#plot and pace in BL

[absolutebl]

I've been thinking obsessively about story structure lately. Are there any BLs you consider particularly well structured/paced? Or at least very typical? Especially for Thai BL, since so many are 12 episodes and that makes it easier to compare. I know we can all think of examples of shows that just kind of happened without any structure...

Now in the above post I wasn't thinking specifically about pace. I think that post is more about what you're calling structure (the narrative backbone brought to light via the script).

Thai stuff is always gonna be slower paced than Korean stuff. Because it's longer and jsut less tightly controlled by the directors.

Also something like 4 or 6 act structure (popular in China, Taiwan, and sometimes Japan) will often FEEL slow to western viewers.

I think the pace of a show is partly a judgement call on behalf of the viewer, but also heavily cultural, so let me try to explain.

Structure, Pace, Plot

Structure, or the writing of a narrative script, can be divided into plot vs pace as follows:

Plot: movement of characters through time (scene by scene) and space (setting) and the people they meet along the way (dialogue).

Pace: how the plot is executed in terms of which scenes follow which, length of scenes and shots, presence or absence of flashbacks, cuts, voice-over work, but also literal words on the page - staging instructions, dialogue sentence structures, monologuing, and so forth.

Plot = what is written in the script

Pace = how it's written in that script

This is going to get further complicated once an entire film crew gets ahold of that script.

Plot is characters moving through time, space, and interactions in the show AKA WHAT the characters are doing.

Pace is how that script and story now in the hands of the performers is relayed to the viewers using camera angles, dialogue delivery, staging AKA HOW those characters are filmed.

Plot is the responsibility of the actors and script writers to convey.

Pace is the responsibility of the directorial and editing teams to convey.

Thus a part of the world that has good talent but poor production values (like Thailand, Philippines, or Vietnam) will always be weaker on pacing. But they can churn out something raw and brilliant IF they have a good script.

On the other hand, a place that has great everything but just really likes to mess with story structure and style, like Japan, might ALSO have weak pacing because that isn't their focus or interest.

In the first case, they lack the editing talent, money, and technology, in the second they just like to play with structure A LOT.

But it means each country that produces BL ends up needing to be judged on its own merits and choices (or lack of options) IMHO.

So, I stand by my list above. I think of it as representing all round story execution to the capacity of the country of origin. They are still the best story, although by western standards that story structure may feel a little off - depending on how you feel about that country's style of BL.

I might add a few to the above list (from late 2022-2023)

Semantic Error - of course. This show is perfect, after all.

The Eighth Sense - Korea went gritty and tense, outside their comfort zone, and executed it sublimely well

Love Tractor - Korea frmly and entirely in their comfort zone but the pace never lets up

Jun & Jun - a master class in pure sappy fluffy romance but still knuckle biting tension, I was upset at the end of every episode that i couldn't watch the next one INSTANTLY, in TV that = pitch perfect pacing

Tokyo in April is... - this is paced beautifully for Japan, very tense but with Japan's signature artsy atmosphere, it's not it's fault I didn't like the story

Laws of Attraction - this is a plot-based pacing story, like UWMA, and these tend to be the ones Thailand paces best using plot to amp up tension, unfortunately that best can still feel a little weak on actual story strcture and basic plotting, e.g. they can go off the rails easily like Manner of Death or KinnPorsche, but at least this kind of Thai show keep us intrigued for the next episode.

I'm gonna mention Bed Friend here as a lesson in pacing. If this show had stuck to it's guns and stayed 8 episodes, rather than stretching to fill 10 at the last minute, it would have been a near perfect high heat show out of Thailand. But it didn't have the confidence, and it likely wanted the money from those two added episodes. It's a real shame.

I gotta say I think this is the fans. fault.

People always want more of a good thing, or more of the same thing, it's why we get shitty 2nd seasons. Sometimes what we need to truly better cinema is LESS of the good thing - better editing, tighter scripts - because that way the pace will be superior.

Bah, anyway,

Be you didnt' want a film lesson with your spontaneous ask?

[gunsatthaphan]

(っ˘з(˘⌣˘ ) ♡

[firstkanaphans]

One of the things I struggle with most when writing original fiction is plotting my novels so that the midpoint—or the point where everything changes—ends up right smack dab in the middle of the novel. That’s literally one of the first things they teach you in any writing class. If your midpoint is in the wrong place, your story is going to have major problems.

This week, with Bison and Fadel finding out they’re being lied to in the final seconds of episode 6, THK became one of the rare BLs to hit that mark. I’ve been very impressed with the writing in THK overall. The dialogue is some of the best I’ve seen in the entire industry and I just wanted to nerd out about it for a minute because it literally gave me chills.

[dragonsareawesome123]

If We Are lands the ending, it will probably end up being one of the best GMMTV QLs of 2024.

[j-psilas]

Will we ever get anything quite like Code Geass again?

I don't think it's possible.

Code Geass is Japanese nationalist propaganda disguised as a global political drama, disguised as a military mecha show, disguised as yaoibait, disguised as a teen melodrama, disguised as a high school romcom, disguised as a Pizza Hut commercial...

...except those layers aren't layers at all, but are instead comingled in a giant snake ball of insanity.

The lead writer, Ichirō Ōkouchi, only ever worked as an episode writer for other shows prior to Code Geass, and never took the helm of an anime series ever again. And it shows. [EDIT: Several people have pointed out his other lead writing credits to me. So I misread Wikipedia—sue me. I maintain that this guy is a better episode writer than he is a lead writer.]

The minute-to-minute pacing is impeccable from a mechanical standpoint, with tension and stakes rising to ever-higher peaks, balanced out by the slow simmers of the b-plot and c-plot. It keeps the viewer on the edge of their seat at all times. Meanwhile, the large-scale plot is the most off-the-wall middle school nonsense I've ever seen, continually surprising the viewer by pulling twists too dumb to have ever have been on their radar—and therefore more effective in terms of raw shock value.

"Greenlight it!" was the mantra of this anime's production. It must have been. It has, in no particular order, all of the following:

Character designs from CLAMP, the foremost yaoi/BL group in Japan at the time—for characters who are only queer insofar as they can bait the audience, and only straight insofar as they can be more misogynist to the female cast.

Speaking of the female cast, hoo boy the fanservice. We've all seen anime girls breast boobily, with many cases more egregious than Code Geass, but there's something special about it happening immediately after—or sometimes in the middle of!—scenes of military conflict and ethnic cleansing.

Pizza Hut product placement everywhere, in every conceivable situation. High-speed chases, light slice-of-life scenes, intimate character moments, all of it. Gotta have Pizza Hut.

The anime-only Pizza Hut mascot, Cheese-kun. He wears a fedora.

The most hilarious approximations of European names—which I would love to see more often, frankly. Names like, I dunno, "Count Schnitzelgrübe zi Blanquezzio."

A depiction of China that is wholly removed from any modern reality, with red-and-gold pagodas, ornamental robes, scheming eunuchs, and a brainwashed child empress. There's a character named General Tsao, like the chicken.

Inappropriate free-form jazz in the soundtrack, intruding at the most unexpected times.

A secret cabal not unlike the Illuminati, run by an immortal shota with magic powers, holding influence all across the world, at the highest levels of government. They matter for approximately three episodes.

An unexpected insert scene of a schoolgirl using the corner of a table to masturbate. She's doing it to thoughts of her crush, the princess Euphemia—because she believes Euphemia to be as racist as she herself is, and that gets her off. This interrupts an unrelated scene of our protagonist faction planning their next move, which then resumes as if uninterrupted.

Said schoolgirl, in a fit of hysteria, threatens to detonate a worse-than-nuclear bomb in the middle of her school. She then goes on to develop an even more destructive version of that bomb, and become a war criminal, in a chain of cause-and-effect stemming from the moment she finds out that Euphemia wasn't actually that racist.

A character called "the Earl of Pudding."

A premise that asks us to believe that the name Lelouch is normal enough that he didn't need to change it when he went into hiding as an ordinary civilian. "No, that's not Prince Strimbleford von Vanquish! That's our classmate, Strimbleford Smith."

The collective unconscious, a la Carl Jung, within which the protagonist fights his villainous father for control over the fate of humankind. After this is over, the anime just keeps going for about ten more episodes.

An episode in which a mech tosses a giant pizza.

A gay yandere sleeper agent who can manipulate the perception of time.

Chess being played very badly, even to the untrained eye. Lelouch frequently checkmates his opponent by moving his king. This goes hand-in-hand with the anime's crock of bad chess symbolism.

A fictional drug that can most succinctly be described as "nostalgia heroin."

Roller-skating mecha in knightly armor, and some of the most sickass mecha fight choreography that I've seen.

I could go on and on, but I think you get the picture. This anime is what the average Westerner in 2006 thought anime was, and it was made in a confluence of factors that cannot be replicated. I've never had so much fun watching something that I found so... insulting. Repugnant. Ridiculous. Baffling. I love it sincerely.

Catch me cosplaying Lloyd Asplund at a con sometime, or maybe even the big gay loser himself, Lelouch vi Britannia.

[triflesandparsnips]

So I understand that there are Good Omens show fans who have never read Good Omens the book, and that makes me deeply sad because--

Like, there's so much depth to the story being told about humans and humanity and the choice between good and evil -- and how that's actually a false dichotomy whoooops -- WHILE ALSO not really being about Aziraphale and Crowley at all (who are, imo, basically there as embodiments of "Impressive Failures" for the purposes of Theme and also Plot).

BUT IF you want to know why I've shipped them since the book-- here's the moment it happened for wee teenage me:

Wednesday (before the end of the world)

So it's Warlock's birthday party. And there are all these children and security guards and also an angel doing magic tricks while a demon is disguised as a caterer. This bit is basically the same as the show, so hooray.

But as wee me understood the characters up to this point, they were still basically enemies who had been in the field together for way too long and knew each other's moves well enough for the same tempting/thwarting of one another to become kind of boring and repetitive and generally pointless-- particularly once they realized that they could, for instance, just live their (separate!) lives watching humans being weird (Crowley) and seeking various sensory stuff (Aziraphale) while doing the least work necessary to keep their respective bosses off their backs.

The Arrangement was borne not out of hiding a friendship or anything, but instead the realization that sometimes covering for one another would just... cut down on their total overall workload. They were, at best, employees of two different, competitive companies-- though in same kind of department, doing the same kind of work-- who discovered they liked to have lunch at the same deli and that their jobs were sometimes distressingly more similar than either was comfortable with.

SO ANYWAY. BACK TO THAT WEDNESDAY. They're not covering for one another with this whole Antichrist thing-- they're now actively collaborating, and they've acknowledged (mostly) that it's not to cut down on their individual workloads, but rather to preserve their identical-- but not shared (not yet)-- goals of Getting To Continue The Lives On Earth They've Grown To Enjoy.

But like-- still not friends. Not really.

Until Aziraphale fucks up a bit, Warlock accidentally gets hold of a security guard's weapon and starts waving it around, and:

Then someone threw some jelly at Warlock. The boy squeaked, and pulled the trigger of the gun. It was a Magnum .32, CIA issue, gray, mean, heavy, capable of blowing a man away at thirty paces, and leaving nothing more than a red mist, a ghastly mess, and a certain amount of paperwork. Aziraphale blinked. A thin stream of water squirted from the nozzle and soaked Crowley, who had been looking out the window, trying to see if there was a huge black dog in the garden. Aziraphale looked embarrassed. Then a cream cake hit him in the face.

My teenage brain exploded at this moment.

BECAUSE: there is no reason for Aziraphale to do that.

Work-wise: If he got shot, Crowley would get discorporated, but not die-- and anyway, it would happen in such a way that both of them could explain it away easily to their respective sides (and possibly even be commended for it!).

Collaboration-wise: If Crowley had been watching Aziraphale, and if he'd seen Aziraphale have the chance to change the gun but not do it-- then yeah, probably that would've been annoying enough to have warranted some chilly conversations once he came back topside, and therefore, Aziraphale choosing to save Crowley could've been a reasonable, logical choice to keep their working relationship on an even keel until they'd sorted out this Doomsday thing.

But Crowley was looking the other way.

Work-wise, it doesn't make sense-- and secret-collaboration-wise, it doesn't make sense-- and so it is, overall, really weird that Aziraphale saved him.

But his automatic reaction-- in a blink-- is to stop Crowley from getting shot. And he knows it's weird-- he feels embarrassed that his sudden, unthinking reaction is to save his "enemy".

And the final bit is just a couple paragraphs later:

With a gesture, Aziraphale turned the rest of the guns into water pistols as well, and walked out.

SO LOOK: He changed only the pistol about to shoot Crowley. His automatic reaction had nothing to do with saving a party full of humans, many of them children-- nothing to do with Heaven or Hell-- nothing to do with preserving the coworker he needs to stop Armageddon--

It was all to do with saving Crowley. Who may be the enemy, but he's Aziraphale's enemy. And another part of his life on Earth that he's doing all of this just to preserve.

Which may also be, for the first time, the moment he lets himself realize how important Crowley in particular is to him.

...and so anyway, that's how I started shipping these two immortal idiots, and one of many reasons why everyone should read the book.

[lurkingshan]

I was chatting with @kdramaxoxo about Thai bl and its tendency toward loose pacing, formulaic plots, filler content, and lots of side character material that takes up space and draws attention away from the main romance. At this point these characteristics are pretty much features of the genre, and for many people, it's the reason they love Thai bl. For others who prefer tighter stories, it can make Thai bl a bit difficult to get into. She asked me if I had any recs for Thai shows that have creative plots and manage to avoid overly draggy pacing. I haven't done a Thai recs list in a while, so I thought I'd share.

In no particular order, some Thal bls to try if you like creative concepts + shorter format with zippier pacing (relatively speaking, we are still talking about Thai media here):

I Told Sunset About You/I Promised You The Moon

He’s Coming to Me

La Pluie

Wedding Plan

4 Minutes

Knock Knock Boys

Laws of Attraction

Triage

Be My Favorite

Bed Friend

Moonlight Chicken

Gelboys

And for bonus fun, some great Thai shows that fit these criteria that are not technically bl, but still queer as hell:

180 Degrees Longitude Passes Through Us

3 Will Be Free

The Warp Effect

Great Men Academy

Gay OK Bangkok

[extremelybabygirl]

who would have thought high school frenemy would turn out to be my favorite and the BEST show in the entire gmm 2024 lineup! the way it exceeds my expectation! in every way possible!

it's a love story about two childhood friends

it's more romantic than most bls and it's not even a bl

good plot and storyline

characters with emotional depths and complex, no one-dimensional flat character

on-point dialogues that bring you to tears

phenomenal acting from the whole cast (especially nani. i don't think anyone else could play this role better!)

amazing chemistry between the main leads right off the bat

no overused cliche tropes often seen in most bls, no unnecessary filler, no product placement

relatively good pace (i don't need to watch it in x1.25 or x1.5 speed lol)

excellent soundtracks and song choices! the lyrics are so accurate you'd think they were written specifically for our characters! in each specific scene! whoever picked the music did the lord's work!

director is a queer woman who directed bls and gls

overall good directing, good acting, good editing, good plot, good writing, good soundtrack 10/10 chef's kiss

people who don't watch this show just because it's not a bl don't know what they're missing

[little-one-eyed-monsters]

Inspired by @absolutebl and @heretherebedork's posts about 10 BL endings they wish had been April Fools Jokes, presenting:

10 BLs with plots that felt like an April Fools' Joke:

(Full disclosure: I loved all of these shows. I finished all of these shows. Whether they were good, bad, frustrating, or anything in between, they scratched an itch in my brain and entertained me to no end; like any well-executed April Fools' prank).

But before that, some honorable mentions:

1. Century of Love (hi grandpa. He's probably too young for you. Also, why is there a fox spirit here? Is this a transmigration series or a fantasy series?! Pick a lane dude!)

2. Pit Babe (ah, Pit Babe. Are you an omegaverse? Are you a sports-themed bl? Are you gay X-Men? Are you the unholy amalgamation of them all? I love this color on you.)

3. The Boy Next World (so he's lying about the parallel worlds... he's just a stalker. Or, wait, there is a parallel world? But he's stal-- oh, now they're both stalkers? What the hell is going on? Well at least the leads are pretty.)

4. Four Minutes (I fried my own brain trying to understand the plot of this one. I spent my viewing hours just listlessly looking at the characters doing something on screen, praying that one day, any day, it will all make sense.)

5. Jack and Joker: U Steal My Heart (this shouldn't make the list. BUT that special episode was a JOKE. I refuse to accept it as canon.)

AND WITHOUT FURTHER ADO:

10. Battle of the Writers

Because let's be honest, after the couples got together (which they achieved at an average length of one episode each), THE PLOT WENT EVERYWHERE and NOWHERE all at once. OOH they were childhood friends, OOH now this editor is trying to steal this writer friend from his boyfriend, OOH now this other guy goes on vacation and falls for a random islander, OOH lead character randomly LOSES HIS EYESIGHT, then gets it back an episode later. OOH random actor has a crush on the lead writer.

True to its title, I fully believe that all writers involved in this show had a battle inside that boardroom to see where the series' plot is supposed to go. Sadly, they all won.

9. Dead Friend Forever

...was this a BL? Maybe. Well, they made out with each other a lot in this. I spent half of the runtime wishing half of the characters were dead, and the other half wishing the rest would get the hell out of that school. Pretty, balanced ride now that I think about it.

(Barcode and Ta' characters should have ended up together. The fact that they didn't made this series a true April Fools' joke)

8. Choco Milk Shake

Some of the leads spawned from pets. That's it. That's the premise. Otherwise, this is pretty low on the list because the execution isn't as outrageous as the initial plot. I was kinda wishing they would run with the crazy, but this is Korea. This is as crazy as it'll get.

7. Venus in the Sky

This was as plotless as Battle of the Writers. The only reason this beat out the others on the list is because the plot was so glacially, PAINFULLY slow. The pacing alone was a bamboozle all on its own. Plus, characters would do the devil's tango OUT OF NOWHERE, in the weirdest places. At one point they went to town with each other's bodies while the front door and windows were OPEN. That poor, traumatized neighborhood.

6. Anti-Reset

Main dude fell in love with a ROBOT, programmed by a company, owned by his UNCLE. Thank the heavens the robot didn't look or act remotely like a robot, otherwise this would be at the upper part of this list. The robot can... cry? Are the tears made of motor oil? Battery-fluid? Gasoline? Speaking of fluids, I have questions... bedroom wise...

5. History 4: Close To You

This was a rollercoaster from beginning to end. Manchild meets old crush at his workplace, woes her by... pretending to be in a relationship with his best friend? And then falls for his best friend. Then there was a harrassment lawsuit somewhere in there? And two dudes got married? Aight, aight.

Don't get me started on the stepbros. It's a bit ickier than Unknown's premise, because here their respective parents are still MARRIED to each other when the stepbros start doing the devil's tango. This all feels like unintentional grooming. I'm with your parents on this one, sorry.

4. Utsukushii Kare

I'm gonna say it: Hira deserved better. And I know Kiyoi is made out to be this emotionally-stunted, tortured soul who's secretly been in love with Hira all along, etc. etc. I don't care. Hira deserves to be loved by someone who expresses it openly and proudly. And isn't a bully. Yes I said it.

(Kiyoi did get better in the following season. Hira still should have chosen that photographer friend from college)

3. Word of Honor (I'm counting it. That canon ending where they live together in the mountains is as homo as any on this list)

In hindsight, this one might not be as crazy as the others on this list. Villain assassin falls in love with villain cult leader. A match made in purgatory because turns out, someone else out-evils them both. But as a couple, they made sense.

If only they didn't COMPETE to unalive themselves or each other EVERY OTHER EPISODE. Dude bro puts nails in his own body. Other dude bro jumps off a cliff. Dude bro surrenders to the enemy and suffers torture. Other dude bro sacrifices his life energy so his main dude can survive.

I swear if this was released fifteen years earlier during the bury-your-gays era, both Wen Kexing and Zhou Zishu wouldn't have made it past the third episode. Draw the curtains, plot will now focus on Gu Xiang. But no, it's 2021. The gays found the censored unlimited plot armor.

2. Secret Crush on You

The premise? Simple. Guy has crush. Crush likes him back (multiply by five couples).

The execution? UNHINGED. Toh, the main character, keeps a MUSEUM's worth of souvenirs (ehem, trash) of his crush. He kept a paint can. He kept a plastic bag. He kept leftover food, guys. FOOD. He keeps his crush's leftovers DEAR GOD.)

Toh also gets drunk every time they're travelling somewhere, intentionally KISSES the girl who's trying to steal his crush away to... fend her off? Tries to kiss Saint's character because he scored him a photoshoot gig with his crush (Suppapong I'm blaming this all on you). And his crush Nuea is INTO ALL OF THAT. What the ACTUAL HELL.

The rest of the cast was precious. That's the only reason this didn't top the list.

And the biggest joke of them all:

1. My Stand-In (because WHAT IN THE YAOI HELL WAS THIS?)

Screw the bury-your-gays trope. The gay will bury you, resurrect you, make you an escort, and... marry you?

Prior to My Stand-In, I have never seen Poom Phuripan (Joe's actor) act in anything else. From his MDL, he's been in a LOT of projects as a former Channel 8 agent. In Asia, that means you're under a steady rotation of guest and supporting roles in soap operas, most times as either the most expendable character, as a villain, or the anti-hero for bigger stars.

As for Ming's actor, I've only seen Up Poompat in one thing-- a bl called Lovely Writer. I am however aware that he started quite young in the acting industry, had a supporting role in Girl From Nowhere, and did a movie with GMM's Phuwin (didn't watch those before My Stand-In. This was all random info I absorbed from the general internet).

So I know both Up and Poom had more acting experience than most of their bl contemporaries. In their case, they've both been nominated for minor awards in previous roles. They would, on paper, be experts at this point.

And THANK GOD for that. Because only an expert could properly JUSTIFY what the hell My Stand-In's plot actually was.

This is the only show I've seen in my lifetime where one main lead acts like an absolute a-hole, gets little to no character development, gets NO PUNISHMENT for his actions (no, Joe's death doesn't punish Ming. It punishes JOE. He's the one who DIED; screw your tears Ming), then STILL GETS THE HAPPY ENDING. Oh, and he's rich too.

Why does fate love Ming? We don't know. Fate is Ming-sexual.

Meanwhile, the true main lead suffers unjust amounts of physical, emotional, social, and truly dysmorphic trauma, yet... remains a sweetheart? Joe, my friend, you died twice, I THINK YOU'RE ALLOWED TO STAB PEOPLE NOW. Did I mention he's an orphan? And that Joe lost his career because psycho ex-situationship Ming made him miss his big acting break by HITTING him with a bat and KIDNAPPING him. So he found another job which actually KILLED him DEAD. Then he was miraculously resurrected in another body for a second chance at life, only for him to become the boytoy of... psycho ex Ming?!

Why does fate hate Joe? Because they're Ming-sexual, that's why.

I hate Ming on paper. I HATE him. If I hated Kiyoi as an otherwise misguided school bully, then Ming gets all my rage as the most SPOILED, INSENSITIVE, truly HOMICIDAL mc to ever grace my screen. Each episode felt like a turn, and all turns went left. This was... romance? No, this is a True Crimes episode fr fr.

But that just adds to the surrealness of it, because good lawd Up and Poom can ACT. Up is one fine man, but I don't think his looks alone could have justified Ming's garbage character. Up played the role with such CHARM and nuance that I couldn't look away from his trainwreck. It was masochistic. It's his fault. But was it truly? OH NO.

And Poom's acting was a REVELATION. I've seen other great Thai actors before, and not just in BL. Being Asian myself exposed me to Thai series long before I saw my first queers on screen. Poom could best a lot of them. He played Joe in otherwise natural, blink-and-you'll-miss it actions, sometimes just through his eyes. But he played it in such detail that you could physically feel how lonely he was. How frustrated. How yearning. Truly IMPRESSIVE.

My Stand-In alone convinced me to watch all of Up and Poom's back catalog. They've each played monsters and villains and comedians and love interests in the weirdest series. You guys gotta give 'em a chance. Producers, I introduce to you the one ship in BL that can make your WEIRDEST premises watchable. Hot take: give them the accursed omegaverse Pit Babe cannot commit to. I'm sure they'll be able to glorify your kinks (unless Noeul Nuttarat wants to take a stab at it)

Bonus fun fact since you made it all the way here: did you know Up Poompat's original nickname was ALSO Poom (as in the nickname of his current bl partner?) He used Poom during his BL ship run with Kao Noppakao, as well as many of his previous shows and YT channel. He changed his nickname to Up after he screentested with a DIFFERENT Poom that was supposed to be his new bl partner, but it fell through. Then purely coincidental, he found another partner also named Poom, so at least that worked itself out. So how many Pooms does it take to make a ship? Just one apparently. Otherwise it would be PoomPoom. Sounds like a champion Pomeranian. (Ha, a joke!)

And that's a wrap for the biggest April Fools' pranks on Asian queer television to date. Thank you and sound off which BL you think should make this list. Stay kooky, folks!

[twig-tea]

GL odds and ends 29 December 2024

The end of the year kicked my ass, but I wanted to get one last one of these out for 2024! The last one before this was 10 November. If you're interested in GL older than that, check out my GL rec list through Feb 2024 and my #gl recs tag for the other odds and ends posts. New series marked with an asterisk*.

Currently airing (with thoughts up to 29 Dec):

The Fragrance You inherit 5/8 (Japanese, Friday/Saturday-ish, no official distribution but fansub on @isaksbestpillow's blog [thank you Siiri!] I have been really enjoying this show and have been writing when I have time (last post was for ep4). At its core this is a gentle show about kind people who love each other doing their best, which is always my favourite thing. Subs are on pause for the moment so you have time to catch up before the finale!

Pluto ep 11/12 (Thai, Saturdays 9:30 AM ET, YouTube) This plot continues to be absolutely wild. There's a lot of discourse around Oom this week, to which I'll just say: Setting a test to see if the people you love will hurt themselves in order to make you feel better is not loving or healthy behaviour, even if your motivations are understandable and sympathetic. Namtan is doing a great job making these twins feel like different people, and she and Film are still gorgeous together. And I have no idea what's up with the messy lesbian sides, but I'm on the side of all of them need a time out! I've been pretty dialed out of this show because it's not my thing, so I'm not that invested in any of the relationships going into the finale, but it's been a wild ride and it seems to be holding together for those who enjoy the high drama of this plot.

*Petrichor ep 5/10 (Thai, Saturdays, 10:00 AM ET, iQIYI) The procedural aspects of this show are unfortunately not well executed, but Engfa and Charlotte have fantastic chemistry. I'm also really loving seeing Na and Max again even though I am very worried about getting too attached to their characters. It's always hard for me when a show is about a police officer trying to do good work in a corrupt system because the only takeaway I can accept is that that is not possible lol but I'm enjoying seeing these two on my screen every week (except this week, because we sadly did not get a new episode today).

*Mate, 6/12 (Thai, Tuesdays, WeTV (uncut version)) This one is hard to describe. It seems to be trying to do for trauma in a GL what Love in the Air and Bed Friend did in BL--show a realistic depiction of trauma in one of their characters and have them fall in love, and be taken care of and healed that way. But that also makes it extremely hard to watch. The trauma flashbacks and trauma responses is rough. The main character is not very likeable but that's kinda the point, I'm not minding that part of it so much. There are a lot of things I like about this show, so I don't want to discourage views. Just go into this one informed, and make the decision that's right for you.

*INTP 1/? (Korean, Fridays (?), YouTube) This is the latest short series from RedQ, who produced some of my favourite GL short series including More than or equal to 75 degrees C, and To the Ex who Hated Me. No info on how long it will be or if it will be weekly, so that Fridays release schedule is a total guess. The setup of this one reminded me of Semantic Error if SangWoo realized he was attracted to JaeYoung at their first group assignment meeting.

Recently Completed:

Apple My Love 6.5 50-min eps (Thai, Oct 12-Nov 16, GagaOOLala and YouTube) I ended up feeling like this one bit off a bit more than it could chew, as much fun as I had with it, it was a wobbly landing. I was ok with the ending at the end but I spent a lot of time watching the finale uncertain about how I felt about all of it. There's a 30 min "episode 5.1" that is an important bridge between episodes 5 and 6 (and also includes a 10-min fingering scene, thank you show) that I think resulted from either poor pacing or realizing they needed to set up the episode better? It was odd but something to make sure not to skip. The show does a lot of what I love about Kongthup's latest BLs: it avoids the worst drama pitfalls and calls them out in the show itself when it uses them, and it is largely about being kind to its characters who are figuring themselves out. Warning for extremely hard to watch secondhand embarrassment in the first couple of episodes lol Kris is such a cringefail lesbian I love her. With the caveats above, if you don't mind secondhand embarrassment and want a comedy GL and are willing to be a little patient with the ending, give this one a try!

The Loyal Pin 16 65-min eps (Thai, Aug 4-Dec 1, YouTube) Anin was the bravest right through to the end. I really liked a lot of this show, but I found the pacing a bit uneven and the finale a little rough. It's hard, because I actually am happy with the way the show ended--it makes perfect sense and was where I was hoping they would get to the entire show. What I didn't like was how we got there. It seemed wild that Pin and Anin didn't at least talk about this possibility before we got there; and didn't feel like we ever resolved the disparity between the two leads, though the show was aware of it the whole time which I did like. And you may have seen the shouting about the prank in the finale, it was in really poor taste. In the end, this show was beautiful, gave a platform for promoting Thai culture (food, clothing, history), and had excellent intimacy. I really enjoyed the slow burn between Anin and Pin, and I loved that every character had and used the agency they had, but that the show was realistic about what was in and outside of their control. If you want a slow-burn and high-heat romance and are willing to be a little frustrated for the sake of the drama, and/or you really like a pigtail-pulling romantic dynamic, you should watch this show.

Red Whisper 8 10-min eps (Korea, Oct 2-Nov 11, YouTube) Honestly this show never got better after what I wrote about it a month ago about how its portrayal of bisexuality and nonmonogamy was upsetting. For the record one last time: Not all bisexuals are nonmonogamous, and entering a monogamous relationship under false pretenses and then acting like your partner is being unreasonable by not wanting an open relationship is shitty behaviour. This one is sadly not recommended.

The Nipple Talk 10 30-min eps (Taiwanese, Nov 8-22, GagaOOLala) I highly recommended the first half, and so I am so sad to say that I can't say the same for the second half of the show. I was really enjoying how much the show seemed to support a mix of monogamy and nonmonogamy, but the second half of the show leaned heavily into 'everyone wants a monogamous relationship when they meet the right person', which disappointed me. The show also tried to introduce some themes that felt very dated in terms of how they handled them (e.g. HIV) and I ended up just not really liking the Pony character as a person by the end. The lesbian relationship was super messy in a way that I did not find fun too. Mama was the best part of this show, and I hope we get more characters like them in future (better) shows!

*Soul Sisters 24 12-min eps (Chinese, iQIYI) This entire show dropped this week so I binged it in one go. The basic setup is a GL version of Meet You At the Blossom, except the gender fuckery lasts for most of the series and they don't actually ever get to kiss. I loved this little show; it is a frenetic, very silly and censored comedy, so calibrate your expectations accordingly. But it walks the line in a way that is palatable (or was for me, anyway). Without giving too much away, it is an open happy ending. The caveats for this one are that there is no wasted tape, so the pacing is rollercoaster fast, and the cuts are sometimes jarring. But it's a surprisingly beautiful show for the budget, and I really appreciated all of the ways they came up with to give these women shippy moments. Also, good lord this main character is so competent, which is a major weakness of mine. I had a great time!

*Whisper Me a Love Song 12 25-min eps (Japanese anime, Apr-27 Dec, HiDive) This started airing in April but there was a delay and the last episode didn't air until yesterday. High school lesbians in a band having embarrassing confused and misunderstood feelings all over the place (with good endings including a kiss for at least one of our couples). I appreciate that this anime is not playing with the 'are they friends who joke about wanting to touch each other's boobs or are they more' line, they outright say they want to be more than friends and then kiss. The music is good too! Recommended if you are feeling like a high school dramedy with good tunes that stays pretty light and is in the 'bubble'.

Recent One-offs, Side Couples, etc.:

My Hot Butch Roommate (actually a 2-parter) aired on bilibili 1, 2) and was subtitled by @douqi7s on YouTube (1, 2) These two are very cute, and this little short does a ton with the very tiny 5 minutes of total runtime it uses. Give the original bilibili uploads a stream so they get views, even if you watch the YT subbed version!

Fufuknows put out a new lesbian short titled The Choices of Two Lesbian Couples in Love on YouTube This was a great short (11 min) film featuring the story of two couples at different stages in their relationship, and the different choices they make about their futures. I really enjoy Fufuknows as queer short filmmakers, and I appreciate that they regularly include lesbian and wlw content in their bi-weekly (as in, every other week) fictional shorts that they produce and release. This one is recommended!

Aim's Lesbian plotline in the new Love Sick 2024 remake concluded (this was not a plotline in the 2014 version and it's one of the changes I really like and that I think works really well) Spoiler: she doesn't get a romance happy ending but her story ends with acceptance from her friends about who she is, which was lovely to watch

There was a brief of-the-week lesbian couple who wanted to marry in Spare Me Your Mercy Spoiler: their story is tragic, which is par for the course in a murder mystery

I am suspecting wlw sides in See Your Love I may end up eating these words but I was getting vibes, and so I'm putting this out in the universe now in hopes I'm right lol

There is a new Korean shorts production company on YouTube called Lovememory (Their first BL ep is out and the GL, First Love, has a trailer)

Mom Ped Sawan started airing but I don't have a source so I can't give any info or links unfortunately. If anyone knows of a subtitled source for this show, please let me know!

My Ex's Wedding came out in Thai theatres waiting for an international source for this too

Korean short film What's In my Bag was uploaded to Matchbox I haven't seen it yet but the trailer is on YouTube if anyone is curious! The film is available now for a small fee on Vimeo (runtime 12 mins).

Sastra film app YouTube channel has several short Cambodian GL series that come out weekly Honestly they are not to my taste but I don't like gatekeeping GL especially from smaller markets. I check in on these time to time and if there are any that I think are great I'll give them a shout-out

Ditto above with JPC media YouTube channel for Thai GL shorts if there are any that stand out to me I'll say so; that being said I haven't had time recently so if I've missed anything good let me know!

Starting soon:

Us the series, Thai, 18 January 2025, most likely YouTube (as this is a GMMTV show) Caveat that this date is a rumour, see comments

Fragrance of the First Flower s2, Taiwanese, 18 February 2025, GagaOOLala ok this isn't that soon but I'm just so excited we're getting this second season after all!

It is so, so nice that we have this much GL to keep track of, I can't complain! This covers a whole month of content and it was a month I was very distracted from my QL consumption so while I always welcome anyone pointing out stuff I missed, I would particularly appreciate it this round.

[adachikiyoshi]

Rating (almost) every Cherry Magic iteration

Manga, Japanese Drama, Chinese Radio Drama, Japanese Drama Movie, Thai Drama, Anime

After rewatching (almost) every iteration of the story multiple times, I've compiled a list of my personal reviews for each adaptation (and the manga) and how much I would recommend them, what they each did well and what they might have lacked.

Manga:

Personal Score: 9.5/10 (only because it's still on going)

Objective Score: 9/10

Skipability: 0, you can't understand the whole story without the manga and also, you're missing out.

If you're reading this post, you probably know the plot of Cherry Magic, so I won't explain much about that. Since this is mostly to rate the adaptations in comparison to the manga, I can only emphasize how important the entirety of the manga is to understand cherry magic. Doesn't matter how many adaptations you've watched, I don't think you can truly consider yourself a fan if you don't engage with the manga. It's the only version where everything has the proper time to be fleshed out, especially in regards to Adachi, Kurosawa and their relationship. Toyota's writing as the story goes on is something to marvel at and unfortunately, the adaptations have yet to reach that far to represent it properly. The art progression is also noticeable and even if the art style puts you off at first you can see and appreciate the improvement.

Japanese Drama (2020):

Personal score: 9.5/10

Objective score: 8.5/10

Skippability: Maybe a 2-3, you can still enjoy the story without it but it's worth seeing how the drama influenced the manga.

Arguably the most popular and most successful iteration of the story, the Japanese drama of Cherry Magic deserves every bit of praise it gets. Before I get into the pros and cons, I need to contextualise the environment the jdrama was created and aired in because recent conversations lack nuance on that aspect. The Cherimaho drama was produced and aired on TvTokyo in 2020 and it was the station's second BL drama, the first being the incredible slice of life gay cooking drama, What Did You Eat Yesterday? So, wanting to replicate the success of that, the creators wanted to focus on the human drama aspect of Cherry Magic without, of course, toning down its LGBT themes. And they did exactly that. And they did that very well. The execution, while not flawless, was incredible start to end. The way they adapted the characters into a more toned down environment felt natural, and not too far off from their original characterisation. It's a visual feast and among all adaptations, it has the best and most memorable soundtrack. The strongest point of this adaptation has to be Kurosawa as well as the way more minor characters were handled and fleshed out. The progression of the relationship feels natural and they managed to adapt the manga's fast pace in a way that doesn't feel rushed on film form.

As for the weak points, it all comes down to the second half of the show, which I feel I need to give context for once again: Cherimaho drama was created when the manga was merely at volume 4 (in events, that's their first date) and Toyota had shared with the writing team her drafts for volume 5. So, after the confession, the drama had to create original plot lines which, while not bad, did feel different from the strong beginning of the show. The most complained about is the rushed handling of Tsuge and Minato's relationship, which was to be expected as they had so little interactions at that point in the manga. And, of courss, the thing the jdrama is notorious for: the lack of a kiss scene. Was it disappointing? Yes. But believe me when I say that it's literally not as a big deal when you watch the entire show. The show does not shy away from its queerness and there is nothing in their actions that could be interpreted as platonic. This poor production choice (which we can assume was implemented by someone else, tvtokyo has also removed straight kisses from adaptations for some reason and also it Was the height of covid) should not sully your experience with the show and in no way does it take away from its queerness. This version also features an asexual character as well as a mini arc for them so it's clear that the writers knew what they were doing and they were doing their best and it's so clearly conveyed in the gentleness of the show. It is also evident in the movie sequel, but more on that on its time to review.

All in all, I would say you need to experience the jdrama as it becomes a set point for the manga; the story shifts in the best way possible and it's all thanks to the jdrama and its unpredictable success.

(Though nothing beats watching it weekly during COVID)

Chinese radio drama (2022):

Personal score: 9/10

Objective score: 9/10

Skippability: Above a 6 since it's not really influential but I am not exaggerating when I say you are missing out maybe the best spin on the story thus far.

Cherry Magic's first and best foreign adaptation to date. First of all, we need to acknowledge how bananas it is for a niche yaoi manga to get a chinese radio drama because of its drama's success. Second of all, it's hilarious and incredibly romantic and the best and most creative take on the story. The localisation made for some interesting changes in the story and when it came to original plot lines, they nailed every single one. It's been a hot minute since I rewatched it but it's such a memorable piece of media. It's extremely underrated considering how accessible it is (thank you naina <3). Audio form foreign media may be hard to get into but the radio drama deserves every second of your time. Literally the only weak point I can mention for this adaptation is that it's not a visual medium and it's hard to get used to at first. But the voice acting, the character writing, the music, the manga and original plots— everything was executed near perfection.

Oh and it's just fucking hilarious. Like, extremely so.

Japanese Drama Sequel Movie (2022):

Personal score: 9/10

Objective score: 8/10

Skippability: 0 if you've watched the jdrama.

Cherimaho the Movie was announced on November 28th 2021 for a, later revealed, April 2022 release. And us international fans were able to watch it on November 8th 2022.... And yes, it was worth it! A manga loyal sequel to the jdrama, which had an original ending, was a bit hard to execute so there are points you have to suspend your belief. But this sequel was a nice last peek into the relationship of jdrama Adachi and Kurosawa and a well done farewell to the jdrama franchise. I was especially moved by the tackling of the reality of a long term gay relationship and the way the characters handled it. The movie is essentially split into two halves and both are crucial for Adachi and Kurosawa's development. If I had to mention a weak point, besides one or two scenes, it would be that I would love for certain events and character actions to be more in line with the manga but I am also aware that those changes were made to fit the characterisation already set by the Japanese Drama. Oh and the no kiss thing is still an issue somehow. But again, the rest of the story being good enough makes up for it. Still questionable production choices.

Thai Drama (2023-2024)

Personal score: 4/10

Objective score: 6/10

Skippability: 10, only recommended out of morbid curiosity.

Harsh score. What did the show get so wrong? I will admit being biased against it at first. Right after the movie had just dropped, a new adaptation is announced and almost immediately steals the spotlight. It doesn't help that it's produced by GMMTV, who, along with japanese channel MBS, I consider the most annoying BL factories (with the rare exceptions) for fans and shows alike. I also wasn't thrilled that the casting was decided on a pre-existing couple rather than which actors would fit each individual character best. But I tried to look forward to it, especially since the cast and crew insisted that this was a manga adaptation rather than a remake and that they would go beyond the plot lines the japanese drama did. I had some gripes with the jdrama in comparison to the manga so that was good to hear. After a while, they dropped a few trailers and I decided that my worries were probably for nothing and that the show seemed interesting and we produced. And it surprisingly was! For a few episodes, at least. The localisation is very well done. Adachi's living situation, his transport to work, the work environment— vastly different from the original setting but successfully adapted to Thai culture. This version is a lot more lighthearted on about everything. At first, this was a fun spin. Focusing on its comedy, since it's a strong point of the earlier story. But, as the show went on, that wasn't necessarily a good thing. The strong point of this adaptation was the first few episodes as well as the production quality. It's visually beautiful as far as settings, Tay and Jan go. The runtime being longer kind of worked in their favor, as each episode would cover more ground (with exception ep1 which managed to adapt like 15 pages into 50 minutes). Another strong point is the handling of Tsuge and Minato—although their age gap wasn't properly conveyed, the chemistry they had, even if they were a bit out of character, was fun enough. Unlike the Jdrama, the writers here had a clearer visiom of what they wanted to do with them (and they also had like 7 more volumes of content).

Unfortunately, this is as far as my praises go. The weakest point of this show is its main character. Adachi, in this show Achi, is the most unlikeable protagonist I've seen in a hot minute—and I was watching Ossans Love while this was airing. Generally, he's not even that bad ; but he's kind of run of the mill stereotypical uke archetype you'd find in those manufactured BLs, pretty opposite of what Adachi is. He goes through no character development as he begins pretty much at where Adachi ends and he's just so uninteresting to follow. The actor didn't do a great job either but to his defense, he wasn't given much to work with. Kurosawa's counterpart, Karan was way better, at least but he can't make up for the protagonist. The completely made up heterosexual ship between Fujisaki and Rokakku (Pai and Rock here) was a pain to watch especially since they tried to keep Pai's independent nature from the Jdrama (where she was canonically aroace) which just made her disinterested in Rock's advances until the very last episode where she's suddenly into him–if i wanted to watch a badly paced heterosexual couple I wouldn't be watching a BL, respectfully. But besides all that, I think this adaptation was a wasted opportunity. It clearly had budget and time. But it relied heavily on the Jdrama instead of the manga and well, that's fine for fans of the drama but promising manga accuracy and delivering an even more sanitised version of the jdrama was just a huge disappointment. Why should I relive the japanese drama? What's YOUR take on the manga?

Also to clarify rumours I've seen spread around, Toyota was not involved in the making. The japanese side that needed to approve the script was not directly reporting to Toyota because another company has the rights to distribute the Cherry Magic IP, she wasn't as involved in negotiations and stuff as people claim she was, especially considering she learned of the show's existence a few days before the general public did. The usage of AI art in the drama's promotion despite Toyota being vocally anti AI was also a point of disconnect that left a bitter taste in my mouth. But also I acknowledge that Cherry Magic Thailand exists mostly for Thai fans, probably in a similar way the 80% of my country's tv shows are remakes and honestly good for them, I'd love to have a CM remake in my culture even if it's not "perfect" and I'm sure parts I personally found confusing as changes make sense in a way I cannot understand, hence why the objective score is pretty higher than my personal score.

Anime (2024)

Personal score: 8.5/10

Objective score: 7.5/10

Skippability: 4, cute and loyal enough so it's worth checking out

The much anticipated Cherry Magic anime was something, alright. I thoroughly enjoyed it from start to finish but it, unfortunately, has some glaringly big problems when it comes to its animation. For the runtime they were given, they were able to include much more than I thought they would and even if the pace tended to be faster than expected at times it wasn't as much of a problem; I love Cherry Magic a lot and I believe its strongest narratives begin after volume 5 or so and I'm glad we had the chance to see a little of that as well. The voice acting is definitely the greatest thing about this adaptation. In most of CM's adaptations, Kurosawa's actor tends to always stand out more but the anime for me is a bit more balanced; both Kobayashi and Suzuki are extremely talented and passionate in this. Thankfully, the same passion is also transmitted in the english dub, which is so fucking funny. A lot of people were disappointed with the last episode, as they fast forwarded some things for a grand finale but I'm willing to let it slide because at least they are self aware about the impossibility of a second season and chose to show some highlights we might not have gotten otherwise. Plus, they're making up with the movie so, we'll see! Back to the animation though, some episodes were criminal to sit through. It's sad because this treatment is likely because CM is a josei bl manga and animation projects like that tend to get the short end of the stick a Lot. That piano BGM *you know the one* was also frustrating at times. And I wish the colors popped a little more, yknow?

Honorable mention: Audio Drama (2019-)

I can't score it because I listened to it once on a bus ride and I'm not even sure I finished it. I'm sure I'll come back to it.

Happy Cherimaho The Musical to all those who still celebrate <3 And if you made it all the way here, don't forget to check the Cherry Magic Masterdoc <3

[absolutebl]

Of My 50+ Favorite BLs these are the 10 I rewatch the most

So you could call these my favorite comfort foods. Everything on this list got a rating of 10/10 or 9/10 from me.

10 Most Comforting BLs

(for me, in order of most recently rewatched at the top)

Our Dating Sim

Korea 2023 Viki (watch the series not the movie)

This is a perfect short form KBL, an office set reunion romance featuring geeks that really suits 8 eps with no fluff and no chaff. Just comforting and yummy. I adored every aspect from the casting to the pristinely simple premise to the quietly smooth execution. Sure it’s low stakes, but that makes it high domesticity and extremely warm and gentle. This is a fuzzy blanket of a story - a cozy BL. It lives in my rewatch pile and you know what’s best about it? Every single episode is in that pile. There’s no skipping with this one, it might be good natured and calmly sweet but it’s tight and the pacing is excellent.

Cosmetic Playlover

Japan 2024 Gaga

The most recent release on this list, it came out this year and I've already rewatched it 5x. I love this little show. It's a classic office BL about the older workaholic who loves his job and the younger upstart who unexpectedly loves his boss. It’s a hyung romance where everybody is extremely earnest and sweet and pretty about everything. Except our seme, who is slightly unhinged and a little obsessed in all the ways one likes best from Japan (if one is me). Plus the kisses are good! Utterly charming unexpected gem of a show. What fun!

Jun and Jun

Korea 2023 Viki

A delightful office romance about an ex-idol who joins cubical life only to find his new boss is his first love. Other boys are sniffing around too. Operative word being "sniffing" as much of this romance involves smell. With a snappy (sometimes even raunchy) script, enjoyable sides, a pretty as peaches cast, and decent chemistry this show made up for in style what it lacked in substance. I like fluff. I loved this. I smiled every moment I was watching. My only caution is this is for fans of the BL genre only, I don’t think it’ll work for anyone else.

My Personal Weatherman

AKA Taikan Yoho

Japan 2023 Gaga

This style of live action yaoi really only works from Japan. Basically: boys who fell in love in college end up living together but are so repressed they don't realize they're in love. It's higher heat than we usually get from Japan's HEA stuff, and that aspect is also very well done, but it leaned into the "why don't they just talk for fuck's sake?" trope which is only exacerbated into undiluted frustration by the fact that they're already fucking. It's great, but watching requires more patience than usual, even for Japan. That said it's also bruisingly romantic. Emphasis on bruise.

Unintentional Love Story

Korea 2023 iQIYI

OMG the plot! Uke forced into a totally understandable betrayal, falling in love despite himself, put into a corner he can't get out of, the AGONY, the PAIN in those gorgeous eyes. Gah. Okay, so: A boy loses his job due to trumped-up corruption charges accidentally discovers his ex-boss's favorite artist, now a recluse. Evil manager offers him his job back, if he can convince the artist to rejoin society. Instead, they fall in love. I found the artist a bit stiff and reserved but Gongchan (maknae of B1A4) is a fucking GIFT - he carried this show (which I do not expect from the idol element). He was luminous with extraordinarily expressive eyes, just drown in the emoting abyss. The external conflict, social tension and pressure is complex and beautifully executed, plus Korea gave us legit side dishes (NOT a love triangle, hally-fucking-luya). All that said, when I rewatch this it's usually just the second half, but WHAT a ride.

Semantic Error

Korea 2022 Viki

Sexy older boy discovers pouty younger boy has outed him as a slacker, starts out bullying him, accidentally falls madly in love instead. Korea hits it entirely out of the Parks by doing a university BL with everything we expect from BL just done exactly right. Korea's signature quality executed perfectly with added bonus good story, great pacing, stunning visuals, and fantastic chemistry. You cannot ask for more from a BL, let alone a KBL. Another one where the rewatch is mostly just the second half.

Old Fashion Cupcake

Japan 2022

This show had me from the moment they broke the egg yolk with the chopsticks in the opening credits. It’s about a younger man with a long cherished crush on his boss (ten years older and going through a mid life crisis) who decides to save and seduce said boss with pancakes. It’s wholesome, comforting, sexy, and a very necessary narrative about still having hope, interests, and openness to affection at any age. It’s a stunningly filmed late-in-life comg of age/queerness story packaged in a subtle critique of expectations around masculinity, love, and loneliness… and it’s beautiful.

Yes yes. But the bit you know you want to rewatch is that long shot with the bite kiss. YOU KNOW you wanna.

Seven Days

Japan 2015

Ha! I faked you out 'cause this wasn't at the top but of course it's on the list! One of the best live action yaois ever made, with perfectly structured angst, fantastic characters and acting, and no problematic tropes (rare in Japanese BL). Older boy dares the hot af younger one to date him for a week. Turns out they both like it... A lot. The leads have excellent chemistry although it’s low heat there’s still some really cute mutual kisses.

Takara & Amagi

Japan 2022

I gnawed on my knuckles and squealed a lot with this show, but a rewatch is way less tense. Reserved cool kid must learn to communicate to keep the tiny disaster nugget he’s madly in love with. It is beyond charming: soft and gentle, packed with cuteness and high school angst, thirst, & yearning.

We Best Love

Taiwan 2021 WeTV

WBL successfully managed to pick up and combine the best features of Korean, Thai, and Japanese BL as it exists right now. Couple that to the insane chemistry from the leads, and we have one of the greatest BLs of all time, cooking to a recipe I doubt anyone else will ever be able to replicate since only Taiwan is this flexible. It's basically every classic BL trope bombarded at us in two parts, rapid fire, one after another. Rewatching this show reminds me of everything I love about this genre. It is the genre in pure concentrated form.

The End!

I think it's no accident that none of these are Thai, part of a rewatch for me is the brevity of the show, longer stuff does get rewatched, but not as frequently.

(source)

[maybe-boys-do-love]

SOTUS S: The Secret Four-Act of Love Between Us

Five episodes into SOTUS S, I wanted to cry. Nothing tragic had happened. The major plot climaxes were nowhere near. If I'm honest, I had felt pretty indifferent to the sequel series up to that point. Its more expensive production elements, relaxed pace, comedic sound queues, broader characterizations, and blatant callbacks to the original series seemed more akin to  cash-grabbing commercial projects that followed in SOTUS's wake. Some were fun and some fell flat, but those series lacked the show's layered writing or direction. By the end of episode 5, however, something shifted. It continued to surprise my narrative expectations from there on out, offering new ways to appreciate many other BL series due to the clarity of its formal structure. This review is my attempt to understand how and why. 

SOTUS S doesn’t primarily operate by the most prominent Western storytelling rules—the three act or five act structures that build toward a culminating conflict for a climax before an exhaustive resolution. Nor does SOTUS S make as much of an attempt to blend its structure in with the Western storytelling rules as its predecessor did. Instead, it’s a striking example of the Four-Act structure (from hereon: 4Act) that developed in China and spread to Japan, Korea, and Southeast Asia as noted by @kimyoonmiauthor. It’s prominently used in Japan by manga, anime, novelists, and game creators under its Japanese name Kishotenketsu. If you’ve heard about “the three episode rule” in which you have to watch the first three episodes of an anime before passing judgment, that’s often unknowingly related to the principles of the 4Act structure. 

Rather than refer to the Kishotenketsu model here, however, I’d like to use the four parts as defined by the original Chinese poetic form in Adeline Bindra’s explanation for the Savanna Post:

Qi– Bringing into Being

Cheng– Understanding

Zhuan– Changing

He– Drawing Together

I’ve found these definitions more helpful for understanding than the Japanese terms and their English translations, like “introduction,” “twist,” “development,” etc, which have meanings in the Western tradition that differ from they’re use in the Asian narratives. 

Some caveats:

1. I’m an American just trying to figure this out from my own experiences with Asian media and others’ writings about the structure and cultures that utilize it. There’s a ton of Orientalism in writing about the subject of the 4Act structure, and I try my best, but I can’t promise I won’t accidentally slip into some of that rhetoric.

2. No single culture’s a monolith, so not every writer in the cultures will use these structures the same or at all, and the different cultures referenced here—Thai, Japanese, Chinese, Korean—also differ dramatically between one another, and so do their approaches to the 4Act. 

3. Cultures have been interacting and changing forever. Shakespeare included a reference to a Christianized translation of the Buddha’s story in Merchant of Venice, for one example. Asian influences have been a part of Western writing for a long time and vice versa. Western media’s pervasive throughout the world. Inevitably, you’ll see shared aspects from intermingling as well as convergent development. My goal is not to essentialize any people, culture, or story, only to isolate in this instance the feature of the 4Act in SOTUS, which has well-documented Asian roots. 

4. This is a narrative structure not a moral guide on how one should live life at all times. Some writers claim ethical, political, and philosophical implications for its use. However, you get to be the judge of when and how to use it in your perspectives as an audience, creator, and a human being just making it through in the world. 

5. Thai culture has its own specific traditions around this structure and other plot structures that I’m not focusing on here simply for lack of info in English. I’d love to hear more about that from others more knowledgeable than me. Is it taught in schools or writing classes? Does it relate to other Thai dramatic structures? I don’t have the answer, but my mind is inquiring to anyone who does!

6. As with all my posts, feel free to message me about or correct me on mistakes or add more context where I falter.

Hopefully in isolating and differentiating the 4Act model as much as possible from the Western model here, I can demonstrate the latter’s importance to SOTUS S and many other BLs. From here, I’ll try to do a side-by-side comparison of the elements of that 4Act structure with SOTUS S. Spoilers abound for SOTUS S along with several other BLs.

Qi: Bringing into Being 

Premiering in 2018, SOTUS S offered audiences one of the first examples that I know of a BL live-action  about an unequivocally established couple. That fact necessitates a model distinct from the traditional romantic arc you’d find in guides like Romancing the Beat by Gwen Hayes and graphed below by Jenna Harte. 

With an established couple, the whole first act of this three act structure is useless. Our pair already met and they like each other. We already watched them fight through this whole mountainous arc to achieve their romantic HEA (happily ever after for those unaware).

Here’s where our 4Act comes in. Qi, our first act, rather than setting up the characters with some spark the protagonist will have to deal with later on, focuses more heavily on establishing the environment the characters exist within. It's less pressed about setting its conflict into motion. As Jay Six explains helpfully in his self-published book, A Practical Guide to: Kishotenketsu, “The story often starts by establishing a detailed, richly textured world. This focus on observation allows readers to immerse themselves in the environment and the characters, setting up a deep connection with the narrative.” In SOTUS S, that means we get domestic fluff with gentle implications about Kongthob and Art sleeping together. We wander the campus to see Kongpob’s friends in the engineering faculty, now in their third year and in the position of hazers (distinct from the American concept for anyone who’s unfamiliar) to a new set of freshmen. We greet Arthit’s friends at the bar. Then, we follow Art to the new setting of an engineering firm where he’s beginning employment after an internship. You will be taken aback if you, like me, expected all of these characters and settings to be relevant to the action throughout the series. 

I have a brain trained to expect the beginnings of a story to provide a clear impetus for a central problem, as if the story ought to have an on-switch that starts the gears of the narrative turning. My first instinct when it became apparent SOTUS S had not done that was to ascribe the emergences and dissipations of certain elements at the university as service to fans of the original series—let them get a taste of the characters, coupledom, and little university scenes they loved before moving onto the meat of the plot. 

That’s a natural expectation when you’re used to stories focusing exclusively on conflict and individual power. Each piece of the story should link to their effort toward their goal. Bindra describes the ‘dharmic structure’ of the Western narrative arc: “The character is pursuing a specific Dharma, a ‘path’ or ‘way,’ toward a tangible end goal.” Whether they succeed or fail matters greatly under this framework. 

In opposition is the ‘Karmic structure,’ where characters “simply go about their lives until they are forced to react to some bizarre, unforeseen circumstance.” All the elements matter in the Karmic structure but not as a set of stairs the protagonist climbs or a steady accumulation of coins to pay off in the end. The general environment has a larger role to play and the individual has less responsibility in the events that unfold, which impacts the opening. Anaea Lay’s description explains the emphasis on thematic development in the beginning over a Western plot ignition.

“You are much less likely to run into an “inciting incident” or similar in this introduction than you would in an X-Act structure. Instead, what you’ll find are the themes and images the work will be using. You aren’t here to find out what kind of wild ride you’re about to engage in; rather, this is setting you up for what argument or ideas you’re about to witness.” 

That’s why anime fans have a three-episode rule before deciding on their engagement with a series. Those first three episodes have no obligation under the 4Act to indicate the adventure that’s about to occur. 

In the first episode we see Arthit stumble through a disorganized orientation to his first day at work, joining the procurement department at an engineering firm, a stepping stone towards a role at the company more suited to his interests. During an early meal out with his new coworkers, he misses the opportunity to share his relationship with his coworkers. His nervousness is palpable in the moment, and Krist shines in portraying Arthit’s acute anxiety realistically throughout the show. The fear of homophobic reactions isn’t made explicit, but the subtext can’t be ignored with the dramatic music, forlorn expression, and greater context. 

Yet, the show is generous enough to present a moment of possibility, too, where Art seems about to share about his partner before getting interrupted. Bravery isn’t a singular character trait, the scene suggests, but a fleeting feeling dependent on circumstance and luck. It renders the ‘coming out’ narrative that emerges for Art a bit different—less individual and insurgent than the classic western coming-out narrative in, say, The Birdcage or Love, Simon. He has legitimate interests in the appropriate setting, occasion, and timing to maintain positive relationships. He didn’t lack courage as much as he missed the proper moment. 

I’m not of any kind of Asian descent, but these were major values in my personal family culture. I only came out to my family once I had a partner and a cousin’s new same-sex partner came up in conversation at the dinner table. My family simply didn’t discuss internal emotional states, straight or queer, my parents didn’t kiss in public or in front of me and my sister, so bringing up a sexual identity without any outward indicator of my own sexuality didn’t make sense. 

And before anyone jumps to the conclusion that this was some deeper issue of generational repression, know that plenty of research backs up this collectivist-oriented relational style as a broader Appalachian cultural norm (which my family exists within). While no culture exists totally on one part of the spectrum, it like most East and Southeast Asian cultures gets categorized as a high context culture, which prioritizes interpersonal relationships and draws on less direct verbal and nonverbal communication strategies to artfully maintain them when possible. Further research, much of it collected in the fascinating book, Between Us: How Cultures Create Emotions by Batja Mesquita, frames psychological well-being not in a single universal way of interacting, but in interactions and understandings that align beneficially with one’s surrounding culture. 

“I’m working [at the company] already,” Arthit in bed advises Kongpob, “but I still have to learn to adapt.” There’s the crux of Arthit’s story in SOTUS S: how can he find proper alignment of his own unique characteristics to integrate himself within his new work culture, in a department he had little desire or skills to master? Protagonists in a 4Act are responsive rather than goal-oriented. With the same acknowledgement that you can’t control the circumstances you’re born into, they don’t have control over the problematic circumstances they are thrust into by the karmic plot. 

Arthit makes a great 4Act protagonist in SOTUS S. He isn’t the strict senior disciplinarian from the opening of the original series, nor is he the warm, open character healed by that show’s happy ending. The senior is now the nervous junior at the firm, eager to please and conform—these latter traits providing continuity with his original characterization. The junior, Kongpob, is now the authority, the head hazer at the university. These role-reversal topics were already thematically relevant in the first series, but SOTUS S makes them more explicit, bringing us into new territory and depicting an alternative view to linear character growth. 

Kim Yoon Mi describes both Japan and Korea introducing a story’s main topic (not to be confused with main conflict) in the first act of this structure and then developing it more deeply in the second, which SOTUS S seems to do. Each character and story element, including the protagonist, is a trickling mountain stream feeding into a larger river of theme rather than plot. In line with that metaphor, some of those elements will evaporate or branch off before reaching the deep reflective pool where the story concludes. We’ll come to see as we reflect back how solidly the show in its first act laid down its thematic foundations: the dynamics between memories of the past (like university life) with the press of time, the blurry lines between private and public, the formation and maintenance of relationships, the privileges of status, and all of them weighted by pervasive queer anxieties that the writing elegantly restrains itself from stating outright. The next act of the show elaborates on all of this, but not in the direct sort of development Western stories prioritize.

Cheng: Understanding

If viewed from the perspective of a three-act hero’s journey, the second act of SOTUS S runs into some major problems. Here’s a graphic from author Patricia Morais (that I particularly like for its regrouping dip) explaining that structure:

Under this model, we could maybe think of Arthit’s failure to come out to his coworkers as the central inciting incident that must be resolved by the end of the story. If you’d like to be more generous, we might instead identify the incident in episode 2 to identify Art’s tag-along meeting with his overly-friendly coworker, John, and a representative from one of their materials’ providers. Then, our main plot focuses around the eventual plastic crisis for the company as the main conflict that will need resolution. However, the fact of dual plotlines that never merge hopefully encourages you to question the familiar expectations of a three-act structure or hero’s journey. Otherwise, you’ll come away from the show believing a lot of fat could’ve been trimmed off in the editing process.

In episodes 2 through 5, SOTUS S has some elements on which action can rise toward a major climax point. John shirks work off onto Arthit over and over again, for example, and another coworker, Earth—who for me so far in my BL viewing is the most grounded female character I’ve seen, not to mention my favorite—slowly reveals her kind heart behind her diligence. On the relationship front, Ai-Oon is running himself ragged trying to balance his work and relationship, losing his patience with Kong at one point when he shows up to the company with a food delivery. 

But many other points don’t add to the plot the way they ought to for a hero’s journey. We get introduced to a few freshman, like Khaofang, whose crush on Kongpob gets gently denied, and Day, resistant to Kongpob’s enlightened initiation rituals, thus igniting the persistence of class president Tew. Neither of those freshman will contribute to the main plots for Kongpob and Arthit. On the faculty beach trip, now paired with tree-planting to skirt the stricter regulations, M and May finally confess their feelings percolating since last season for one another. After these confessions in episode 4 and a discussion of internships at the start of episode 5, they will not reappear until the last episode of the series.

So why include them? I showed charts for the Romance Plot and  3 Act structure above, but let’s look at a visualization of the 4Act from writing coach Anaea Lay.

You’ll notice some key differences. The line isn’t really progressing upward, for one. It also changes width in sections and even color by the end? I’ll discuss our squiggly twist and color change later, but for now let’s focus on our second act for cheng, Understanding, or “development” as the above chart has it.. We have this bold line emerge because the point of the second act, as Lay explains, is to create density, flesh out the topic, enrich it. 

Instead of building up a structure or walking up a mountain path and overcoming obstacles along the way, the cheng stage kneads the narrative into interlocking thematic explorations like the structure of gluten in bread dough. Japanese writers refer to it as ma, a kind of slow infusion through time and spaciousness. You can develop a 4Act narrative with intensification, sure, and that will appear pretty similar to the three-act development stage—I personally think Hunter x Hunter arcs provide fantastic examples of second-act intensification strategies in a kishotenketsu model, and The Campfire team do a fantastic job of explaining how the series, Shogun, uses the 4 Act with escalating pressure in this stage. Yet other strategies also exist. 

SOTUS S chooses to spread out its thematic question during this phase: to different plots, different people, even different times. Tew and Day, for example, who interact the least with our protagonists’ struggles out of any characters, nevertheless reiterate the values of persistence and faith as people develop ties. Despite Day’s overt resistance to the SOTUS rituals, Tew returns to him again and again, tuned into unstated signs of the freshman’s painful past, like his status as a transfer student, and subtle acts of participation in the events, indicating a secret desire for belonging. Art’s new coworkers provide another example of how much we truly know about others’ inner workings just based on first impressions. 

Perhaps the most direct evocation of the main thematic tension occurs not with KongArt, but with M and May who only receive episode 4 for their story. As the freshman walk across their wrists to go receive their gear emblems, May finally demands clarity for feelings simmering since 2016. I’ve slightly shortened the exchange for brevity.

May: “You never bother to tell me your feelings directly.” M: “Do I have to say it out and tell you to make you understand?” May: “I don’t want to assume things.” M: “What I said on the stage…I meant you.” “You know…what it means, right?” May: “I don’t know, M. You could think of me as a close friend.” M: Well, I…like you. I like you more than a close friend. I want to be your boyfriend. I told you my feelings directly. Now it’s your turn to tell me your feelings. May: Are you crazy? There are so many people here. How can I say it?

It’s gorgeous naturalistic dialogue, stuttering and ambiguous, between two reserved characters! Reducing them to their role in the main plot, however, would render the characters and scene meaningless. M and May simply don’t contribute to the issues at Ocean Electric or KongArt’s relationship. They're an indirect illustration of the show's themes.

Indirect communication is central to SOTUS S. We see Kong and Art, open to their friends and on campus but conflicted in how open to be with their affection in public, bridge the gap through indirect displays: a conversation about liking the sea! shared taxi rides! an indirect kiss they share on an Oishi bottle! These coded romantic encounters can be downright erotic. The West doesn’t even have the concept of an indirect kiss, which is emblematic of the kinds of context that one can miss. 

The show layers on reason-upon-reason for keeping affections nebulous: personal temperaments, professionalism, financial precarity, collective belonging, cultural mores on PDA, and societal homophobia, too. The show lays these issues out indirectly. For example, Art’s coworkers Som-O, Durian, and Cherry (the kind of lovely overtly queer character SOTUS did so well, played by Gun Korawit) all skirt the line of appropriate workplace conversations and behavior as they gossip and fawn over new employees. The tension of their flirtations against our knowledge about the fears and hidden relationships at the office is thick, but no one will really confront them directly about how close their speech and actions how they stress those in the closet, nor how close they come to sexual harassment.

Instead, other occurrences will cause them to reflect on behaviors. Cherry, for example,  addresses his own behavior and his subordinates’ after news about Arthit and Kongpob becomes public. Cultures with high-context communication approaches utilize actions, behaviors, and symbols to convey messages rather than verbal specificity, so passive statements and unrelated events are seen as more effective in encouraging behavior change than direct communication about the issue. That’s why the 4Act structure and the indirect elaboration of ideas that occurs in the second-act align culturally. It doesn’t force its issue on the audience.

The most indirect formal element from my perspective occurred with the use of the ‘special scenes’ at the end of each episode, and they fully blew my mind by the time I realized how they were operating. I assumed these flashback scenes to KongArt moments were meant to give the fan-girlies the cute moments between the cute boys and their throwbacks to the og series. That’s how they often seem to work in other BLs. Stupid me, underestimating the series and fan-girlies, whose desires can be as multifaceted as any film critic or academic. The flashbacks at the end of each episode, in addition to their sweetness, emphasize moments of public affection between our main couple, but even more than that they intentionally throw us back in time, breaking up the linear story and a linear trajectory for Arthit’s comfort with public affection. 

The special scenes aren’t simply detached scenes, they’re narrative switchbacks, forcing us an audience to meander like a river in the story. Kim Yoon Mi describes a major element of the East Asian 4Act: “While time is going forwards, the character is returning to a previous point in their life, re-examining it–or forced to reexamine it.” I described the original series as propulsive and unrelenting in its tempo and plotting. SOTUS S, on the other hand, is nostalgic and reflective in both content and its structure. 

Arthit, tired from a day of work, rushes to his alma mater to catch the end of the flag ceremony. “When I get to see the atmosphere like this again,” he confides, “it’s like the fuel tank in me is filled. This can fill the feelings I have lost. My tiredness is gone. I have the strength to go back to work now.” For another example look at the contrast as episode 6 ends with Kongpob standing in an apartment hallway alone after an argument with his boyfriend. The show suddenly cuts to a past moment when Arthit let himself fall asleep on Kongpob’s shoulder in the back of a taxi. When we feel broken, worn-down, or lost, when we undergo big life changes, returning to our memories gives us an opportunity to repair ourselves and cherish the relationships we’ve made. 

Meandering is the shape of easing—mountain roads that reduce the gradient of a climb, water seeking the least resistance. SOTUS S and its narrative structure explore these shapes. In addition to the purpose of nostalgia for its characters, it uses its position as a sequel to address why returning us to an older work might be emotionally useful and why an indirect path through time and our journeys might be nourishing. After the steady fabrication of its attachment to the original series in the first and second acts, the third act shift is all the more potent.

Zhuan: Changing

In the sixth episode, Kongpob joins Ocean Electric as an intern with the encouragement of his father, the CEO of a manufacturing firm Arthit has met and impressed without realizing his relationship to his partner. Kong had left the required internship applications to the last minute, at ease with the connections his wealth and father’s position in his field of study offer him. And with Arthit’s packed work schedule (not to mention Kong’s impish romantic fantasies that only stress out his partner), our nong doesn’t disclose his decision. Art is shocked and appalled when his boyfriend walks into a meeting and gets introduced as the new intern.

The show also introduces new central characters to the cast in the fifth and sixth episode, which is far too late for introductions of main characters in a traditional Western narrative approach. Wad, whose privilege as the nephew of Ocean Electric’s head honcho mirror Kong’s background, joins the procurement department. Another intern, Nai, also joins the proceedings. These characters and their softly-treaded dalliances at Ocean Electric fill in the space left as the story mostly abandons the university and all but two supporting characters we met there.

I've read complaints about that split in SOTUS S, the university-centered plots in the first half overtaken by the corporate setting. Personally, the viewing experience gave me a sense of how ephemeral life is. Four months pass by in a flash and Arthit’s no longer the junior at the office. The university storylines fall away like cherry blossoms or autumn leaves. If that sounds too poetic for you, I'd recommend you stick to the first series and its fantastic linear storytelling (and you can ignore the poetic elements that elevate it, while still enjoying the show). SOTUS S puts its indirect storytelling strategies at the forefront. That’s why I find SOTUS S such a great example to look at the 4Act. The overt shift here makes it hard to square with the continuity of traditional Western dramatic structures.

In the third act of a 4Act structure, the audience comes to understand a new perspective on the proceedings that the first two acts offered them. The Japanese term for it “ten” gets directly translated to ‘twist,’ but that term is so heavily associated with some plot-oriented ‘gotcha!’ moment in the western canon: 

a new piece of evidence in a trial! 

the sheriff is in cahoots with the robber baron! 

Voldemort’s on the back of his head! 

There are many reasons to view two of the most celebrated Western film twists, Star Wars’ paternity reveal and dead Bruce Willis in The Sixth Sense, as blendings with the Eastern third act’s Change. The overt declarations made by characters to render the twists apparent to audiences in those instances along with the instrumental role the change plays in the character’s journey is rooted in Western storytelling. However, the impact it has on how the audience interprets the story, both preceding events and the purpose of the story as a whole, is more akin to the kind of change that occurs in the Eastern model. The zhuan or Change here is less emphatically about a reveal of information and more about a change the audience experiences in their type of engagement with the story. 

Youtuber ‘Pause and Select’ relates the change in the 4Act structure to space. Discussing Attack on Titan, which has the exceptionally clear spatial limit of tightly packed city walls, he explains it as a ‘parallax view,’ a shift in perspective for the audience. Going further, he asserts that the third act shift is NOT meant to be a last-ditch event or realization that aids the story in reaching the conclusions we expected it to reach based on the first two acts. Elle Woods finding out her boss is a skeeve and then taking over to use her knowledge about perms in trial to prove her client’s innocence is a great western ‘twist’ and climax, which includes every feminist element Elle has come to stand for in her development at Harvard law school and brings about the expected conclusion of her success at overcoming all her obstacles to truly become a successful lawyer. However, it does nothing to change the audience’s perspectives about the story’s goals as a female empowerment legal comedy.

 “What matters,” Pause and Select argues about the 4Act change, “is that a breakdown, whether you are a reader or writer of [the 4Act structure], ultimately demands coming to a conclusion as to what you think the structure is trying to do.” The emphasis there is mine. A well-constructed 4Act aims to dislodge expectations about the very nature of the narrative it's telling in its third act. At its most obvious, this could be a genre shift—a romcom becomes a tragedy—but it might also be a change in whose perspective the story takes (Peaceful Property), which character is masterminding the events (a favorite of writer/director Park Chan-wook, like in The Handmaiden), or an expansion of who the audience is meant to feel empathy for (a fav strategy of Miyazaki, like in Laputa, Spirited Away and Princess Mononoke). A common romantic Kdrama trope of this kind, I hear, is the revelation that the characters previously knew each other. No matter the shift, thematic motifs will remain (a good reason to pay attention to indirect elements!), but the plot-type possibilities and full extent of the theme’s message can utterly transform. 

When viewers use Western frameworks to complain about the poor build-up or the introduction of unexpected elements into the second half of BL series, the complaint often comes from a place of ignorance. I’ve even heard unfounded conspiracy theories about studio interference regarding the sense of the unexpected in these sections! When viewed with the goals of the 4Act in mind—and here we ought to note the Korean 4Act model, the giseungjeongyeol, which splits its 4Acts more evenly than the Japanese kishotenketsu, as Kim Yoonmi points out—an audience’s experience of disruption that begins around episode 6 of a 12 ep series can be a sign of successful storytelling and a chance to reevaluate what you assumed the story was going to be.

No wonder I found myself getting weepy around episode 6. Time itself is the core focus of SOTUS S. By the end of the second act in episode 5, the hazing rituals we endured for fifteen episodes in the og had flashed by and completed. I began to fully appreciate the breadth of how SOTUS S intended to instill the experience of no longer being what you were before, the experience of merging into the realm of adulthood where the flowing expanse of life is no longer broken into semesters or organized into class years nor the safety of their forcibly forged friendships. It's an exceptional feat of storytelling to induce that subtle emotional experience for an audience.

With that shift, the problems and consequences shift as well. A third act often introduces an entirely new obstacle. The boss of Ocean Electric announces the yearly product design competition, and the shady dealings of certain employees suggestively simmering in the first half rise to the surface. In a Western telling, the series could’ve easily started right here. It brings the conflict, the battle between good (Earth and Arthit) and evil (John and Som-O), along with the slight moral grayness of Todd to keep it interesting. The pace and tempo of the scenes pick up, especially when the shit hits the fan/the cheap plastic hits the production line. It thrills with the same surge that ran through a majority of the original series. Is this conflict what the story’s about, though? 

Some people have described the 4Act as a conflictless plot structure. That’s baloney! You’ll see battle after battle after battle in shonen manga, like Naruto, Dragon Ball, One Piece, and Jujutsu Kaisen, all organized by the principles of The 4Act. SOTUS S shows off its ability to instill conflict with Ocean Electric’s design competition, too. The difference between the 4Act and the Three-Act or hero’s journey derives from the latter’s centralization of a single conflict compared to the former’s use of diffused conflicts—diffused in the sense of multiple conflicts spread out without a center, and, as I’ll explain for the last act, diffused in the sense of de-escalated. 

The issue of the competition is one conflict beside a number of other dating conflicts, with KongArt’s the most prominent, none of which directly impact each other in terms of plotting. In this section, Todd slowly falls for Earth, who gently turns him down (again, with writing and a performance by Proud Oranicha that solidify Earth as a uniquely naturalistic female character in a genre known for campy female caricatures). The other new intern Nai (Nammon) and head of Production, Yong (Guy Sivakorn) begin the most discrete of bromances, or maybe something more…, until Nai feeling slighted draws back. And KongArt have it out about Kongpob’s surprise internship decision before making up, allowing Ai-oon opportunities to show his growing comfort in his secret bf’s surreptitious seductions in public.

And let’s all appreciate that the boys continue to engage in versatile powerplay dynamics with their displays of affection! 

To properly center a single conflict for a Hollywood version of SOTUS S, all of these individual tensions would end up relating to one another—perhaps Todd and Nai become bitter about their rejection and join John’s plot to win the competition. Then, as a last ditch attempt to gain support for their own team’s entry, they discover and out KongArt’s secret relationship. Plenty of other options could take place, but the point is that they’re meant to be set up like that meme of ever-increasing dominos, building upon one another to create an even greater singular conflict. Instead, we see jealousies that come to nothing, slights that characters move on from without involving others. SOTUS S lets the different conflicts exist independently to separately emphasize the main theme: relationships take time, dedication, communication, and faithfulness to develop and maintain as people’s circumstances change.

The company beach outing provides the landscape for many of the relationship dramas to come to a head (and strikes a narrative beach episode beat with foundations exceeding the BL genre) before things go awry. If I’m honest, elements of Western Romance plotting seem to predominate this last portion of the third act: a false HEA (happily ever after) at the beach, disaster as the bad plastic goes on the line, and true crisis as office busybody, Durian, outs Kong and Art by sharing pics of them kissing from the beach trip. Then episode 12, as second-to-last episodes in romance series are wont to do, offers us a separation of sorts and a long dark night of the soul for Arthit before he arrives at his self-realization. It’s a beat integral to the 4Act and the Romance arc, but in the 4Act, despite its sometimes momentous occasion, the self-realization is secondary to the initial perspective-shift in terms of expected emotional and overall engagement from the viewer. Art announces he’s dating Kongpob in front of the entire office at the intern send-off. In the romance arc, the self-realization and confession change everything. The villains like Lady Catherine are dispelled; the curse on the beast breaks, Here, though; Love Wins! But here, we de-escalate.

He: Drawing Together

The 4Act sensibilities in SOTUS S resurface after the culmination. Arthit finally announces his relationship in front of the whole office, but no character stands-in for homophobia for him to confront. John was fired earlier for his fraud without a big to-do from the office. No one sings “Ding! Dong! The witch is dead!” In fact, a few of our office gossips get together to discuss John and Arthit but keep interrupting one another before landing on any consensus and finally move onto a point unrelated to our plot. The central issues for KongArt are simply not the center of everyone’s lives and neither love nor coming out were the battle Arthit and we as an audience expected them to be.

Where we might expect fireworks in other structures, the 4Act often brings a sense of pacification. No matter how significant a conflict might seem, the 4Act story structure is not built around a conflict’s upswell and subsequent victory. Patricia Thang explains for Book Riot, 

“Whether it is open-ended, whether our characters didn’t go through real development or growth, whether we realize nothing much actually happened at all, it doesn’t matter that much in kishōtenketsu (and is what, in my humble opinion, makes it great). What matters is that the various elements from the different acts of the story come together in a finale, as climactic or as muted as it may be.”

A 4Act story does not attempt to fix but to accept an uncontrollable universe. It's a diplomatic process when division otherwise threatens.

The Chinese character for the he fourth section, 結, apparently refers to the tying of a knot, which presents quite the opposite picture from the ‘reckoning’ expected in Western conclusions. The word ‘reckon’ in addition of its meaning 'to tell a story' etymologically refers to ordering items in a straight line. Instead of straightening out a tangled problem, the 4Act story aims to create an elegant tension between two dissimilar opposing parts by the end. 

We can look at a comic panel illustration of this structure from @stilleatingoranges to try and understand it further. Here are the first two acts:

In the first act, the qi, the ‘bringing into being,’ we see a character selecting a soda at a vending machine. The soda plops into the machine’s outlet. In the second act, the cheng, the Understanding, the character grabs the soda from the machine, continuing the story in an expected way without any hitch. There’s no clear obstacle or goal presented here. If we had to guess what will happen in the third act, we might say she’ll drink the soda. If we think the story needs a problem, she might have received the wrong soda. If we knew a twist was coming, we might guess she throws the can. Here’s the third act of this story:

We do not know this character. We don’t know this setting. This is a particularly demonstrative example of the third act, the zhuan, the Changing, because it shows how this act shifts the audience’s perception of the environment and point of this story. It’s not necessarily a twist in what the characters know and expect—we still have no idea about what they’re thinking and/or they’re relationship at all! It’s a twist for the viewer and what they assume they know and expect.

I’ve left out the final panel in my post so that, before you peek at the fourth act—the he, the Drawing Together—of these panels, you can take the place of a writer/creator and consider some ways these two disparate sections can come to coexist in the fourth panel. The girl might walk past this new isolated boy as she downs her soda. Maybe we see him watching as she opens the pop and it sprays all over her. Then, it brings out topics of impatience and embarrassment. You can probably think of more creative versions than me. The final panel the original artist chose to depict has the woman giving her soda to the newly introduced character. These are all acceptable conclusions to the 4Act as long as they reunite the world of the first two acts with the unexpected element of the third act. If you remember the blue color in the final section in the 4Act chart, it’s this combination of elements it represents. It might be helpful to think of the first two acts shaded yellow, with a suddenly blue third act, and a green fourth act.

For SOTUS S, Kongpob is back on campus in the final episode, reuniting us with the first and second act setting and characters from which the third act leapt away. He’s with his friends who’ve learned their own lessons and formed their own relationships during their internship semester. Arthit is back at his office sans intern-boyfriend with the offer of a new job in his preferred department. He turns down for the time being to support his own team instead. Durian goes to apologize to Arthit for leaking his photo, but he interrupts her before she can. It’s already forgiven. He tactfully offers her the opportunity to save face. 

I’ve seen these sorts of non-apologies across BL. They often ignite many audience member’s consternation who argue the characters didn’t deserve forgiveness for whatever harm they caused because they haven’t demonstrated a change in their behavior or fully acknowledged their wrong-doing. Unlike some other views of forgiveness, though, they often center around Eastern philosophical goals like the Indic-derived concepts of upekkha (translated as equanimity) and karuna (translated as compassion), for example. The latter is even considered a primary rasa, or aesthetic principle, in classical Indian theories of the arts that have persisted in importance into the cinematic era according to its wiki entry. Both are also part of the four heavenly abodes in Theravada Buddhism, the primary religion in Thailand. Rather than creating a world where those conditions don’t occur, these values focus on an individual’s ability to understand and remain balanced in the face of worldly conditions defined in the atthaloka dharma as “gain and loss, good-repute and ill-repute, praise and censure, pain and happiness.” Good and bad come and go, but one isn't meant to overly celebrate or grieve them. People and events are not meant to be ‘fixed’ in this view but understood.

Arthit’s forgiveness of Durian who continues her gossip demonstrates the understanding he gains in the story. As I said at the beginning, Arthit’s main goal is to adapt to his new environment. It’s a spiritual journey in which he achieves a new-found state of harmony within himself and with his group without directly engaging in conflict in the form of confrontation.  

The happy-ending version of the 4Act emphasizes reconnection in the relationships between members of a group, which is why the structure works especially well for a romance about an established couple. For each episode, the Japanese BL What Did You Eat Yesterday, about an older couple who live together, uses the 4Act effectively for its characters to grow in appreciation of each other. While Western stories have struggled to tell stories about established couples, the structure most Japanese iyashikei (slice-of-life genre) utilize works beautifully!

In Thailand, you can see the influence of SOTUS S in Aof Noppharnach’s two series about established couples, Still 2Gether and Dark Blue Kiss. He borrows the structure and even elaborates on subtle motifs in the series, like financial privilege, memories and public documentation through photographs, and invisibility of legally unrecognized and closeted relationships (conveyed in one of my favorite moments in all of the SOTUS series as KongArt transform into silhouettes inside a tunnel in a ‘special scene’). Then Aof blows these elements up into full foregrounded spectacles like Kao’s photographic birthday surprise for Pete or Tine’s walk down memory lane through saved vids and photos of Wat. Then, Aof can focus on subtext that’s more philosophical in his own series: “Love has no form,” Pete theorizes at the end of DBK. Lit Phadung and the rest of his writing team for SOTUS S were never so explicit as to put that theory into the script, but it’s all there in the details. KongArt might re-form their established relationship, bringing it ‘out’ into the view of the office, but it’s contrasted by all the ambiguous relationship endings running parallel to them. 

Those relationships don’t feel incomplete, at least to me. Open endings are a staple of the 4Act structure. It requires the acts to reconnect, but does not require problems to be resolved or questions to be answered. Instead the 4Act emphasizes structural and thematic unity and harmony, even for what we might call unhappy endings in romance. For a recent and clear BL example, The On1y One ends with its romantic leads separated in a similar vein to how they began the story while one of them literally re-ties the circle of a broken couple bracelet as he asks his beloved to return to him in a non-diegetic voiceover. Then the series cuts to a glass pitcher of lemon-water we’ve watched shatter over and over throughout the episodes, now whole and unbroken, as the other answers him. Our fourth act endings, done well, challenge a dualistic view. The two contrasting halves circle around to reconnect without one winning out over the other. Compared to a Western resolution, it might seem like these are unfinished loose ends, but they can be better understood as a satisfying tension or an equipoise. The On1y One ending refuses to accept that people are either together or apart, that time is either past or future. 

If separate narrative ends are looped together in elegant knots, what does this mean for the ‘coming out’ narrative with its journey that requires opposing forces and a protagonist to move from one side to another: in to out, private to public, even straight to queer? Well, in BL you often end up with a version of queerness that resists identitarian approaches. Art, in the most dramatically built-up moment in the series, makes a public statement about dating Kongpob…but he already did this coming out in the original series and he continues to rebuff his boyfriend’s flirtations afterwards. (It’s a part of their sexual foreplay as much as a part of Art’s shame.)

SOTUS S and much of BL depicts coming out as something done again and again cyclically as you enter into new environments or an act that’s not entirely manifesting (think Bad Buddy’s ending). And sexuality is not so simple as defining a gender one feels attracted toward, nor having pride or shame about those feelings. These are aspects of our relationships with ourselves and with others that even after making them public will still remain private, not fully knowable to others—both shared and secret. 

Drawing My Own Thoughts Together

Maybe I’m wrong. Throughout writing this, I nearly abandoned the project. I’m no expert in the history of Eastern media or storytelling, and especially not Thai—I’ve only dove into their BL. I can see how you could line up SOTUS S with a Western hero’s journey or romance plot. In fact, more so than other Asian national film traditions, at least according to the authors of Thai Cinema: The Complete Guide, the Thai media industry has a history and aesthetic interest in mashing genres and global influences into heterogeneous, palimpsestic concoctions. Multiple structures can and do coexist in these works.

I also became aware of how flat I and the resources had to render Western storytelling to illustrate the points about the 4Act. The differentiation between the two region’s approaches becomes much more murky when we bring in nuanced and celebrated works because they flesh out the bones more fully, relish ambiguities and ironies about their own nature, bring in broader influences, and take an interest in the unexpected. The structure’s often harder to pick apart. The goal, I’ve found while writing, is not to be wrong or right about the structure of the series here, but to educate myself and hopefully a few others about an influence of which we could learn more to fully appreciate what we’re watching. 

I was not surprised when after watching the series, I found an instagram post of the screenwriter and director Lit Phadung teaching different film structure approaches at a university. SOTUS S, in my view, simply can't be interpreted as a whole unless you are willing to see how its structure operates differently than the Western arc. It patiently weaves its medium and story about the office closet into an expansive pattern rather than mounting an epic battle between right and wrong.

Rather than take my words for right or wrong, I hope this gives others some threads to follow and thread in a web of info and interpretations. I know some tumblrinas I’ve connected with over BL and some with whom I’ve yet to connect have language skills, literary knowledge, and personal experiences to add on to what I’ve attempted to present here. Despite the prevalent mentions of kishotenketsu and the 4act as a structure used by Miyazaki, Kurosawa, and Bong Joon Ho, as well as a device in manga, anime, and Eastern literature traditions, there’s a dearth of well-sourced break-downs and explanations in English, scholarly or otherwise. This was simply my attempt to bring together information about the model in a BL context.

Throughout, I’ve highlighted specific Western blindspots I’ve noticed in criticism of BL shows: the perspective shift at the top of the third act, the slow development, the blanket forgiveness, among other things. A show can use these strategies and still be unsatisfying, don’t get me wrong. However, viewers miss the point when they frame the dissatisfaction using Western storytelling expectations. I’m insistent that we’ve gotta develop our language and perspectives to describe the intentions and breadth of what these shows aim for along with deepening our understanding of why.

It’s not limited to how we watch SOTUS S or Asian dramas. One of my favorite films, Junebug, which earned Amy Adams her first Oscar nomination, is a family drama set and filmed in the American South by a writing/directing team from the area, but inspired by the films of celebrated Japanese director Yasujiro Ozu because of how similar his style seemed culturally to the southerners they grew up with. Obviously, cultures beyond Asia emphasize these values and it behooves us to understand how to communicate with and within them, especially when a tendency exists to assume those communication values are inherently conservative. In fact, there are moments in all of our lives when we might need to emphasize social harmony, compassion, slow development, or karmic paths over dharmic ones, and the reasoning can be as progressive as any revolution. 

One of the moral values at the core of 4Act structures is appreciating our belonging to one another. “Strive at first to meditate upon the sameness of yourself and others,” reads Shantideva’s writing about the concept of karuna in The Way of the Bodhisattva. “In joy and sorrow all are equal; Thus be guardian of all, as of yourself.” Perceived cultural differences between values and plot structures need not be perceived as so separate. Queerness maybe doesn’t need to be ‘the other.’ Relationships and coming-out don’t need to be a battle. We can change and remain the same at once. SOTUS S and stories like it that use the 4Act demonstrate how art and events in our lives can come along to expand our perspectives without requiring we blame ourselves or others for not realizing it earlier. It holds wrong and right together, difference and unity, without flattening them into assimilation. Two distinct parts held together, which is, after all, the shape of a couple.

Tagging some other SOTUS fans who've kept the passion alive while i worked on this @thebroccolination @dropthedemiurge @doublel27 @moutheyes @ginnymoonbeam

[my-rose-tinted-glasses]

It's december already which just feels insane to me. Christmas is coming which makes me happy but this year went by too fast. Anyway as usual, spoilers and opinions below, read at your own risk.

QL - Currently Watching

🇹🇭 Caged Again [4/10] - Junior is one of my favourite characters. He never learned to deceive so he just says what he feels like it's the most natural thing. And his confidence and optimism are contagious. I love him. And Sun is just smitten and terrible at hiding it so it's a good thing Junior is completely clueless about these things. I'm loving Jodd and Jeng and since they are also animals, I think we're getting more about them next episode. I can't wait. 🇹🇭 Fourever You [9/16] - I am so incredibly bored. They are stretching these two pairs for no reason. They should have just given us the four pairs in 16 eps cause this is torture. 🇯🇵Fragrance You Inherit [3/8] - It's lovely. I love Sakura. I really liked the scene in the restaurant. Sakura talking about being a single mom and Mone being supportive brought tears to my eyes. It was a beautiful moment. I love the relationship between the moms and the kids and I'm curious to see how Toki will react, if he in fact doesn't know already. It's also interesting to think about what exactly parents owe their kids or not, specially regarding something like that. Fansubs being provided by @isaksbestpillow. Thank you🧡 🇯🇵Love in the Air Koi [5/10] - The pacing is so much better here. I agree with @lurkingshan here and the kidnappings will probably be combined somehow. I like the second couple a bit better here than the thai version, but I'm still not the biggest fan of this storyline. Although Fuma is better than Prapai.

🇯🇵 Love is a Poison [11/12] - Shiba is so in love. I always believed, just like Shan, that Haruto was coming back, but it was painful watching Shiba hurt. Only one episode left where they will defeat the bad guy and live happily ever after. I will not accept anything else. 🇯🇵Miseinen [4/11] - Well at least they are 'friends' now. I can't with these two. That ice cream scene was insane and it's burned into my brain. This is a great adaptation and I need all the episodes like right now.

🇹🇭 Perfect 10 Liners [6/24] - PondSand are everything to me basically. I'm so over ArcArm and I need the next couple stat. It looks like this will be another parade of guest stars which is kinda fun and next week Sea will make an appearance along with the always fun jealousy plot which hopefully will end with them being boyfriends so we can move on to the next couple.

🇹🇼 See Your Love [7/13] - The contraste between the couples is hilarious to me. The sign language scenes were the cutest and they are adorable. And this must be a record number of the 'falling into each other's arms and almost kissing but not' trope. No one is that clumsy. The sides are bonkers.

🇹🇭 Spare Me Your Mercy [1/8] - Strong start. I'm reserving judgement but I like the setting a lot, so many MoD vibes, and I like this pair. They can act.

🇹🇭 The Heart Killers [2/12] - I'm watching quietly.

🇹🇭 Your Sky [3/12] - This might be too cute. Teerak is adorably clueless and Fah is so smitten. He came up with that nickname so fast, it's almost as if he's been calling him that in his head for a while. Also, the friend group is amazing at running interference. That scene in the lift was great. And I love the scenes with the Teerak and Babe.

QL - Finished

This is gonna be the quick-fire version cause I'm tired.

🇨🇳 Blue Canvas of Youthful Days - Great until episode 10. Unearned and unbelievable ending. Mostly forgiven because China. 🇰🇷🇹🇭 Eccentric Romance - What did I watch? was it bl? was it a crime drama? No idea, but it was not good.

🇹🇭 Every You, Every Me - Rushed ending but I really liked the bl inside the bl. I wanna see these two again.

🇹🇭 Jack & Joker - YinWar. On my screen. In 2024. Even if it was bad, it was good.

🇹🇭 Kidnap - Proof that Ohm will pretty much get me to watch anything.

🇰🇷 Let Free the Curse of Taekwondo - Pain and snow and happy endings.

🇰🇷 Love in the Big City - As close to perfection as anything I ever watched. Young will stay with me forever.

🇹🇭 Peaceful Property - A mess and also proof that TayNew will get me to watch anything.

🇰🇷My Damn Business - It was fine.

🇹🇼 The Nipple Talk - Mama was a gift.

Others - Watched

🇰🇷 Bad Guy | 🇯🇵Seoul Blues | 🇯🇵Blue Boys | 🇹🇼Marry My Dead Body | 🇯🇵Some Love Begins with Mistaken Identity | 🇰🇷Taming the Bad Boy | 🇰🇷Joseon Chefs | 🇰🇷The History of Us | 🇯🇵 Polyethylene Terephthalate 1 & 2

And continuing my YinWar agenda they just released a song and the video is hilarious.

As usual my ask box is open. Have a wonderful week💜

[ppeonppeonhan]

Japan's Love in the Air Remake (Ep. 1 & 2)

When I first saw that Japan was remaking Thailand's Love in the Air, I laughed it off. The idea of them topping one of the hottest Thai BLs of all time (that didn't compromise storyline for raunch), and doing it justice seemed extremely ambitious.

And after watching episodes 1 and 2, I still don't think it possible, BUT I will say that it is the perfect plot for a J-BL: A skittish baby bi prince is seduced by a rich, charming, bad boy, bi king. Japanese BL characters reign supreme in the skittish baby gay category. In fact, Rei / Rain is giving serious Aoki (My Love Mix-Up: Kieta Hatsukoi) energy.

Meanwhile, Arashi / Payu is played by 22-year-old Nagumo Shoma, and he is killing his first lead role in a major series. Is he as hot as Boss? No, but he has potential. The tension between him and his costar is damn near electric.

My only issue with the series is the pacing. The Thai version had 45min episodes, but the Japanese version clocks in at 26min. It not only feels like a lot was left on the cutting room floor, but truncates the passion they're building up to.

My favorite change though so far is the at-school seduction scene switching from the bathroom to the vintage car. It seemed more realistic and...sanitary. lol

I am so far underwhelmed by the Japanese version of Prapai-Sky, and low key think Shoma would've made a better Prapai, but I'll give 26-year-old Suzuki Asahi (Fuma), who is also making his BL main role debut, a chance. Sorry to Nagatsuma Reo (Kai / Sky) though -- there's no way he'll out sassy power bottom Peat.

But I look forward to seeing what other elements they change and whether they can match or even top the iconic PayuRain and PrapaiSky lovemaking scenes.

[fantasy-anatomy-analyst]

While Ive never read her books, I would love to read your criticism if the works of Sarah j Maas. What are your problems with her worldbuilding?

So like, disclaimer that I have DNF'd her books myself and instead of trying to finish reading them I got the rest of my info from multiple different youtubers who posted full recaps and deep dives of her books.

I can't stand the romantic relationships she writes and I think her pacing is a mess. So that's why I haven't read all her books myself, they're just so not my thing. I'm not a fan of a lot of "gateway fantasy" type books that are considered "easy reads" for people who want the hot sexy romances with a fantasy backdrop, because I personally really don't need a gateway into fantasy lol I've been into this genre since I was a small child and I prefer to read books that are deeper with their worldbuilding. I don't write epic fantasy adventures, I stick more to low stakes slice of life and romance, but I like to write a very detailed fantasy world and i do enjoy reading a good fantasy adventure.

There are a few things I dislike about the way Sarah J Maas does her worldbuilding, though she is by far not the absolute worst at it. I would call her worldbuilding mediocre and inconsistent. Also I think she relies too heavily on just tossing a bunch of real life myth and folklore into her books without really exploring it deeper, like she's just adding Easter eggs in for people who happen to know a lot of different folklore and stuff. Like why do valkyries and Koshei the Deathless suddenly get mentioned in the extremely celtic inspired fae books. They're barely plot relevant and don't get explored, they just kind of exist. Also I'm not from any celtic cultures but considering how poorly SJM handles characters of color, I can't imagine that her treatment of celtic myth and folklore is any better. I don't think she did as much research as she should have.

I don't mind a soft magic system, especially for fae who can do a lot with trickster magic and wild magic. But even soft magic needs to be consistent in what it can or cannot do, and her magic is not consistent. Example: three different instances of faries with injured wings.

In her first ACoTaR book there is a fairy who dies because their wings are absolutely mangled. Almost gets a pass because there was the whole magic restriction thing going on, but how much the magic is restricted is still left quite ambiguous and I'm still not entirely sure why no one could have healed that fairy. Why is that impossible while they're also still using magic enough to perform that sexy fertility ritual that renews the magic in the region, or whatever? Plot convenience, because we needed a dramatic death scene for a nameless nobody character to make Feyre cry, I guess.

And then in another book one of the dudes with bat wings has them basically torn off during a big magical war and they're healed no problem, no lasting consequences, just grow em right back, the healing magic is apparently just that powerful. Okay. We can say that's because the magic is no longer being restricted I guess. Kinda sucks that an actually plot relevant named character doesn't get long term effects from losing such big limbs though.

And then the kicker: the bat wing fairies are such over the top evil misogynists that they have a tradition of clipping women's wings (never mind the fact that these are bat wings??? What do you mean by "clipping", girl, this is not at all like bird feathers! Also I don't like the implication that it's like female genital mutilation because the wings are an erogenous zone) and apparently this cannot be magically healed at all ever and the important fairy dudes who could stop this tradition talk about how bad it is but don't really put effort into stopping it. Yuck.

Overall there's also just this weird internalized misogyny all over her books with just enough of a #girlboss feminist layer over top that fans will get mad if you point out the blatant sexism.

Also, SJM writes literally every single fantasy people with omegaverse werewolf dynamics but refuses to actually make werewolves the spotlight in the one series where they do exist in her worldbuilding. Please just write the bad werewolf smut you're clearly obsessed with, SJM, I am begging you. I hate that she started this trend of "fae" being so alpha male and fated mates and having this weird obsession with scents. Like why do the fae smell when people have sex or get pregnant. Why are they always using "males" and "females" instead of "men" and "women". Why do they bare their teeth at each other like wolves establishing their pack hierarchy. I hate this. Put it back in the werewolf fic where it belongs.

There are worse worldbuilders out there, to be sure. I just really can't get behind the SJM hype, it's never going to appeal to me.

Edit: totally forgot to add my complaint about her excessive use of magical macGuffins. So many magical macGuffins. Put some of those back on the shelf, you really don't need them. There are so many.