#thai bl movie | Explore Tumblr Posts and Blogs

absolutebl · 1 year

Text

This Week in BL - It’s My Birthday!

April 2023 Wk 4

Being a highly subjective assessment of one tiny corner of the interwebs. Organized by which ones (in each category) I’m enjoying most.

Ongoing Series - Thai

Step By Step (Thai Tues WeTV & Gaga) ep 2 of 10 (MDL says 12, but Gaga says 10) - Baby made a friend! Yay. I hope they stay friends. Up looks so good. Also, drama with exes! Excellent. This is awful grown up for a BL, esp a pulp. I think it may be more just a gay office romance than BL, but I love it no matter what.

La Pluie (Sat iQIYI) ep 1 of 10 - I love it. Strange premise to get at the fated mates trope but it stars one of my top picks to get his own BL. Been waiting since TT2 for this boy to feature. Tai is cute. It’s good. Except the singing. But we can’t have it all.

Our Skyy 2 (Star in My Mind) eps 3-4 - Dao is THE MOST SPOILED. But clearly Kluen prefers it that way. This was cute, but frankly a little bit boring. Kluen is clearly Thai for whipped. 8/10

Future (Thai Sun YouTube & Gaga) ep 5 of 6 - they added an additional ep because, why not? It’s a soap not a story, it doesn’t matter. MOAR softness for usssss! Drama llama boys continue to be overdramatic to the point of melodramatic to the point of ludicrous-dramatic.

Pastsenger (Thai Weds Gaga) ep 8 of 12 eps - This is not as good as My Engineer but Marc makes for a much better pair with Cooper. It’s still not great but hey… and then HE PICKED UP A GUITAR. NOOOOOO!!!!!

A Boss and a Babe (Fri YouTube) ep 9 of 12 - Is that a character in a GMMTV show actually trying to communicate? Say it isn’t so! Did you notice in order to calm Cher down Gun dropped to pom to put them on a more equal footing? Sweet. Cher is a tiny idiot for taking the blame for some random other coworker. Why? Omg this show.

The Promise (Thai Weds YT & WeTV) ep 6 of 10 - So it was a real serious total kiss kiss with both very drunk. And that’s why he ran? Sigh. This show sucks. How can we root for this couple especially when the faen fatal (Boss) is THAT HOT and so sweet. (To be fair I can’t decide if I want Boss or his outfits more). Phu should just not come back, who needs him? So they really are going to just keep drawing this one premise out the whole show?

Tin Tam Jai (Tues Gaga & iQIYI) ep 9 of 10 - yawn

Ongoing Series - Not Thai

Our Dining Table AKA Bokura no Shokutaku (Japan Thurs Gaga) ep 4 of 10 - They are cutest EVER - charming and awkward and sweet. I love the way the state of the food is used as an illustration for the state of the emotions of the characters. The loneliness of heating up a solitary meal bought from a convenience store in the microwave. The joy of memory of shared meals. What a lovely show.

The Eighth Sense (Korea Weds Viki) eps 9-10fin - To be honest, I was dreading this one. JH is such a first-time love bebe. I liked how realistic everybody’s behavior was to the university age bracket. We even got some proper boyfriends phase which is too damn cute for words. I do not think that JW should have made up with his evil friend. I love the way JW’s shoulders relax the moment he sees JH. This was really good show...

One of the longest BLs Korea has given us and (like Blueming) it feels more atmospheric gay coming of age romance than strictly BL. It’s got a bit of an age gap, country boy/city boy, stellar acting, complex characters, and leads with good chemistry and tension. It’s a bit chewy and sticky and less perfect than most KBLs (do I detect a touch of Taiwan?). This one deployed BL tropes (messy eater, shoulder sleep, protective seme, there’s even some hyung-slinging) but front loaded them, with tons angst driving the 2nd half. This isn’t in the KBL bubble, there’s sharp edges and lots of triggers. For a BL the darkness of the content left me feeling unsettled but it did have a glorious ending and that counts for a lot. 9/10 HIGHLY RECOMMENDED

Happy Merry Ending (Korea Thurs Gaga) eps 1-2 of 8 - No shade (ha!) but I do think Leo would have been better in the role of the singer (SJ) but I’m okay with Dongwon. JH is a nice flirty bit of sunshine. SJ is clearly the most anxiety-riddled socially awkward broken baby evers. I’m not sure about this kinda angst, it’s not really my thing especially on the back of The Eighth Sense. Look, I’ve never been one for a fixer-upper. We shall see, I guess? This is the beauty of KBL, so short most of the time that it’s low commitment no matter my reservations.

My Story (Pinoy Sat YouTube) ep 3 of 10 - it’s fine I guess?

Naked Dinner AKA Zenra Meshi (Japan Fri Gaga) ep 3 of 12 - I guess the fetish matches are finding each other? How v Japan. Of course I like the conversation about names and protocols.

It’s Airing But ...

Love Syndrome (Thai Sat WeTV) stopped at ep 2 of 12 - I’m just not into any aspect of it (except Lee Long Shi and I can watch him in Tin Tem Jai) - saving to binge if the end is solid.

Venus in the Sky (Sat YouTube) pilot/tester?) 0 of 10 - not entirely sure what’s up with this one distribution-wise, but the pilot was classic university-set pulp. I hope it happens because the leads are cute with good chemsitry and I thought it was fun. However, this pilot holds together as its own little short too.

Make a Wish (Thai Weds ?) stars Fluke Natouch (OhmFluke UWMA etc...) & Judo (The Miracle Of Teddy Bear) in a medical-fantasy. About a doctor who sees ghosts and a deity who resides in a Bodhi tree that earns merits whenever he fulfills a wish, based on a y-novel by Sammon (Manner of Death, Triage). Same as above.

Stormy Honeymoon (Vietnam) - I’m tired of these characters

In Case You Missed It

Star Hunter dropped all their trailers for 2023 on their YT channel. Bit late in the year IMHO. Nothing really stuck out.

Big Dragon the movie = more of the same

True Moon = yet another loosely disguised attempt at the 2 Moons franchise?

Flirt Milk = standard pulp fodder, but they are cute

Acadex = The Eclipse + Destiny Seeker + Harry Potter 4 + The CW, as a movie that may not be BL

Sunset Vibes = Big Dragon pair as a one night stand but “uh-oh he’s my boss!” I’m game. Maybe it’ll have a better story? Maybe it will have a plot? Maybe... oh who am I kidding. It’ll be high heat and that’s about all we can hope for.

City of Stars AKA Fueangnakorn = An actor falls in love with a programmer and the narrative intends to “explore the ramifications of being public figure in the social network era who must endure critics, bullying, and defamation.” Looks like another Lovely Writer/Call It What You Want sort of thing.

The biggest shocker is how few they fielded of their original BL stable.

ALSO:

Love Senior = SOTUS but make it GL (I’m not mad about this one, it’s about flipping time. But it’s GL so I won’t track it, although I will watch it.)

Next Week Looks Like This:

Coming in May 2023:

5/1 House of Stars (Thai iQIYI) - An LGBTQ actor in love with an actor from another company, plus other wanna be stars all trapped in a doom house together.

5/4 Love Mate (Korea Viki) 8 eps- Office romance between a team leader and a new employee who agree to date for 3 months to find true love, from the makers of Our Dating Sim.

5/18 - Starstruck (Korea ????) - A boy has had a crush on his childhood friend for a long time. Stars Zuho (Kpop SF9 - noted Good Egg) opposite rookie actor Kim In Sung (as the one with the crush).

5/27 The Luminous Solution (Thai ????) 10 eps - Thana is having trouble at work and in his relationship. He can't seem to catch a break. So he makes a wish to change everything. But every wish has a price.

2023 forthcoming BL master post (see comments, some are inaccurate, NOT KEPT UPDATED)

THIS WEEK’S BEST MOMENTS

I do like a tie (or nametag) grab kiss. (Boss & Babe)

Our Skyy 2 SIMM ep summing it all up and reviewing itself.

Future the series, I like this reverse claiming thing. So cute.

The boyfriends eps are the BEST eps. The Eighth Sense.

I WANT BOSS’S OUTFITS.

My favorite, “there is only one bed but we slept together on the floor anyway.” (The Promise)

Now that is a claim that MUST be proved.

Loves the little babies with their killer communication style.

What do I always say about a BL that reviews itself? All from Destiny Seeker. (I’m getting caught up, I’ll post a review of the series when I’m done.)

(last week)

Current Kpop earworm? UO’s Restart

173 notes · View notes

singto-prachaya · 10 months

Text

youtube

A short movie that just got released. Part two will be released on July 10. Subs are pretty good and it's cute.

#senior love me?#thai bl #thai bl movie #thai bl actors #Youtube

4 notes · View notes

kissablelips-desireslure-vol1 · 10 months

Text

PRESENT PERFECT (2017)

KRITSANA MAROUKASONTI (as Oat)

& ADISORN TONAWANIK (as Toey)

#THE KISSING CHRONICLES #BL¹ (BOYS' LOVE)#THAI BL MOVIE #PRESENT PERFECT #My GIFS #GAY MAN ENGAGED TO FEMALE FALLS FOR STRAIGHT MAN #STRAIGHT MAN FALLS FOR GAY ENGAGED MAN BUT GETS HEARTBROKEN #GAY ENGAGED MAN HAS PREGNANT FIANCEE

1 note · View note

angstydiaz · 10 months

Text

can i just say the weird standard people try and hold queer romcoms(and queer media but) in general is so weird

its always "its too juvenile" and "its too wholesome" but then its "this is too sexualised" and apparently queer ppl having sex scenes is automatically "fetishizing". Always "too corny" "too angsty" and dont get me started on people who act like something has to be bad representation just because they didn't like it

"its cringey" it is a fucking romcom bro. like half of the appeal of a romcom is the kinda cringey fun of it all . not your thing? fine go watch something that is,not being the audience for something is fine but god stop acting like one romcom is gonna dismantle the movement for queer rights.

#Since this keeps getting notes pls read:it's not about NOT judging queer media #also but im a cheerleader did not be the campiest lil 90s movie ever FOR SOME OF YOU TO ACT LIKE YOURE BETTER THAN A ROMCOM.#red white and royal blue #crush(2022)#heartstopper #bottoms movie #lgbtq+#gay #lesbian #lgbtq media #first kill #willow 2022 #yellowjackets #WLW ESPECIALLY #but yeah #posts of mine i like #bottoms 2023 #thai bl

6K notes · View notes

pharawee · 1 month

Text

Yoon Phusanu my beloved never disappoints and has indeed hired a gaggle of lawyers to go up against Y.Entertainment.

youtube

You can watch his whole press conference (with English subs) here.

It includes highlights such as:

Yoon would like to be fairly compensated because he has to provide for his family. His family are seven cats. He's brought pictures.

He's now officially gone freelance and Y.Ent are no longer allowed to use his name.

Yoon hasn't been paid in a very long time, even though he's tried to negotiate and reach an agreement. He's tired of having to run after his money.

He's "only" owed about 100.000 baht (~2.555€ / 2772$ / £2,192) but Yoon's lawyer states that this is a systematic problem and lots of actors in Series Y (Thai BL) aren't fairly compensated. Several actors have reached out to him personally. He also says that he doesn't put blame on the companies because Series Y is a very competitive field. Still, young actors should be careful about who they work with and stand up for themselves if they aren't treated fairly.

They're showing pictures of Yoon's cats again. Yoon has to provide for them, after all:

Yoon doesn't have acting work lined up right now but he's actively looking for new projects and is in talks to join a new agency.

I'm not sure if this only affects Yoon or the other actors who are owed money by Y.Ent as well but apparently the cut-off date for payment was 11 March. He was offered money after that date but didn't take it because he already knew that he wanted to terminate the contract. Apparently, he had been with Y.Ent for over 4 years and the contract was supposed to be a six year contract (I'm not too sure about this one since the subs are terrible and so is my Thai lmao). Because he's been with them for so long, the whole thing pretty much blindsided him.

Yoon's mother is supportive of him acting in Y Series.

Many other Thai BL actors have talked to Yoon about being treated unfairly and he wants to spread awareness about that.

Apparently, Y.Ent never stated a reason for not paying him. They only told him that he'd be paid at a later date.

Yoon's lawyer says that he has every right to sue but for now he only wants to negotiate. He again urges young actors to thoroughly check who they're working with.

Yoon is asked if this disagreement will cause him problems with other companies down the line but he says that he doesn't believe it will negatively affect him as he's trying to solve the issue peacefully.

Yoon's lawyer again says that actors should read their contracts very carefully. Some contracts don't give the actors any rights but only duties. They might then have to hire a laywer to be able to break contract.

Yoon then says that sometimes he wasn't sent the script before filming and when arrived on set all he'd be given was an old brief that he'd already read. He was then asked (by other crew etc) if he'd practiced his lines which of course he couldn't. This embarrassed him.

The lawyer also adds that there is often a discrepancy between the number of episodes in a series and queues for a shoot. I'm guessing that he means that the actors won't realise that they actually have to work more hours for less money (since compensation seems to be based on episodes rather than hours worked?). This is very difficult to renegotiate and almost no actor in their 20s can afford to settle this in court.

This isn't the first time Yoon has spoken up against the mistreatment of himself and other Thai BL actors in the industry and I'm so glad he has the means to stand up for himself when so many other actors obviously can't.

Fans are so quick to blame bad shows and weird behind-the-scenes stuff on the actors themselves when in reality it's so often due to mismanagement and mistreatment. Imagine not even having a script on shooting day (yes, I'm aware this is common practice in soap entertainment but these are rookie actors without the experience and support that seasoned soap actors have - also in this case it seems to have surprised even the crew on set). No wonder things were akward in Unforgotten Night. Do you really think actors who don't have a script get to practice and negotiate their intimate scenes together?

And judging by what Tor Atagorn has spoken up about recently (and many other actors have alluded to in the past) this is only the very tip of the iceberg, with young and inexperienced actors deliberately trapped in contracts that they have no way of getting out of on their own.

Yoon's lawyer urged young actors to be more aware of who they're working for in order to better protect themselves. In a similar vein, BL watchers should ideally be more aware of whose shows they're watching and what companies have a shady track record.

If nothing else, do it for the cats! These actors have children they need to provide for, after all!

#yoon phusanu #thai bl #unforgotten night #for him the series #jane watches stuff #i need a tag for bl industry things #bl industry #(perhaps?)#pls assume i've been replaced if i ever NOT talk about mistreatment in the bl industry #this is so very important to me #i've seen it happen in the games industry #and we should fight and show support whenever we can #because passionate and young creatives are so easy to exploit #and most people seem to think it's okay because they like the game or series or movie they get out of it

268 notes · View notes

negrowhat · 10 months

Text

Have we ever discussed how Japanese BLs ALWAYS have the sweetest dates?

Exhibit A:

Exhibi B and C:

Exhibit D:

Exhibit E:

Exhibit F:

Exhibit G:

Sign me up.

#i will say that thai bls own the aquarium date tho #kieta hatsukoi #ida x aoki #cherry magic #cherry magic the movie #kurosawa x adachi #takara-kun to amagi-kun #takara x amagi #mr. unlucky has no choice but to kiss!#fukou kun wa kiss suru shikanai!#naoya x kota #old fashion cupcake #togawa x nozue #utsukushii kare 2 #utsukushii kare #hira x kiyoi

496 notes · View notes

wen-kexing-apologist · 7 months

Note

Can I ask, why do you love BL romance better than het romance? What makes them better? I did not mean anything negative, and I know everyone have their own like and dislike but I want to know your thoughts....

Also what do you think that made Asian MLM (BL manga/manhwa/manhua/tv series/movies) romances better than western MLM romances?

Hello! Yes you are more than welcome to ask :) I truly, truly love getting asks in my inbox and have been having so much fun with the fact I’ve actually been getting some recently! Warning this is long (but i have TL;DRs for everything)

___

I think the fastest answer for me is that I am queer, and therefore I find I have a lot more enjoyment and interest in watching queer stories compared to heterosexual ones.

Also, I find a lot of heterosexual romances to be steeped in misogyny, and have low-key or high-key abusive dynamics. And again, do not get me wrong, there are plenty of queer shows where there are abusive dynamics in play, but it is much harder for misogyny to be committed between two men than it is for misogyny to be placed on a male/female pairing. (I love GLs cause, you know…women, but there are a lot more complex dynamics going in to stories written about two women and those can get much trickier for me, and unfortunately many narratives love punishing lesbains with death so.... Anyway, I’m trying to stick mostly to BLs since that is primarily what this ask is about.)

Additionally, I love BLs more than heterosexual romances because of how BLs treat men. Men in heterosexual romances, especially in the West are extremely masculine, often unable to be in touch with their emotions, jaded, misogynistic, they have to be extremely muscular, and we almost never see femme boys or men.

BLs have such a vast range of men, they have twinks, they have femmes, they have gym bros. They have the clowns, and the super masculine boys. There are shows that let boys be boys, be stupid, and stinky, and fucking gross (hey Pat from Bad Buddy), they let boys be angry and aggressive and express their emotions that way (Sean and Yok’s fight in Not Me, Han Baram and Im Hantae’s conversation in the boxing ring in Sing My Crush, Lom and Nuea in The Wedding Plan, Patts in La Pluie), they let boys fight and wrestle and play (Bad Buddy, My School President, Moonlight Chicken, Only Friends). I love queer stories that let men be gay and ensure through the story that that never undermines their masculinity. I love that there are shows that focus on the progress older men can make in their relationships (What Did You Eat Yesterday?) THEY ARE ALSO ALLOWED TO CRY!!!!

And though it is still kind of rare, Asian BLs actually do have femme boys, and while I am sure femme boys exist in Western shows, I think Pose and fucking Glee are like…the only two shows with queer people that I have seen in the last decade that have an femme boy representation at all. On the flip side, I love how often GMMTV puts their boys in drag and that doesn’t even have to be in a queer show. I also generally love the fact that most of the male actors in Asian BLs, and again, especially in Thailand embrace their femme sides in photoshoots and whatnot, that they wear earrings, and jewelry, and makeup and they look hot as fuck, because it helps me with my own gender identity. I feel and see myself much more masculine (and have less dysphoria) when I have an earring or a necklace or makeup on, now that I have seen so many boys do the same.

TL;DR: I am queer, and heterosexual romances are frequently misogynistic, and men are extremely masculine and rarely allowed to be soft. Asian BLs give us a very broad range of masculinity, but often let boys be boys while also kissing boys. And actors embracing their femme sides helps me feel more masculine when I lean in to my femme side.

___

As for Asian MLM romances compared to Western MLM romances, obviously this is not a cut and dry thing, not all Asian BLs are going to be better than Western BLs but I find I have a tendency to enjoy Asian BLs/queer media more for a few reasons, generally in order of most to least important for me:

Reason One- Family

This may seem somewhat surprising because the first, and honestly biggest reason I tend to like Asian BLs more than Western BLs has much less to do with the queer aspect. It's actually the family dynamics. I think Western media very frequently has a tendency to be very binary in their portrayal of family dynamics, if family is at all included in Western narratives the relationships that characters have to their family is either almost wholly good, or almost wholly bad. You either have a very abusive household that a character is trying to avoid or flee, or you have a traditional, happy, nuclear family, and when characters have a strained relationship to their family, I have noticed a lot more narrative support for leaving that family behind. But for the most part, family does not play a huge role in most Western shows (and, wild concept to me, it’s part of why I think shows like Succession are so successful, because that is all about complex, fucked up, and loving relationships within a family).

Whereas, in Asian media, far more frequently family and family dynamics play a huge role in the character’s lives, behaviors, and can influence the story. And because filial piety is such an important aspect to many Asian cultures, you get a lot more interesting parent/child relationships out of Asian media than you do with Western content. And I am a white Westerner, but I am fundamentally, culturally a Southerner and despite no longer being a woman, I will never shed the mantle of Eldest Daughter. And that has resulted in a sense of family responsibility and piety that ends up making it very very easy for me to understand the motivations of the characters that remain loyal to their family even when their family is asking for things from them that run counter to their own desires or happiness (I’ve actually had this conversation a lot with @waitmyturtles about the intersections of Southern culture and Asian culture).

And similarly, I find that a lot of Western media with queer characters at least in the time frame that I have been able to find content with queer characters is either wholly homophobic, or wholly accepting. And do not get me wrong, we get family dynamics like that in Asian BLs too, but we also get parents who are upset about their child’s queerness, and will voice that, and yet who still take care of their children. I’m thinking of the film I watched just the other day called Margarita with a Straw where the main character’s mother can barely look or talk to her daughter when she comes out, but because she is disabled, her mother is still there preparing food for her, bathing her, etc. because even if she is upset about her child’s queerness she can’t stop taking care of her. And those aren’t dynamics I often see in Western media.

I don’t see relationships like Sawismol and Wang in Western media, where a mother can look at her child and say, out loud that she is disappointed, and to be upset, and to still, despite everything, be the person that her son goes to for comfort when he is absolutely devastated, and I don’t see Western parents sitting there and performing that comfort even when they are disappointed in their children’s queerness.

TL;DR: Family dynamics feel a lot more built out, realistic, and complex in many Asian BLs/media that I’ve seen, than they do in many Western shows. Until I started watching Asian media, I had not seen the dynamics I have with my mother or my father played out on screen.

Reason Two- Casual Trans Inclusion

And, as a trans person myself, part of what makes Asian BL shows, Thai shows much more specifically, so important, interesting, and influential to me when compared to Western BLs is the casual inclusion of trans people. Like, that is just something Western media is barely ready for. It’s not non-existent. We have and have had shows like The Fosters, Sense8, Pose, The Owl House, and Heartstopper that have some trans rep. But a lot of those shows have a hefty component to them that shows the struggles of being trans.

In The Fosters we have to watch Cole nearly die trying to get his hands on testosterone, in Sense8 we have to watch Nomi be kept as a medical prisoner and stripped of her autonomy and almost lobotomized, in Pose we are constantly exposed to the very real dangers that trans women of color experience including murder, in Heartstopper we are spared from having to witness the transphobia Elle went through, but it is mentioned. I think the only one of these shows that doesn’t have some element of struggle because a character is trans is The Owl House and let us not forget that Raine Whispers goes through fucking hell in that show. And these conversations, and the demonstrations of struggle to just survive and thrive despite that is vitally important in a society that is pushing closer and closer towards genocide against trans people. Stories that show the struggles of trans people exist for the sake of realism but also serve as an attempt to try to garner empathy towards trans people by cisgender viewers.

Thailand does have stories where a trans character experiences transphobia (3 Will Be Free, The Warp Effect, Secret Crush on You), but they also have so many stories where trans people are literally just vibing. Do you know how revolutionary it was for me when I watched KinnPorsche and saw Yok, and she was happy, and beautiful, and fun, and her entire plot centered around her running that bar, flirting with boys, and playing surrogate mother to Porsche? Or just to see trans women existing, who aren’t even central to the plot, but are just there? (Payu’s secretary at the auto shop is a trans woman, Golf Tanwarin was at the inclusive cafe in The Eclipse, Golf Kittipat had an illustrious career as a music producer in My School President). Like that shit is SO important to me, and I never, never see it in Western media.

TL;DR: There are many Thai shows especially where trans people just exist, and they have plots that aren’t always centered around them being trans. Which is revolutionary, coming in as a trans Western viewer where the majority of trans rep in Western shows makes me eventually have to watch trans people suffer.

Reason Three- Passion Projects

The film industry is huge and pervasive in Western culture, and in the US especially, and with that comes big budget projects that stretch out as long as they can squeeze a cent out of a fan base. As a result you get shows that are too long, you get shows that ruin their premise in the last season after five to fifteen years of dragging the shambling corpse of a story along. And again, do not get me wrong, there are plenty plenty of Asian BLs that are cash grabs, that are terrible, where the actors aren’t really in it. But, most BLs in Asia are one season, they get in, they get out, and you forget it if it’s bad, or you hate it forever if it’s objectively bigoted. But the time commitment to terrible pieces is a lot shorter.

That said, when you have a low budget, and a story you want to tell, it makes my love so much more. Because it means the crew, the writers, the director, and often time the actors are there because they want to be there, because they like the story they are telling, because they have a story they want to tell. It’s part of why I love shows like The Eclipse so much, because that show was made with a budget mainly comprised of pocket lint and hope, because Golf Tanwarin had something they wanted to say. Most if not all of Aof Nopparnach’s shows give genuinely, inherently queer stories that speak to queer people. Jojo Tichakorn makes pieces that are so full of queer lenses you could never deny the inherent queerness in his shows, even if the story is primarily focused on a straight person/relationship (Mama Gogo). There are so many shows in the Asian BL world where you can just tell that everyone is having fun. LIsten, Fish Upon the Sky is an extremely problematic show, but for me it felt like everyone had a great time goofing off on that set. You can tell EV-ER-Y-BOD-Y in the cast of Mama Gogo was having the time of their motherfucking lives.

I also think the West is very self-congratulatory and tends to hold themselves as the standard of televisions and acting, when I am over here watching Asian BLs with some of the strongest acting from young people I have ever seen, and having it be written off because its a) low budget b) gay and c) in another language. Like, when I try to get people in to BL I start with shows like KinnPorsche (which I know drives @bnegiyo mad) cause it has a much higher production value than many other Asian BLs without being prestige and therefore can’t radically alter the perception of what BL is (hello ITSAY/IPYTM and 180 Degrees), Thai BLs especially. And I figure that is the only way to show someone the level of absurdity and camp that comes from a lot of BLs, while also maintaining their interest because it has a higher production value, so that if they end up enjoying that they are more willing to watch the low budget shows.

TL;DR: Many Asian BLs are pretty low budget, compared to like any Western show, which I find to mean we have more stories in Asian BL that people actually want to tell. (there are still very many shows that people seem to just kinda show up for, or get bored with partway through [looking at you Tee] but.)

Reason Four- Abundance

There are

Many

Asian

BLs

Here's a fraction of my watch list

I have watched 81 in roughly the last year, and there are so many more on my Plan to Watch list, and there are more coming out all the time. The West has given me like…two, maybe three. And when we do get good queer shows in the West, they are frequently canceled before completion. Especially if they are on Netflix.

We lost Sense8, fans had to fight for Out Flag Means Death to get renewed, The Owl House got cancelled by Disney after giving their main character a girlfriend, ND Stevenson had to write two ending to She-Ra and fought tooth and fucking nail to get the gay one, Legend of Korra had to save the gay kiss until the end just like She-Ra had to. If you want to get depressed here is a link to an article ‘50 TV shows with Lesbian, Bisexual, and Queer characters cancelled after one season’. Because most Asian BLs are meant to be only one season, we actually get complete stories, rather than ending with unresolved tension, or cliffhangers.

TL;DR: there is a metric fuck ton of Asian BLs

Reason Five- Sex

The West, especially the US, tends to have a very puritanical view of sex (which makes sense because the Puritans were some of the first colonizers…I mean colonials…to murder everyone and occupy…uh, I mean settle the United States (I would also like to place blame on the Italians and Spanish [hey Columbus] and their Catholicism AND PROTESTANT CALVINISM that also influenced the pervasive societal views of sex and especially gay sex in the United States).

With ever increasing homophobia and transphobia, so many shows are trying, in my own personal opinion, to garner empathy, sympathy, and acceptance for queer characters by cisgender and/or heterosexual viewers by making their queer characters flat, two-dimensional, virginal, perfect people. But homophobes and transphobes consider holding hands to be just as grotesque and inappropriate as full on porn. With Western, and especially US based, views of sex, many queer characters are sanitized, sex scenes are rare, and if they do exist at all they are usually in shows that have mature ratings.

That is not the case with Asian BLs. Like, do not get me wrong, there are plenty of pure, virginal, don’t kiss, barely touch BLs out there, but because there are so many BLs, there are also plenty of shows with lots of physical intimacy and multiple make out scenes that aren’t maturely rated, as well as plenty of maturely rated shows that have multiple sex scenes AND CAN INCLUDE KINK WHICH LIKE!!!!! I rarely see in the Western media I’ve watched. Hell, Sense8 is a sexual liberation show that includes multiple orgies, but there is not even a hint of any other kink (besides whatever Dani, Lito, and Hernando have going on).

gif by @radishayuan

Meanwhile, The Warp Effect has fucking puppy play, Bed Friend has pet play, Laws of Attraction which has a couple pretty chaste kisses shows handcuffs to at least imply kink, there’s a ball gag and a fucking leash in Big Dragon, I haven’t seen it but Unforgotten Night has a lot of BDSM themes in it, Rain and Payu have a dom/sub dynamic going on, we have daddy kinks abound, I also haven’t seen this one but I know there is some belt bondage in War of Y. And even if it isn’t shown, kink and bondage specifically are often referenced in passing in shows with sex.

Also, there are very very very few Western shows I have seen that treat sex workers kindly, and Jojo Tichakorn is right there giving us sex workers as main characters multiple times in a row. Taiwan has great physical chemistry, the very few things I have seen from the Phillipines are so fucking queer, Japan even when they aren’t including sex at all have some extremely queer narratives, and when they are including sex? Holy fuck. South Korea is developing, but I have liked what I’ve seen so far, and it’s been fun seeing very rapid progressions in the level of physical intimacy characters are allowed to have, Thailand has been making a name for itself.

TL;DR: There is a very broad range of physical intimacy in Asian BLs from no sex to lots of sex, but the abundance of content means I am seeing more shows with gay sex in them in like…a month or two, than shows I have seen in the West with gay characters at all in like…the past year. (This is of course, subjective, don’t ask me for real numbers).

And, you know, in case this response wasn’t long enough, the amount of queer content, the types of stories being told, the rapid and continued development of BL is super interesting to observe in its own right. Sure, it may be driven by marketability and sales, but that doesn’t mean there aren’t some truly important, realistic, vital, and beautiful pieces of queer media being created and shared with the world, a lot of which is much more accessible to audiences than Western media. I go heavy on the Thai shows in part because they are available for free on YouTube.

I also think the West seems to think that having gay marriage is the be all, end all of queer inclusivity, and that they do not realize that countries without gay marriage are creating some of the most realistic queer content out there right now. The West has a lot it can learn from Asian BLs, but in my opinion, we’ve got our heads too far up our asses to be following their lead.

398 notes · View notes

rayandgay · 1 year

Text

Wanna join? You wanna go?

#between us #betweenusedit #between us the series #winteam #win x team #teamwin #team x win #bounprem #bl drama #thai bl #thai drama #asianlgbtqdramas #asiandramasource #team protecting win from big bad horror movies - that's also love!#my gifs

858 notes · View notes

ourdadai · 3 months

Text

✿ tontawan ꒰ atriz ꒱ lockscreens !

69 notes · View notes

waitmyturtles · 5 months

Text

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

74 notes · View notes

absolutebl · 11 months

Text

This Week in BL - When good chemistry goes bad

May 2023 Wk 3

Being a highly subjective assessment of one tiny corner of the interwebs. Organized by which ones (in each category) I’m enjoying most.

Ongoing Series - Thai

La Pluie (Sat iQIYI) ep 4 of 10 - yes it jumped to the top of the standings, the kiss was THAT good, best of the year so far. So soft and yet so sweet and yearning and with a proper chemistry - body, breath, everything. Also... there was plot happening this ep, but who cares about that? Some additional thoughts, now my brain has rebooted from that kiss. I do suspect Pat of still being a player: he is awful smooth, and he may want revenge for being jacked along for 2 years (I would). Ep 4 is early for a kiss like that, which means pacing-wise we may be in for a separation/break up around ep 8.

Step By Step (Thai Tues WeTV & Gaga) ep 5 of 10 (MDL still says 12, but Gaga still says 10) - Pat, dear, your gay is squirting all over our screens. Meanwhile… That is the smallest presidential suite bed I’ve ever seen. Lucky for us of course. And lucky for Jeng. Me with the side dishes = UH OH.

Our Skyy 2 (My School President) eps 9-10 - Alt reality where Tinn is in charge of the music club and Gun is the school president with the crush. Basically, it’s an excuse for them to play each others’ parts (which just highlighted how well they were cast, originally). Ultimately, Gemini is a better piner, and Fourth is a better tsundere. Although the reversed “holding it over his head” was v funny & Fourth IS a decent seme. (I also realized what I like so much about Fourth, like Saint he’s one of those rare full body actors.) Sound was a great uke and I loved how they changed his makeup for the role (did you notice?). TiwPor were as adorably ridiculous as ever. I liked the minor baby pairing for Aun, too. Still my NO SIGNING holds (although there was lots of dancing to counterbalance). In the end, all this really did was make me wanna rewatch the original. Which is not necessarily a bad thing. FYI The MV was a parody of HCTM, BB, 1k*. 8/10

A Boss and a Babe (Fri YouTube) ep 12fin - It was a cute sappy ending for a cute-ish sappy-ish show. I cannot abide that the mom who condoned the rape of her daughter got forgiven. No. Stop it GMMTV. Review below.

The Promise (Thai Weds YT & WeTV) ep 9 of 10 - I'm in trouble when I'm rooting for everybody BUT the main couple. I guess Nan doesn’t have a NO SINGING policy. Also I guess Nan was waiting for Phu all along? This show. ALSO could we not have just ended it here?

Past-senger (Thai Weds Gaga) ep 11 of 12 eps - I don’t understand. What? Where did all these new characters come from? Do we care about the hets? Not even slightly. What is anyone doing? What’s going on? do I care abotu anyone anymore? No. Please make it stop.

Ongoing Series - Not Thai

Our Dining Table AKA Bokura no Shokutaku (Japan Thurs Gaga) ep 7 of 10 - OMG so adorable, so repressed, so reserved, so soft, so awkward, so special. Heart melting. Also. Hungry. The WAY Minoru looks at Yutaka when he’s eating (now that he knows the history). The way we got to see the exact moment that Minoru realizes he is in love. Perfection.

Star Struck (Korea iQIYI & Gaga) ep 1-2 of 8 - Zuho (Kpop SF9 - noted good egg) opposite rookie actor Kim In Sung (the one with the crush). icky is being weird about it but it looks like Gaga also picked it up? Depends on your territory I suppose. Anygay: Friends since childhood, jock/nerd, puppy/cat and I sense bi-himbo confusion and pining introvert gay. There’s family strife plus class issues and it has some interesting things to say already about the nature of friendship, romance, and jealousy. I like it, weirdly reminds me of something that might have come out of China. Not early CBL, but some of the later stuff that was censored but hearkened to Addicted. This has the feel of what China could have made now (were things politically different). Because of this feel, I’m not confident in this being an HEA or even a true BL but it is interesting enough for me to bump it way up the ranks.

Happy Merry Ending (Korea Thurs Gaga) eps 7-8fin - I get why SJ pushed JH away, but I kinda agree that SJ is too much work. Abused or not, I wouldn’t put in the damn effort - so I guess I’m glad SJ took a year off to figure his shizz out? Far be it from me to agree with a year break in a Kdrama, tho. I didn’t even mind that they were separated most of these 2 eps: it was nice to see a Seme told no, who actually backed off and did as he was told. Plus the running of the gays (how Japan of you SK). I’m assuming that this was the final episode and that Viki thinking that there are 2 more is bonkers? Because this felt like a finale. For me this one had a stronger finish than any other aspect of the show (odd when the couple spent the bulk of it apart). Oh! And someone give Shin Myung Sung (the surfer bestie) his own damn BL, m’kay? Review below.

Love Mate (Korea Thurs Viki) eps 5-6 of 8 - Longest elevator ride in the world. Honorifics discussion! My favorite! And, “there is only one bed but they slept together on the floor anyway” trope. A BL staple. Also the tie/lanyard grab. Another fav. Still pushy puppy stalker remains creepy manipulative obsessive warped hotness. Basically KBL version of trash and… I’m into it. We all got our kinks, I guess.

Vian the series (Vietnam YouTube ) - Such a cat. I’m reminded of Milk. It’s cute. They cute. I like it.

Naked Dinner AKA Zenra Meshi (Japan Fri Gaga) ep 6 of 12 - So is the nude dining meant to be some kind of weird allegory for repressed gayness?

It’s Airing But ...

My Story (Pinoy Sat YouTube) 10 eps - I bounced at ep 4. Someone will tell me if I should bother with the rest.

House of Stars (Thai Mon iQIYI) 12 eps - I bounced at ep 3. Will binge if told it is worth it at end.

The Day I Loved You (Pinoy YouTube) eps 6-7 of 10 - Terminal illness for the sunshine. I bounced at ep 6. DNF.

Ended this week

Love Syndrome finished its run on WeTV (I stopped at ep 2) - anyone wanna weight in with thoughts on the ending and whether I should binge or not? I do love Lee Long Shi.

Happy Merry Ending - Stars Lee Dong Won (KNK) as an ex-idol turned wedding singer with an abusive ex and a panic disorder + the sunshine pianist who falls in love with him. Timid tsundere & sweetheart gay is an interesting match. They’re gentle together, almost kindly and there is a calm ache to their pairing. However, it lost its way as a BL, being more about the main character’s struggle than the romance. It had a strong finish but ultimately the premise & characters meant this was never going to be one of my favorites. 8/10

A Boss and a Babe - With an inconsistent narrative and self-sabotaging characters this was not the Thai BL office romance I was hoping for. I spent most if it feeling manipulated without good reason and sorry for ForceBook. They did their best with a shoddy script (AGAIN!) and none of its flaws were their fault. This show was all over the place and so am I about it. It’s better than Enchanté but that’s not really saying much. 7/10 I guess