (soundwin tied up for the play, patpran squished in the elevator) 

in the mv in os2, sound played pran and win played pat 

there is something to be said about episode 6 when patpran were doing the standing on the paper thing, and the end of episode 9 when soundwin are standing super close together at “then ill hit on you til your heart beats fast” 

while we’re on that part, sound’s purple long-sleeved jacket thing when he’s at the beach on the last day and pran’s purple shirt when he’s at the beach on the first day? very similar vibes 

this one might be a bit of a stretch but palm in nlmg always makes me think of win, and palm apparently owns nothing but hawaiian shirts, and pat also seems to own a large collection of hawaiian shirts 

win is constantly late and also falling asleep in class, so he presumably takes forever to get out of bed and is constantly snoozing his alarms. you know who else snoozes his million and 1 alarms in the mornings, and then ends up running late? pat. 

BOTH SHIPS HAVE A HITTING-ON PHASE TO PROVE THE FEELINGS and also most of the flirting is off screen and im really mad about it. but anyway ignoring the lack of on-screen embarrassing attempts at hitting on each other, there’s sound with the “ill hit on you til your heart beats fast” and patpran with the “whoever falls in love first loses”, so. yeah. 

in the earlier stages of their relationship being known to their friends and stuff, win and pat are slightly more confident whereas sound and pran are very blushy (and i think embarrassed is the right word? but embarrassed in a good way) and stuff. think of win with the chin touches, and calling him pumpkin, and the way sound is smiling and laughing but trying to change the topic. and then think of pat with all the sniffing, and wanting to be sweet with him even tho paa is in the room, and the declaration of love, and of pran’s reactions. but also pran and sound have their moments of confidence, like pran's grin and “what was that? i didnt hear that” during the declaration of love, or sound initiating the cheek kiss on stage, or sound pinching win’s cheek in front of gun, or (other examples that i just cant think of rn) 

i cant explain this one, but theres something so similar about the scene in episode 5 where win is playing video games and sound is doing his guitar things, compared to the scene in the first episode where patpran are aggressively drumming/strumming at each other in the music room 

sound and pran were both on the bl babygirl polls, and there was a round of them against each other 

sound and pran both have their own little symbols if that makes sense?? like, sounds is the chain necklace, pran’s is the ):) 

also just “in the beginning, we just didnt stop fighting. in the end, i blushed for him without realising it.” i know it’s gun who says that, but it very clearly applies to soundwin as well (and sound’s reaction to that line is more evidence that it applies to soundwin), and it’s also PERFECT for patpran 

pat fully just says pran’s password out loud to the entire architecture faculty, and that just seems like a silly impulsive thing that win would also do 

“the doctor says i need someone to support me while i walk” when pat is leaving the hospital feels really similar to win in os2 pretending his leg is in pain so that sound would come back and win takes advantage of that as a head start 

thats all for now, but ill probably update this regularly when i think of more and/or when we get more ✨new✨ parallels bc of bbs os2 

(also some of these i thought of a while ago, so heres my collection of msp/bbs parallels, all in the form of the one meme) 

[lurkingteapot]

I haven’t seen the writing in this translated anywhere yet. Copied down and attempted translation of what I CAN read so more fluent speakers will hopefully chime in and solve the puzzle.

(บริ??)การ                          Service (?) วิศวะกวาด ถาปัตย์ถู (?)   Engineering sweeps, Architecture scrubs รวมใจมหาลัยน่าอ(ยู่?)   United for a university worth staying at (?)

On the very top left, การ /kaːn/ is a suffix used to make words originally from Pali into nouns; this could be anything short going by bubble size. บริการ  /bɔːríʔkaːn/ means Service, which could work here.

Similar for the ถู /tʰǔː/ (to scrub) in first line (can’t actually see the vowel), but “sweep & scrub” seems to go together well enough.

The last line I’m super, super unsure about-- the way the sentence cuts off doesn‘t help; I’m guessing it’s น่าอยู่ /nâː jùː/ “liveable”, “pleasant to be at” but I can’t tell for sure because the line cuts off at the อ.

Fluent speakers? help?

[mineonmain]

Ok, since no one is gonna talk about it, I will.

Hey PatPran, you fucking exhibitionist freaks.

Were you fucking?? That night in the forest?? A night after Pran had spent maybe over 24 hours awake traipsing through an unknown forest lost with a drunk emotional toddler and an actual child, and would be exhausted out of his mind?? A night when Pat is surely getting some kind of blood infection after he was bitten by leeches and not properly treated, and has a limp??? A night where, you are sleeping on a rocky ground, in a tent, that you are sharing with previously mentioned actual child?????? HUHH??? WERE YOU FUCKING?????

Because otherwise, what the fuck is the explanation for this. I demand to know.

[malepresentingleg]