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bengiyo · 1 year

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BL 2022 Review

I debated how I would go about reviewing this year, and quickly tossed out any sort of list approach. Anything like a top 10 or 20 would feel disrespectful to many of the smaller projects I watched this year that had something worthwhile to discuss. Instead, I’ve decided to talk about BL with major topics that stick with me as I review the 80+ shows I watched this year.

Reviewing the totals, as of the writing of this post I have completed, attempted, or am watching three shows from the Philippines, 49 from Thailand, five from Taiwan, 20 from South Korea, one from mainland China, 14 from Japan, and five from the West, for a total of 79 completed or watching plus 13 attempted. This included other QL projects as well. I’m reviewing a list of all BL projects from this year and the number was approximately 131. We’ve never had more choice than this, and I absolutely cannot watch this much again next year.

In this long essay, I plan to talk about what I enjoyed out of the actor chemistry this year, the ways BL has become more political, how specific and powerful coming of age narratives continue to be in genre, the ways BL used the supernatural to talk about grief and loss, the intergenerational relationships appearing in genre, the expansion of the genre into adulthood, the ongoing competition amongst college narratives, our first forays into GL, and the continued divide with the West. That’s a lot, so I’m just going to put all of that behind a cut.

First, Some Thanks

Before we get started, I want to give shoutouts to the clowns I got to know this year and who have been so much fun to engage with this year since we met on Bad Buddy. In no particular order: @shortpplfedup, @kyr-kun-chan, @liyazaki, @elnotwoods, @flukenatouch, @gilly-bean, and so many more whose handles I always forget outside of our other chats. Also a shout out to the 180 Degree Longitude Passes Through Us fandom. We were tiny, but I loved interacting with all of you.

The Boys Who Were Ready to Risk It All

I don’t always require the boys to have high levels of heat in my romances, but I do like believing that the characters genuinely desire each other. With Japan reentering the genre with their specific brand of reticence, and with Korea clearing the lane for their own form of clean romance*, I was not surprised to see Thailand turning up the heat in their shows to compete. All-in-all, this was an absolutely stellar year for chemistry across the board.

Starting with the Philippines, I noticed that I watched far fewer shows from them this year, but two in particular made me BELIEVE. In Gameboys 2 Elijah Canlas and Kokoy de Santos continued to display the absolutely electric and believable desire between Cairo and Gavreel. You could feel how suddenly their attraction came on, and the desperation of their quarantine bubble’s time ticking away as they tried to make being a couple work. I especially enjoyed how they explored their differing levels in sexual experience and readiness before delivering one of the better bed scenes of the year.

Meanwhile, in Sleep With Me Janine and Lovi made the first time between Harry and Luna look genuinely fun for their characters. The morning after sharing between them was one of the most comfortably intimate things I’ve seen all year.

Thailand offered up a wide array this year, from the extremely light or chaste La Cuisine and 21 Days Theory; to the passionate in Dear Doctor, I’m Coming for Soul and Triage, to the shows-with-something-to-prove in KinnPorsche, Love in the Air, and Love Mechanics. However, I’d like to highlight how much I genuinely believed in the sexual desire from Mile and Apo in KinnPorsche, Boy and Tod in Ghost Host, Ghost House; Zee and NuNew in Cutie Pie; both Boss and Noeul, and Peat and Forth, in Love in the Air; and Mos and ISBANKY in Big Dragon. No disrespect to Yin and War, but we already knew they could bring it.

With Apo and Mile, we saw expressions of sexual acts and desire from guys in this genre that it almost feels taboo for the genre to use with its preference for top/bottom acts. “A blowjob in a helicopter” became a “jumping the shark” joke for this year for a lot of valid reasons, but Kinn and Porsche engaging in mutual masturbation and oral sex was the most refreshing part of the sexual chemistry of that show.

Tod and Boy gave such a believable show of wanting each other that it gave me flashbacks to ITSAY Episode 3. Pluem’s clear love for Kevin’s legs, and their frank conversation about sex and readiness, along with their language play about making each other equal with English pronouns, made them one of my standouts for the year. Beyond that, the way they quickly fell into casual intimacy in the latter half the show elevates it above much this year.

We knew Zee could deliver on heat from Why R U (2020) with Saint, but I was surprised by how effectively he arrived at that same level with newcomer New Chawarin. I still think about the kitchen scene where Lian lifts Nu-Kuea onto the counter to stare up at him with open love and desire as he reassures him that he is everything to him. Thai fans jokingly review bombed the kettle model used in that scene for interrupting it, that’s how intense that scene was.

As usual with MAME, Me Mind Y casts for high heat and chemistry well, and clearly has an effective process for building up physical comfort between their casts, because everyone brought so much enthusiasm to their scenes that they literally let Boss and Noeul take charge of their own bed scenes. During my watch, I praised the way they used angles to allow for some actor modesty, and it’s clear everyone had fun working with their partner. Truly something special. There is a lot to unpack with Love in the Air, and I don’t think it’s for everyone, but in terms of heat, the cast delivered.

Speaking of shows that didn’t really work for me, I wasn’t a fan of Big Dragon. That being said, ISBANKY and Mos were absolutely willing to go there physically with each other, and managed varying levels of emotion and intensity in their intimate scenes across the season. I didn’t want to end the year without acknowledging that.

As expected from Japan, they were about as chaste as I expect them to be outside of their darker BLs, but we have a few things worth mentioning. The final minutes of episode 4 of Old Fashion Cupcake was the most sexually charged interaction to come out of Japan all year, and I’m glad it happened between characters in their 30s and 40s.

I was proud of Minato’s Laundromat for delivering a satisfying pair of kisses in the finale, and confirming that the characters were finally getting it in in the final shot. We also got some solid bed work from Sora Inoue and Komiya Rio in Eternal Yesterday, but the fact that Koichi was dead probably excused that for Japan’s weird relationship with onscreen intimacy. Finally, we almost hit something really interesting about first desire in Takara-kun to Amagi-kun, but the show backed off and never went back.

While we’re talking about heat and Japan, I’m going to vent for the final time that the show was called Mr. Unlucky Has No Choice But to Kiss!” and yet they didn’t give a satisfying kiss! Something MBS kept experimenting with this year was having a dubcon or asymmetric emotional kiss very early in their shows, and then not delivering on a good couple one later. It felt a bit cheap and manipulative, and I’m quite glad we didn’t get that in Eternal Yesterday nor so far (as of episode 2) of Color Candy Paradox.

With Korea, this was as @absolutebl calls it, the year Korea learned that boys can kiss. We returned to To My Star 2 this year for a very messy BL that I loved for the chemistry between the leads. Hwang Da Seul did it twice with the pair in Blueming.

Watcha showed a willingness to go there with Semantic Error with the Parks that was a real relief after the forgettable kiss in Light on Me the previous year. Strongberry proved again why they’re one of the best with both couple dynamics in Choco Milk Shake, the Cherry Blossoms After Winter pair were willing to go there, and the branded pair from Kissable Lips did it twice this year with Roommates of Poongduck 304. Holland and Han Gi Chan did a decent job in Ocean Likes Me, which was significant for me because Holland is a Known Gay. Seriously, Korea came to play this year.

*NOTE: Because of the impacts of military occupation in the first half of the 20th century, I don’t often comment on Korea’s particular brand of kissing or heat levels. If they’re still sorting out how they want to be perceived when it comes to intimacy and romance, I’ve elected to stay out of that cultural conversation and praise what I enjoy only.

BL Got Political

Across the board, it felt like BL realized it could not longer remain politically neutral and remain relevant. Almost every Thai show went out of its way to call for marriage equality this year, with the standouts being Cutie Pie for its entire focus on marriage and Big Dragon with a memorable lament about the issue. From Japan, Cherry Magic: The Movie elegantly illustrated why marriage is so important for queer couples.

I want to highlight the shows that went a bit further and explored some queer themes beyond the ongoing struggle for marriage equality in Thailand.

In 21 Days Theory, we had a side plot where Q’s gay uncle traveled with Q’s mom to talk to their father off-screen about Man’s queerness and start rebuilding their relationship.

180 Degree Longitude Passes Through Us focused on the way bullying and internalized homophobia leave wounds that shatter the people connected to that trauma, and became one of my standout shows of the year.

My Only 12% asked what the value was in queer media that leaves queer people feeling sad and broken at the end by questioning the role of Love of Siam (2007) in our history.

Papa & Daddy 2 challenged the artifice of rainbow capitalism and how only an acceptable brand of queerness is allowed to make money.

DNA Says I Love You explored a section of the alphabet mafia that we rarely touch upon (I don’t want to spoil it).

Both Not Me and The Eclipse challenged the structures of Thai society.

Outside of BL, Koisenu Futari did not mince words in its demands that aromantic asexual people should not be forced to form procreative units for the sake of others happiness.

We accelerated rather quickly on this, but it’s good to see that the makers within the genre know the score.

The Summer ‘22 High School Extravaganza

Starting this summer, we were treated to an amazing series of shows exploring first love in high school with Minato’s Laundromat and Takara-kun & Amagi-kun from Japan; About Youth from Taiwan; 21 Days Theory, My Only 12%, and The Eclipse from Thailand. We didn’t let up into the fall with Eternal Yesterday, and the currently-airing My School President.

There were so many shows this year, but statistically, the high school shows made up such a small portion of the genre overall. I appreciated how all of these shows tackled the commonalities of coming of age.

With Minato’s Laundromat, we got to see Shin struggle against the barriers that said he couldn’t care for someone older than him, while Minato struggled with the way he’d refused to let himself mature from his own internalized homophobia.

We got to experience first desire and intense infatuation in Takara-kun to Amagi-kun, and how you’ll need the help of your friends to manage that intensity.

We had an absolutely adorable pair of couples falling in love in About Youth in the gentlest of these shows. Truly, this is a show so enjoyable that I have watched it more than once on my own.

My Only 12% explored the reality of falling in love with your best friend, and having them finally fall back years later as you also come to terms with your own queerness.

The Eclipse tackled the institutional and long-term effects of internalized homophobia across nine different characters and how they were all impacted by it.

21 Days Theory gave us a somewhat messy process of falling in love, but gave us support from a queer elder that let the show end up being shorter.

My School President is shaping into the much-needed successor to Lovesick and is turning Bad Buddy into a blueprint.

Finally, Eternal Yesterday tackled the grief of losing your first loved one unexpectedly to tragedy with a grace I think only Japan could pull off.

Yes, there were a lot of high school shows this year, but I think they were among the best offerings this year.

Ghosts! The Supernatural as Allegory for Grief

With BL reaching for higher concepts to stand out in the crowd, supernatural stories opened up spaces for shows to explore impossible romances and grief within the genre. I wrote extensively about how Eternal Yesterday tackled this, and how it is beneficial for some viewers to unpack their feelings. Even though I didn’t enjoy all of the shows I will mention in this section, I want to reiterate that I don’t ever want creators to stop trying to reach a strong thematic core with these supernatural concepts.

Thailand displayed a specific notion about posthumous bureaucracy in both Dear Doctor, I’m Coming For Soul, Something in My Room, and Ghost Host, Ghost House. All three of these shows expressed a ton of rules about the afterlife for ghosts that I couldn’t always track, but has felt specifically Thai. Ghost House stood out for me amongst these offerings with the way Kevin continued to mourn his friend who died in the US, and how the ghost of his friend continued to protect Kevin without his knowledge.Something in My Room ended up feeling like a weaker version of He’s Coming to Me (2019).

Japan relied on magical forces to draw people together in Mr. Unlucky Has No Choice But To Kiss! and Cherry Magic: The Movie. The yin and yang dynamics about unluckiness and luckiness led to a truly enjoyable pairing between the leads. Adachi not losing his powers until he was truly ready to connect to Kurosawa ended up being far more enjoyable than I expected. Meanwhile, in Korea, Color Rush 2 without one of the leads ultimately left the series feeling incomplete on a somewhat disappointing note.

Korea has had three different reincarnation stories this year with First Love, Again; Choco Milk Shake, and The Director Who Buys Me Dinner. Choco Milk Shake ends up being the weirdest, what with Jungwoo’s pets reincarnating as very hot human men to try and help him manage his loneliness. In the other two shows, one partner is either immortal or has full recollection of his previous lives as he tries to reconnect with the other partner.

Kissable Lips tried out vampires, mostly unsuccessfully. Without enough time, it didn’t get to explore some complex themes about long-lived beings. Interview With the Vampire will be the queer vampire show that gets remembered this year for the toxicity of their failed marriage and the abuses therein.

We had two different time loop shows with Triage from Thailand, and Once Again from Korea. I enjoyed Triage more for the way it showed how hard it is not to love someone when you become obsessed with them, but there was something special about the painful way Once Again doled out a sliver of hope.

Vice Versa managed to tell something interesting with the body swapping across universes concept, even if I found myself frustrated with one of the leads. Self also attempted to use the supernatural with a character losing his reflection, but it ultimately felt like a plot delivery shorthand.

Whew! For all the talk about the number of high school shows we got this year, we had more supernatural ones.

Finally: Adults to Take To Brunch

We had a lot of standout adults this year that I want to highlight. Inter-generational queer relationships are extremely important to me. No matter how loving and supportive families may be, most queer people are going to be raised by straight people. We have to venture out to find our people and each other. So, being able to find that within your family or within your own community is so important. As such, these are the characters from this year I’d want to take to brunch and hang out with.

My favorite pair this year are Cheep and Dej from My Ride. The breakfast they share with Mork and Tawan in episode 8 about how maintaining a long term relationship is not so much about amorous love and romance, but more about trust, commitment, and communication. The frankness with which they discuss how they don’t always get along, and yet continue to choose each other, was so stellar. I hope someday to have a love as durable as theirs.

I also want to mention Uncle Man in 21 Days Theory. I suspect the show introduced a gay uncle to accommodate its short run time. They needed a queer presence to explain Q’s familiarity with queerness, and Uncle Man’s advice and guidance saved us a lot of navel gazing as a character came to understand himself. Regardless, at one point in the show, Q gets jealous of Man because he thinks Man is flirting with X. Man pulls his nephew aside and reads him to pieces for being so irrational, and reminds Q that he’s not interested in boys. It was such a stellar moment that has stuck with me for months.

Framboise from Kabe Koji Nekoyashiki-kun Desires to be Recognized is probably my favorite character of the year. From his first appearance, he radiates queer self love and joy. He is so excited to be amongst his people and connect with them, and them to each other. He gives solid advice in the few interactions we had with him, and he’s so determined to make sure Mamouru joins in with other creators. I have so much more to say about him, but know that he is what I aspire to be. (Gif credit to @liyazaki, used with permission)

Alex from My Tooth Your Love needs to join us so he can have a break from holding the entire restaurant together. Alex may have been stern, but it was so fun to see a character set in where he was in his life while helping take care of others. He also deserves to be teased for being so fond of a baby gay.

Mama Xu from About Youth is also invited to the brunch. Not only has she managed to keep her son in good spirits after the painful loss of his father even as her brother terrorizes them, she also does that while staying out of his business.When Ye Guang came to her for advice about Qi Zhang, she kept her advice nonspecific enough that she didn’t invade their relationship. I love her, and she deserves to be pampered.

Though he had such a small role that they only named him Uncle, Uncle from Choco Milk Shake needs to join us because of the way he’s clearly supported his nephew without judgment for years, even knowing that a deep melancholy gripped him.

While talking about My Tooth Your Love, all of the 30-somethings that got together this year are welcome at brunch, including Xun’an and Bai Lang from My Tooth Your Love; Nomoto Yuki and Totoko Kasuga from She Loves to Cook, and She Loves to Eat; Togawa and Nozue from Old Fashion Cupcake; the entire adult cast of Papa & Daddy 2; Seo Joon and Ji Woo from To My Star 2; and the entire adult cast of Plus & Minus.

Lian and Yi from Cutie Pie are not invited because they are too wrapped up in the lives of young 20s folks and will bring the wrong energy to the brunch. Speaking of which, we’ve invited enough people that this has turned into a luncheon.

QL Got Jobs This Year

One of the real joys of being part of the genre for so long is seeing enough money enter the field that we can afford to leave the school settings. This year, we finally started seeing office romances more often.

Scrolling through my watch list reveals: 609 Bedtime Story, 180 Degree Longitude Passes Through Us, Accomplishment of Fudanshi Bartender, Candy Color Paradox, Check Out, Cherry Magic: The Movie, Choco Milk Shake, Close Friend S2, Coffee Melody, Dear Doctor I’m Coming for Soul, The Director Who Buys Me Dinner, Even Sun, First Love Again, Gameboys 2, GAP, Ghost Host Ghost House, Happy Ending Romance, Kabe Koji Nekoyashiki-kun Desire to be Recognized, KinnPorsche, Koisenu Futari, Love Stage!!, Meow Ears Up, My Ride, My Tooth Your Love,The New Employee, Ocean Likes Me, Oh! Boarding House, Oh! My Assistant, Old Fashion Cupcake, On Cloud Nine, Physical Therapy, Plus & Minus, Rainbow Prince, Roommates of Poongduck 304, Senpai This Can’t be Love!, She Loves to Cook and She Loves to Eat, Sleep With Me, Sky in Your Heart, Tinted With You, That’s My Candy, To My Star 2, Triage, To Sir With Love, The Tuxedo, Vice Versa, War of Y, and What Zabb Man!.

That’s 47 shows; that’s more than half my watch list. We can talk about how much stuff happens in school settings, but we had some options this year!

In a real relief for me, we started to see more workplace romances or romances starting between adults. Early in the year it started with My Ride for me, and then the slate of Korean shows. I suspect it comes down to where it was pragmatic to shoot. In Seoul, there’s probably office space for rent for these sorts of productions because of kdrama, whereas Thailand seems to have a disused campus that hosts many of the shows. Still, I count at least 16 that involve people falling for people they work with.

A special note for the Philippines: Rainbow Prince was fantastic. Yes, the production values are way lower than most people’s tastes, but that show was so funny. They absolutely committed to being the first BL musical, and the songs are a ton of fun. That show has “a heart so big it could crush this town.” It even does the classic musical thing of giving an antagonist one of the better songs on the set.

Looking at the projects being advertised next year, we might see non-school shows take the vast majority. What a time for us!

The College Shows That Didn’t Suck

Where I found that the high school shows have done a fantastic job this year, the college shows were really hit or miss for me. I’m not sure if it’s because that particular setting has run out of intriguing ideas, but I want to highlight the shows that I think didn’t suck.

First up: Thailand. You’re My Sky felt like the first true post-ITSAY pulp. They really reached for solid production values and tried to bring a higher level of cinematography. I also think they handled the three relationships really well. Many folks dropped it, but it was a quiet gem of this year for me. Cutie Pie was a bit of a slog sometimes, but I still recommend it. Mark and Vee are not my favorite pairing, but the new version of Love Mechanics was still well done. It needed a side couple though.

Next: Japan. Despite my gripes, Mr. Unlucky Has No Choice But To Kiss! was actually a really fun watch. Obviously we can’t end a year without acknowledging the continued parody fun of Absolute BL 2.

Finally: Korea. Semantic Error is going to be one of the banner shows of this year when we refer back to this year and talk about how people got into BL, what with the way it brought K-pop fans into the genre. Blueming gave us another stellar entry from Hwang Da Seul (To My Star). While I don’t really enjoy stepbrothers pairings, Cherry Blossoms After Winter was compelling. Love Class held its own, even if it wasn’t exactly to my taste.

Finally, though it isn’t exactly a school show, DNA Says I Love You is a really special show from Taiwan worth checking out.

LET’S GO LESBIANS! We Finally Had Multiple Quality GL Offerings

We finally started seeing GL productions on the field. Surprisingly, Korea has had the most offerings. I’ve watched She Makes My Heart Flutter and Our Relationship Ended Before it Began. My favorite pieces so far are Sleep With Me and GAP.

Sleep With Me worked so well because of the way they focused on disability and how it impacts romance. The queerness mattered to the storytelling, but it doesn’t spend much time in angst about that, when their material concerts are so much more present. I’ve been shouting for months for more people to watch it, so please sign up on Gaga and watch it. You can check out the first episode on YouTube.

GAP is still airing, but oh my goodness am I having fun with the costuming on this show. There is a specific lesbian gaze to this show that has been so refreshing to experience. It’s even unlocked all new tropes with us with “let me put this lipstick on you so I can taste it.”

She Loves to Cook, and She Loves to Eat feels like the lesbian little sister to What Did You Eat Yesterday? Unlike WDYEY, the pair are not together at the beginning, but it has been a darling of a show that I really hope NHK continues next year. I do love the shows where everyone cooks.

In Koisenu Futari, we got to see two aromantic asexual people build a platonic support system together while dealing with a lot of unwanted allosexual scrutiny. This was one of the most vital things I watched this year.

While there aren’t a ton of offerings yet, it’s been an encouraging start.

Meanwhile, In the West

Though it pains me how many Western fans of queer media will not cross over into BL, there were some things from the West I enjoyed this year.

Closest to BL, I enjoyed Heartstopper and Young Royals. Both fit into the same coming of age space BL loves and were easy recommendations for people who enjoy high school romance.

Probably my favorite show was Chucky. That the Chucky character has been terrorizing victims across five decades is amazing, and I’ve enjoyed how some of the queer themes always at the core of the series are now front and center. A young romance between two boys undergirds much of the drama of the first two seasons, and it's a rare American show that became appointment television for me.

The biggest surprise of the year for me came from HBO with Our Flag Means Death. Obviously, we all know that pirates are gay culture, but I was not expecting HBO to be this explicit and play a textual romance out between Rhys Darby and Taika Waititi as Stede Bonnet and Blackbeard respectively. It also featured an explicit open relationship between two other crewmembers, and had a clearly nonbinary character aboard as well. All of this is handled with a comedic grace that felt so easy.

Also distributed by HBO is the Canadian show Sort Of, in which a trans-nonbinary nanny deals with the fallout of one of the parents falling into a coma. I first saw it at TIFF 2021, and it is really just so good. It’s hard to really sell in text like this, but it’s a fantastic show.

Finally, of what I watched, AMC gave us an adaptation of Interview With the Vampire, that shows a gay romance souring into something truly toxic over decades. I had a few qualms with specific choices the team made, but this show was absolutely compelling.

While I’m impressed with a few of the offerings we have here, I’m still not sold on Western queer storytelling funded by the major distribution systems.

So…What’s Next?

That’s the real question, isn’t it? I think, for me, I’m going to have to be more discerning next year. Watching this much stuff really isn’t sustainable for me anymore, and it means I’m going to have to pick my winners, because I find I have little time to catch up on shows. I also enjoy the week-to-week interaction about shows too much to be late to the party.

Overall, I’m genuinely encouraged by what I’ve seen teased so far for next year. GMMTV is getting more confident in its post-school storytelling, and is doubling down on using veteran talent instead of newbies to lead their shows. With their original stable starting to age up, they’re trying out more high-concept stuff. The Midnight Series begins airing this week, and I think will be our first glimpse of what’s to come.

Beyond GMMTV, Star Hunter Entertainment and Domundi seem like they’re going to hold strong for the coming year. Me Mind Y also doesn’t seem to be going anywhere. That means we’ll be covered on high heat and genre stories as well. Finally, Wayufilm is still active, so we’ll continue to see them experiment.

Unfortunately, I don’t see Korea taking a big leap forward yet. They seem satisfied with the 20 minutes max for their shows and at most 8 episodes. Still, I expect them to dominate the low-heat shows that focus exclusively on romance.

I’m not sure what to expect from Japan after this year of BL o’clock ends for MBS. My only hope is that the relationships with GagaOOlala and Viki don’t end, and what new productions do come out Japan make it onto both platforms.

I worry about the Philippines getting too walled in. I haven’t been able to watch a production from The IdeaFirst Company easily in a very long time, and I don’t know what’s going on with their international distribution anymore. I’m still watching to watch Pa Thirsty and Two and One. I have hopes for Oxin Films’ next productions, but they always seem to be working on a thin budget that delays their projects.

I’ve also fallen off of Vietnamese productions for now. The fundraising pushes are too much for me.

That’s all from me. It’s been the most enjoyable year in BL I’ve ever had, and maybe all of queer media. It’s so fun seeing different kinds of BL fans in the space now find their niches, and to see fandom wars moving off my dashboard as people find other people to engage with instead. We passed supersaturation a long time ago, so I hope the bubble doesn’t burst any time soon.

See you all next year!

#bl end of year wrap up #bl series #thai bl #taiwanese bl #japanese bl #korean bl #pinoy bl #Ben watches

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