automaticpenguincreation

[automaticpenguincreation]

Why We Are Gives Me Anxiety

I have been fighting myself on this We Are post for weeks because I wanted to make sure I knew what I wanted to say and was able to say it. I feel the need to say off the top that I don’t begrudge anyone who enjoyed this show and I’m genuinely glad it brought comfort to people. The show in and of itself, as 16 hour-long episodes of fluff (shout-out to @stuffnonsenseandotherthings for using this word to pinpoint the genre for this show, because it’s perfect), is not offensive or bad or wrong or any judgmental or moralistic word. And it does some things well; the centrality of the friend group was a lovely aspect to this show, and the chemistry in the friendship group scenes was on point. All of the couples have good romantic chemistry as well, and the show is packed with butterflies-inducing moments. 

That being said, I did not enjoy watching this show. I watch television mostly for the story; This show felt more like watching 16 special episodes for a show I hadn’t seen (I think this can be attributed to the point made by @italianpersonwithashippersheart in her post here that the show assumes the audience comes to the show with a pre-existing buy-in to the ships). The lack of overarching narrative structure of We Are gave my brain nothing to hold onto and I spent so much of every episode futilely trying to figure out how scenes worked with what had come before, what the show was trying to say, what these characters were thinking–all of which I knew was the wrong way to be watching, but it’s the way my brain works, so I spent a lot of the show frustrated. In short, this show wasn’t for me. 

But that’s not why I feel the need to write about it. Shows are fully allowed to not be for me, I usually can differentiate between when a show is doing something I don’t like well, or when it’s failing at its own goals. And I don’t begrudge people with different taste getting catered to sometimes; my refrain is that most problems of representation are not solved by calling for less of something, and rather than wanting something not to be made, I’d rather champion for more and a greater variety of content. And lord knows there’s enough BL to go around these days (shouting out @respectthepetty’s post along these lines, which I loved) . But We Are still worries me, and I’ve been trying to find a way to articulate that my concerns are not actually about the show itself, in isolation, but rather about how it feels like part of a pattern. This is my best attempt at laying that out. It’s going to get a little ramble-y, so apologies in advance.

Shout-out to @bengiyo who first articulated this anxiety in his post from relatively early in the show’s run . Ben gets into some of where I’m coming from with concerns about what this show means for the genre in this post, which as he mentions we've chatted about in DMs. I’m really grateful to him for these conversations because in isolation, I worried that I was being alarmist. It was helpful to have confirmation that he was feeling the same way so that I could get out of my own head.  

Ben mentions in his post that New Siwaj has been in this business a long time, and I, like Ben, have jived with him for years because he manages to imbue queer angst into his shows in a way that resonates with me, even when he’s had missteps. I'm going to lay out some of the major highlights of his work for those who haven't followed New for years.

He was an editor on Love Sick, arguably the start of the Thai BL genre as we know it today, and a show full to the brim of queer angst. He directed Make It Right, one of my favourite Thai BL comedy series. This show was also an ensemble centered around a friendship group (though admittedly it didn’t balance the friendship and romance content as strongly as We Are), and it covers so many topics that felt refreshing at the time and still are rare (morning-after sex visits to the clinic because things went poorly, hooking up on the apps, sex acts beyond just penetration, suicidality, I could go on). He also was involved in the GMMTV Waterboyy series–this was his first work for GMMTV that I am aware of. That show had a lot of issues but did explore internalized homophobia and bullying.

He worked as a cinematographer on En of Love, which is again similar to We Are in that it has several couples connected by a friendship group (and is several novels in one series), but each couple was given its own miniseries instead of bundling them into one show. En of Love also still dealt with some serious queer angst, especially in the Love Mechanics story [Sidenote, Niink, the director for En of Love, stuck with New and moved on to work for Wabi Sabi].

At this point, New created his own company, Studio Wabi Sabi, which he's said in interviews was to gain more creative control over what he was working on. And his stories became arguably even more explicitly queer and inclusive of queer trauma. He screenwrote and produced Love By Chance (which folks may not remember or know, but that core story starts off with Pete being blackmailed for being gay until Ae convinces him to come out to his mother and shut down the leverage for blackmail, and a good chunk of Pete’s character arc is unlearning internalized homophobia and not seeing himself as ‘corrupting’ Ae) and then Until We Meet Again. The queer angst in UWMA probably doesn’t need my help spelling out, but just in case anyone doesn’t know the summary, this show was about a queer couple who committed suicide in the face of homophobia in the 1980s, and were reborn and given another chance to be together in present day. I did want to note that in both of these series (LBC and UWMA) the core romance itself has no major conflicts; both AePete and DeanPharm felt like they were intentionally side-stepping so many of the usual BL drama tropes of jealousy and misunderstandings through trust and communication. Dean and Pharm’s story took that even further by having so many of the usual drama pitfalls for a gay couple just not be a problem; their only drama comes from their past lives, in a beautiful exploration of the breaking of intergenerational trauma. So many external threats to their relationship ended up being non-starters, and this was my version of a comfort series for that reason. 

From there, New started working with GMMTV again, and directed My Gear and Your Gown. This series was, to my knowledge, the first GMMTV BL series to mention HIV and to show characters getting tested at the clinic, and while it wasn’t perfect representation (didn’t get into PrEP, treated HIV as a death sentence), it felt like an important milestone.

[I’m skipping the sequels and specials he did for series I already talked about, because they don’t feel that important to the story I’m telling here and this is already so long, but I wanted to acknowledge that I’m not covering everything in his oeuvre.]

He then directed 7 Project, which had some serious storylines dealing with bullying and struggling with life in the closet, out of Wabi Sabi, and then Star and Sky out of GMMTV. Star in My Mind included one of the main characters in a beard relationship for years, and some controversy over the adaptation choices to make Daonuea (Dunk’s character) less polite than in the books. There was drama around the pronouns and characterization in that show (both Daonuea and Khabkluen use guu/mueng in the series, but in the novel, Daonuea uses rao; he also curses in the series and novel fans complained that he was too ‘masculine’). I thought it was an interesting attempt at a departure from BL character tropes to try to make Daonuea more evenly matched with Khabkluen in terms of his gender presentation in the show. Sky in Your Heart also included some angst about whether people of a particular station could be gay. Both of these shows (SIMM and SIYH) were also very trope-y, but they had clear throughlines. 

My Only 12%, the next show New directed out of Wabi Sabi, contains one of my favourite moments in all of BL, in which Seeiw sees Love of Siam and cries because it makes him realize he’s gay. There’s this heartfelt moment where he asks his sister, if there’s nothing wrong with being gay, why doesn’t the film let the gay characters have a happy ending? Despite the weird PSA ending, this show remains one of my favourites.

This is an aside but I’ve long been fascinated about this moment in New’s history: he played himself in War of Y, as a director of BL who is sick of being forced to make BL shows full of fanservice; he treats the actors with disdain and cuts marketable high heat scenes from the show which makes everyone nervous for the show’s future. Later we see him and the actor characters on set for My Only 12%, much happier. I ask myself about this moment at least once a week: Did he write this self-insert? Did someone else write the character and he just played it, and the similarities to his style were (were not?) a coincidence? I hope someone knows and tells me one day,

From there, New functioned as an Executive Producer of Dear Doctor, I’m Coming for Soul [I think this was the first outsourced project by Wabi Sabi]. This series’ entire plot is a metaphor for living in the closet and waiting for the time when the main couple can be together fully without having to hide. 

He directed A Boss and a Babe for GMMTV (which had its problems for sure, but also had Cher as an out gay man at the workplace dealing with casual homophobia in a way that was extremely satisfying), and then Between Us, which is maybe the least queer feeling show Wabi Sabi produced on its own, but did go into the issues of dating and the closet while trying to become a star (if I’ve forgotten something from this show let me know, I only watched it the once). One of the things that was so strange about this show was it being a sequel to UWMA but not engaging with the same themes. The only mention of real world queerness I can remember was the acknowledgment that they can’t get married in Thailand and Dean and Pharm discussing again going abroad and getting married there. 

Absolute Zero was a complete mess of a show; New directed this one for Wabi Sabi, and it has some similarities to UWMA in the sense of there being an attempt at saving the gays from the bury your gays trope, this time via time loop rather than reincarnation, but it did not take the issues it raised seriously enough (including the age gap created between the two characters by virtue of time travel). 

And that leads us to We Are for GMMTV, which as Pluem (@happypotato48)  wrote in his excellent post about this, includes Toey using nu and other 'feminine' or 'youthful' sounding language, but also apparently dropped the main conflict of the novel between Phum and his father (because his father disapproved of Peem).

Why did I go through all of that? Because I wanted to lay out how I've watched New Siwaj’s career go from finding a way to tell incredibly poignant and healing queer narratives (by creating his own company, and fitting these moments into the GMMTV series he did work on) to stripping out queerness from the shows he’s creating in the last year or so.

And this is a pattern we’re seeing more widely at GMMTV in particular, but also in Thai QL more widely. This is something that was touched on but not really discussed in the most recent episode of The Conversation podcast (the 23.5 and only boo! episode here). In both 23.5 and Only Boo!, the show faked out a homophobic parent and then treated their kids like they were silly to assume the worst, and I hated that.

Both Ongsa and Kang had internalized homophobia in their respective series. Both were terrified of telling their mothers about their homosexual love interest. And in both cases, their mothers told them something along the lines of 'of course I will support you no matter what'. In Ongsa's case, even though she was outed by Sun without her consent, she's the one who ends up apologizing for her hesitancy and feeling foolish for her concern. In Kang's case, the show never challenges his mother's assertion that she'll always support him even though we know she hasn’t (she was the one who wanted to prevent him from studying art before his father died), and it’s the audience that was left feeling foolish for our concern. 

In the GMMTV round table for Pride Month, it was mentioned that the decision for Ongsa's mother to be accepting of her relationship with Sun was made in order to model good parental behaviour for the older generation in the audience. In the novel, Ongsa's mother presents a significant conflict, but this conflict was erased from the show. I don't know if the same decision was made in Only Boo! for the same reason or not, but either way, the show definitely signalled to Kang's mother having an issue with Kang's relationship with Moo, and then said "sike", which I did not enjoy. The Conversation panelists were correct in the conversation linked and transcribed above that this wasn't the most egregious misstep either show made, but it feels like a telling symptom of the larger overall narrative problems that New is also now succumbing to.

It seems as though telling stories stripped of queer conflict is being seen as progressive, and possibly also easier to sell, and this is where my anxiety lies around what this will mean for Thai QL content in future. 

For the record, I am all for creating queer content in which we envision a better world for ourselves. But when that is the goal, understanding where internalized homophobia comes from and thinking through how removing parental objection will affect the character and the story is vital to the story and characterization remaining coherent. Otherwise it just ends up feeling like the show is telling queer kids that they're paranoid, rather than rightly worried (like I wrote about in this thread on My Love Mix-Up Thailand, where the same decision was made again to fake out a homophobic subplot that was removed from the adaptation but was present in the source material).

These choices speak to adaptation choices with an eye for specific moments and story points, rather than to a narrative or character arc, which is where it feels like they fall into the wider pattern of what @bengiyo, @shortpplfedup and @ginnymoonbeam were describing in their discussion: shows caring more about hitting specific meme-able story points listed out on a whiteboard than about making cohesive sense or having something coherent to say. 

[So as not to leave it out: I don’t think there were concerns of homophobia in the Wandee Goodday novel (novel readers feel free to correct me if I’m wrong about this) but the show faked us out about homophobia concerns anyway, which again really bothered me during that watch and which adds to the pattern.] 

Now, of course, as I stated up at the top there is value in the creation of different kinds of media. These shows sell different fantasies than the ones I want to see, but that doesn’t mean they don’t have value.All of BL has some amount of fantasy that it’s buying into, that’s what comes with the territory of ‘fiction’. The BL bubble (in which homophobia doesn’t exist and all men are gay for each other) is a version that is at its most extreme; nothing bad ever happens that isn’t quickly resolved within an episode, so there is never narrative tension, and nobody really needs to be that concerned about how anything will go ever. I do not find these relaxing because I can’t buy into the fantasy they’re selling; for me, the lack of narrative tension is so unbelievable as to ruin my immersion. But I can see why that would be appealing for someone whose brain is not always on alert and running at 11/10! The problem I am anticipating is when the majority of content is made that way, and when it is done in a way that takes up all of the mainstream space. I think it’s notable that the only show that’s really felt not in the queer bubble from GMMTV in 2024 is Cooking Crush, which was done by a subsidiary team within GMMTV (and the same team went on to make Only Boo!). And this is why We Are caught my attention and made me nervous; When a director who is known for his representation of poignant queer angst makes an entire 16-hour series in which there are no significant conflicts at all and the only hint of homophobia is in Toey’s reference to being bullied prior to the timeframe of the series, I get worried about who is going to be making the queer angst shows in future!  

For the record, my personal preference for comfort shows are the shows that do not pretend the world is perfect, but do depict an idealized subset of that world→where there’s a group of people that support one another through the bullshit of others and the less than perfect world that surrounds them. Shows that teach us to be kind to one another, and ourselves. Shows that say the world is going to suck sometimes, but we can be good to one another, and not lose sight of who we are, and make space for others to be themselves. A few of my favourite Thai series that do this would be: 

Bad Buddy

Cooking Crush

City of Stars

Knock Knock Boys

Miracle of Teddy Bear

My Only 12%

Secret Crush on You

To Sir With Love

Until We Meet Again

(and of course these occur in non-Thai shows as well. A few examples of my favourites: What Did You Eat Yesterday, DNA Says Love You, Light on Me, Oppan, Marahuyo Project, TsukuTabe, Tadaima Okaeri, Koisenu Futari, Joshi-teki Seikatsu, Gameboys, Hehe and He, Twilight out of Focus, She Makes My Heart Flutter)

These are shows in which there are explicitly external judgments on the relationships in the show and/or the characters for things intrinsic to who they are, and the characters build a support structure in which folks are encouraged to be themselves within that ‘bubble’ (Bad Buddy walks a fine line because it’s within the BL bubble but the problems that the main couple face are so a direct allegory that everything feels familiar; this is also the case with Tadaima Okaeri, which is both omegaverse and one of the most beautifully kind shows of all time). 

So for now, I still have the other smaller Thai studios including Kongthup Productions (who made Knock Knock Boys; we’ll see whether their latest series Monster Next Door deals with any queer angst or not), idolFactory (just finished My Marvellous Dream is You, which had a ton of queer angst, and is currently doing The Loyal Pin, which I have hope for on this front), DeeHup (currently making I Saw You In My Dream, which I’m holding out hope for) and StarHunter Entertainment (who made City of Stars, but whose record is a little spotty on this front; Their latest, Sunset Vibes, has not done a great job of handling the theme of office relationships and blackmail so far, and feels very much in the bubble) to look forward to. 

But as you can see even just by virtue of the caveats I included above, it feels like this shift is happening in the smaller companies too (harder to see a real pattern with fewer data points, which is one of the reasons why I picked on GMMTV–in addition to it being the largest media conglomerate in Thailand and therefore able to take it). Maybe it’s nothing, maybe I’m just an anxious person. Or maybe I’m just wrong about what would be best for the genre and for queer people in Thailand as well as viewers all over the world. But I, for one, would find it a loss if Thai QL decides en masse to pivot away from queer angst, and right now it kind of feels like that’s what it’s doing. In this context, to reiterate my original point, the existence of We Are is not a problem, but is one in a set of exemplars that raised specific alarm bells due to the people involved and their history in QL and queer representation, its deviation from the source material, and the surrounding shows that seem to indicate a pattern rather than a one-off. 

[automaticpenguincreation]

I'm seeing the whole "If you don't like something stay out of the tags" commentary again. Honestly, it bugs me quite a bit. I would say that I try to not piss in people's cheerios often. I try to not just complain for the sake of yelling about something. I do believe everyone should get to enjoy what they enjoy whether I like it or not.

but I also think people who like a certain kind of story and watch things with the hope they will get what they like, and then are disappointed, also deserve community.

I think the opinion that people are doing this to troll or because they enjoy complaining is a bad take, at least in the fandoms I'm in. When I get that stubborn about a show it's because I genuinely loved something about it and I now have passionate opinions about it. If I didn't care, I would not be posting about it. I would just forget it.

And yes, there are different levels of critique that are productive and others that are not. But having people be like - have your feelings but keep it to yourself or only your dash where others may or may not have the same feelings - maybe are harmless when you are annoyed that an adult show has all the plot points of a high school story, but are concerning when the post is talking about the pair the spare where there is no recognition that they had painted the antagonist as an assaulter and are now rehabilitating him with no effort at all. When you start dictating what is acceptable and unacceptable fandom opinions, you start walking the line of censoring voices that should be boosted.

In my opinion, fandom is at its best when you are hearing other points of view and gaining more understanding of media by listening to other voices. It's another part of the transformative nature of fandom.

It's so easy here to block people or filter people and tags. The expectation yet again that someone else should be responsible for your experience is beyond my brain capacity.

I do know how hard it is to see a huge fandom reaction that doesn't align with yours -I have experienced it both in loving something and hating something. But that is why we all need to find our community and well, in tumblr, it's in the tags.

[automaticpenguincreation]

Sam

Sammy

Samster

SAMANTHA!

Confess your sins!

Even your brother is over your bullshit!

This boy is falling in love with a lie!

😬😬😬

SAMANTHA!

[automaticpenguincreation]

I am totally willing to accept unexplained light sources in movies if that means those movies won’t be dark as fuck for the 90+ minutes they run

[automaticpenguincreation]

This is INCREDIBLY EXCITING news, as South Korea lags behind many other Asian countries on public viewpoints about LGBTQ+ rights. Well done, South Korea’s Supreme Court, on equal public healthcare rights! Also note, at the end of the article, how fast attitudes are changing about same-sex marriage in South Korea over the last 24 years. Keep the upward trend going! (I’m calling for more South Korean BLs, obviously.)

Paywall-free paste below:

In a landmark ruling for gay rights in South Korea on Thursday, the country’s Supreme Court ruled that same-sex couples qualify for the national health insurance’s dependent coverage, a decision that rights activists hoped could pave the way for legalizing same-sex marriage in the country.

The decision would allow same-sex couples in the country to register their partners as dependents in national health insurance coverage, as married couples or couples in a common-law marriage can. Numerous other benefits are denied to same-sex and other couples living outside the traditional norms of family in South Korea.

In its ruling on Thursday, the country’s highest court ruled that denying a same-sex couple national health insurance dependent coverage “just because they are of the same sex” constitutes a serious discrimination that infringed upon citizens’ “dignity and values, their rights to pursue happiness, their freedom of privacy and their rights to be equally treated by the law.”

The plaintiff, So Seong-wook, filed the legal complaint in 2021. Mr. So wanted to register in the national health insurance program as a dependent of his partner, Kim Yong-min, arguing that their union should be treated as a common-law marriage. But South Korea’s health insurance service rejected his request and told him to pay a separate monthly insurance premium — a decision later affirmed by a district court.

But in February last year, an appeals court overturned the lower-court ruling. It said that although Mr. Kim and Mr. So’s union could not be considered a common-law marriage under South Korean laws, they should still qualify for the national health insurance’s dependent coverage.

In its final say on the case on Thursday, the Supreme Court endorsed the appeals court ruling. It said that same-sex couples formed an “economic cohabitation tantamount to” married and common-law couples.

“I hope today’s ruling will serve as a steppingstone toward enabling sexual minorities to gain equality in the system of marriage,” Mr. So said in a news conference on Thursday.

Mr. Kim said while he describes himself as Mr. So’s “husband” and “companion,” he has never been able to enjoy those titles legally in South Korea.

“I am so happy that the court recognized some of that today,” he said.

Borang Jang, an East Asia researcher at Amnesty International, the rights group, described the ruling as historic.

“The court has taken a significant step towards dismantling systemic discrimination and ensuring inclusivity for all,” she said in a statement. “The case itself is a sobering reminder of the lengthy judicial processes that same-sex couples must endure to secure basic rights that should be universally guaranteed.”

There is no official data on how many people live together in same-sex unions in the country. But between 2016 and 2022, the number of people who live together in “non-kin households” — people living together outside legal marriage — doubled to 1 million, according to government data.

Conservative Christians in South Korea have long campaigned against legalizing same-sex marriage or introducing an anti-discrimination law that protects people of any gender, age, sexual identity or physical ability. But attitudes are changing. At the turn of the century, only 17 percent of South Koreans were in favor of legalizing same-sex marriage, according to Gallup Korea, a survey company. By May of last year, that figure had grown to 40 percent.

By Choe Sang-Hun

[automaticpenguincreation]

Article Link

Post Date: 18/07/2024

[automaticpenguincreation]

We Are Sucks, and BL Will Be Worse When This Succeeds

We Are the series, the latest empty drivel from New Siwaj, has crossed a line for me that I cannot abide. This show is nothing more than loosely connected setups for BL moments that are easy to gif or clip for maximum virality, designed to fulfill a financial obligation to iQIYI and otherwise keep the B- and C-tier BL pairs occupied with work. This show is saying nothing about the human condition with any verve, and there is no queer subtext or text to pull from any of these characters that the viewer isn’t already bringing to the table. 

I had stopped writing Stray Thoughts for this show because it doesn’t really have much of a plot or story to tell, but I am not going to be able to continue this show past episode 5. This show is the BL equivalent of a cumshot compilation. It is designed exclusively as fap material to coo over known BL pairs smiling at each other. I was chatting with @twig-tea yesterday about how after five episodes we still don’t really have anything resembling an arc for these characters and how it’s just a bunch of BL dudes hanging out. Twig described it as “disingenuous to [even] call it a show” and “...a bunch of compatibility workshops strung together.”

I hate this so much. There is no story being told here. This is like watching actor reels on IG or TikTok. There is nothing here to hold onto other than your baseline fondness for the cast. There was a moment in episode 5 that felt completely unscripted between Aou and Boom that felt like Boom reacting to being teased by Aou and not a moment between their characters. They didn’t even let Aou’s character confess the specificity of his feelings because they don’t matter to this show! It doesn’t matter why he likes Boom’s character! Just that he does! Why does Boom’s character respond so positively to these feelings? Why didn’t he take initiative on his own before? What changed at all? What’s the goddamn story here? There’s nothing! We just make it up and enjoy the smiles.

I usually don’t want to bitch about shows I don’t like extensively on here, and I especially don’t like spamming tags with negative commentary or musing on shows. However, there are 11 more episodes of this empty nothing, and 30 more episodes of New Siwaj trash on the horizon. He has become the GMMTV BL Babysitter, and I am horrified by what this means for the genre. I try to stay patient with New because usually he captures some form of gay melancholy or angst in his shows, but there is none of that here in We Are. All of these characters know each other and are basically just hanging out for about an hour of TV. 

I worry about stuff like this being good enough to monetize. There’s nothing interesting for me in this experience with a queer lens. There is no real story being told, and caring about any details as if they matter leads to questioning the integrity of the characters (are we really doing a slave narrative in a college BL again?). It feels like the end product of giving up on chasing ratings and only chasing virality to monetize the talent for ad spots, concerts, fan meets, and merch. No longer do we even need to make stories about compelling romances between men. We just need to get passably attractive boys on screen together and just ask them to smile. 

What does it mean for the genre if GMMTV goes another step forward with this and no longer brings any robust writing to the BL table. Are we satisfied with BL as glorified slideshows of shippable actors? What happens when GMMTV is able to easily milk this over other robust productions? Is this just the filler fluff to keep people engaged with the network between their solid projects to prove their bonafides? BL has always struggled with depictions of queerness, but are we at the point where we don't even try to tell stories that even feel queer? Is just simply putting boys next to each other enough? I don’t like this at all, and it unsettled me as I watched five episodes of We Are only to feel nothing. 

I am always half-joking about being over New Siwaj, but I really am at this point. 

[automaticpenguincreation]

Update on shows that I'm watching

The rebound- this show is such a joy to me. Love the tanktops! So rooting for both JediChogun and PrincipleCoach. I'm surprised we got a confession but I guess we are on episode 7 already. Did ryu's mom find them kissing and banned basketball?

Sunsent X Vibes- I'm enjoying the high romance but more SamYoth please.

The trainee- I am liking how this show is taking it's time and building up the relationships. I really like the Ryan character.

Century of Love- this is also a fun show! I think this is an example of you can do whatever you want in fantasy you just have to explain the rules and stick to them.

Takara's treasure: I am liking the characters and not sure where the show is going. Cute and intrigued.

An abundance of good shows!

[automaticpenguincreation]

We Are

A lot has been said about this show over the last 15 weeks. And despite what some people seem to think, most of it has been positive. I tend not to write much about shows in general, and stick to making pretty gifs of the shows I really like. The fact that I made exactly one set for the entire duration of this show should tell anyone who's reading that this will not be glowing review of the show. I'm not going to be mean, but if you loved the show and don't wanna do read someone with a different opinion, I beg you to stop reading. Also sorry if this is less than coherent but I'm tired so I won't be re-reading this a hundred times like I usually do before posting. Which also explains why I don't write a lot here.

We are - the story

One of the things that have been said about this show is that it lacks a plot. I would agree that the show as whole does not have single plot, but a series of plots. At it's most basic definition a plot is a series of events that shape a larger narrative. In the case of a linear plot there is a major plot line that follows the narrative from beginning to end with changes throughout. I'm not going to go into it, there are several ways this can be done depending on the type of narrative but most commonly it goes, beginning, rising, climax, falling, resolution. Now there's no such thing in this show as a whole. No single plot line. There is however several plots inside it, and these different plots do follow their own lines throughout the show. Every couple has its own plot line. And if we could only watch one couple at a time as if they had their own separate show, it would look just like any other bl, although it would certainly not be all that original. I think the friendships are what ultimately brings it all together but that by itself is not a central plot because it basically remains unchanged throughout. It's the anchor but it's not what moves the narrative forward.

We are - the ships

Once again, if you are a die hard fan of these ships do not read any more. Before I talk about them individually I just wanna say that @italianpersonwithashippersheart made an excellent point here about the fact that since we were familiar with most of the ships here, the show had an easier job in making us care for them. All the couples had their own storyline, with different stages of their development happening at the same time. And for the most part the show didn't have to spend a lot of time selling us on the relationships. It made use of a solid, reliable product that could be repackaged and resold. This is not necessarily a bad thing nor is it a new thing. It's thai bl.

Phum & Peem - The main couple. And in my opinion the least interesting one and the one most wasted here. Look, PondPhuwin are good together, this is their third show as a couple so they are a solid bet. So why not give them something with more depth? Why did I have to watch them exchange longing looks for the better part of this show? Don't get me wrong, they are great at it. Pond specially could teach a class on how to stare lovingly into Phuwin eyes. But lord was I tired of it. I mean, I'm sorry but I was fast forwarding through some of their scenes together because I've seen them all. I didn't count them but the amount of times they fell into each others arms must have been some sort of record. Sure, Phuwin is great at the facial expressions, Pond's hair ir gorgeous and he should be doing shampoo commercials, and yes, they can pull off the 'you're the only person in the universe in this moment and time loses all its meaning when I look into your eyes' thing. But enough is enough.

Q & Toey - It's fine. They're fine. They're actually much better than in My School President. Both of them I think improved a lot in their acting. But their story didn't do much for me. I enjoyed Q's change after they were boyfriends, I thought it was fun, but the drama before that, I thought, was so forced so I was not really all that invested. Also not a fan of the jealousy plan even if it did give us some entertaining moments with the friend group. I don't know, they just didn't click for me.

Tan & Fang - Is Tan one of the most adorable simps we've had in thai bl? YES. Did the boyfriend moments of this couple make me grin like an idiot 80% of the time? YES. Did I believe in the reciprocity of this relationship from the start? NO. Tan was the only reason that this relationship had me invested. His loud and unapologetic love for Fang filled the gaps in this particular love story. But the way it started made me have to work extra hard to believe the rest of it.

Chain & Pun - They were my favourites from the start. I waited 15 weeks for that kiss. Was it worth it? honestly, probably not. But at least they delivered in the end. That scene was everything I could've wanted from those two even if I wish it had happened sooner. The change in casting might've been the reason why it had to be this way so I'm not complain about that because ultimately I really enjoyed their story. Marc delivered as usual. Poon was so endearing to watch and his face is lovely. They remain my favourites and I wish I had a bit more time with them.

We Are - The friendships

This is what kept me going. When the episodes dragged and I found myself a bit bored, there was a big group moment and it brought me back to the show. When this show started, in my monthly breakdown I said I thought that @bengiyo comparing watching this show to watching the actors IG reels was a good way to describe the experience. But for me that wasn't always a bad thing. Just like with the couples, the fact that I knew these actors and they knew each other made me feel more connected to those ensemble moments. They felt very natural and grounded, and ultimately I could relate and be touched by them. I think that it's the show's biggest strength.

Well, this got longer than I expected and I never really know how to end these things so in conclusion. It was good fluff, with good friendship moments and solid acting from the couples. I will however forget most of it by this time next week, specially with the amount of ql's I'm watching at the moment.

If you've made it to the end, thanks for reading. 💜

[automaticpenguincreation]

We Are The Series: Why I Didn't Like It

I am writing this for the 3 people on this website who completed this but didn't love it.

@automaticpenguincreation tagging you because we talked about this and I said I would. Also chatting with you is what made me want to finally say something.

Disclaimers (Please Read Them):

I am going to be critical in this post, not hateful, I don't hate this show, but critical. Engage in good faith if you can, If you can't don't.

I do not want my criticism to be dismissed saying I must not be getting it. I spend weeks making sure I got it. Read all the praise and even reblogged the occasional post because I see the value this show has for people. All I am saying is that I don't like this.

Again some of my later critics are about the choices that were made in this series. I understand that a lot of what I am about to critique was made on porpouse and is indeed part of the appeal.

I have seen maybe 1 post on tumblr being overly critical (@bengiyo post and I guess mine) I don't know where people got the impression that this show is being hated. But If you geniuly want to know why some people might have not liked this show you can read my thoughts and see for yourself.

I have watched and enjoyed stuff like this before. I am not making any moral judgement on you. Just because I don't like this doesn't mean you can't like it.

Part One: Pros

I am going to start with the good things. My honest review of this show is: It's a Mid University BL that is doing something different with the friendship and quietly subverting a couple of of classical Uni BL tropes.

I can see how that would have valued for people that watched all the Uni BL. I get that part of the appeal.

The friendships in this show are very good, they are framed as just as important if not more important then the romances. And I appriciate that. It's also one of the only two realtionships the show set up writing wise and spend any ammount of writing effort making you want to root for. Chain and Pun being the other one.

Pon being added to the cast late and them having to reshoot things were handled beautifully, you can't actually tell there was ever any issues at all and it feels like Pon was always meant to be there.

PondPhuwin story with the you must be my slave bit was handled pretty well. It certantly could have done worse. I think the story does a pretty good job writing the resolution in a satisfying manner.

I can tell that this meant a lot to people both fans and the cast and crew. All art is subjective. Just because I don't feel any value from this doesn't mean it doesn't have it.

The story is escapism, it deliberately downplays all the negative bits of life and of queer life to make a fluffy cute show. It is a similar appeal to My School President. I can't find the post that talked about that anymore, but indeed the appeal of My School President is that for the majority of the story they just get to be normal high schoolers and this is treated like a normal romance.

I have always seen the homophobia at the end of MSP not as a break in the format but a sign our boys were growing up, almost out of the protective halls of high school (in the specific bubble version of high school the story set up) and into the real world.

That is the appeal of We Are the series. Which is why in my personal opinion it's not a pure slice of life series (which wasn't ever said in the negative at least by me), it certentaly might have slice of life inspirations, and it might be using a similar structure (see @shortpplfedup post's comparing this to Hospital Playlist a show I didn't see but I have seen called Slice of Life by multiple other people). I don't personally feel like a show can be slife of life and escapism at the same time. You are 100% free to have a different opinion on this.

I am not going to give it more praise simply because the website is full of praise for this show and because those are the main points that i enjoyed.

Part Two: Cons

Let's start with the big one the plot has no throughline (I first encounter this term on this website which I highly reccomend the TLDR is: A throughline is the core "problem" of a show, the part of the structure that ties all the events together).

Exemples of throughline from a slice of life ql I watched recentely (and I am simplying to use this as an exemple). She Loves To Cook and She Loves to eat: Our main girls are alone, they go through life missing a connection, they both have needs that could be met by another person. During the course of the story they form a connect to each other and other people. They form a bond. The story ends with them moving in together, permanentely affirming that they are a unit now, and therefor will never go through life alone again. The "problem" of the start is resolved.

We Are the Series doesn't have that. And it doesn't have that by desing. Uni BL usual throughline is main relationship but they can do that here. What I would have put as the throughline is the friendships. Making the "problem" is the friendship group of long time friends going to survive Uni and various romantic relationships.

But the show doesn't that, because that would mean having arcs, and conflict and that is something the show doesn't want to do to not hurt the escapism.

It is a stylistic choice I don't like but it doesn't I understand why it wasn't made.

This is why to some people it feels like We Are the Series doesn't have a story. It is very common for story with no throughline to give that feeling to people.

Events happen, characters made decision, they talk to each other. But it doesn't feel like it has a narrative plot.

It is also why it doesn't have a classical climax. I know we clown a lot on episodes 11 and penultimate episodes of BLs and some of them are not well handled and too dramtic, or too high stakes for the resolution we are going to get. But the reason we get those it's because it's a climax, the highest point of tension in the story.

She Loves To Cook and She Loves to Eat climax is the problems with finding a place to go, because that is the highest point of tension of the throughline. We Are the series had no conflicts in the penultimate episodes because it doesn't have anything to raise, the story has no tension what so over.

Conflict and Tension don't just mean break up and fight scenes, a low key slice of life story can have both tension and conflict the exemple GL I have given has both.

As I mention before the only thing this show had any interesting in setting up and writing with any sort of effort was the friendships and ChainPun.

The reason why I feel like ChainPun were the best written ship is because all the other ships assume your engagement instead of writing reasons to make us care.

Tangent to explain what I mean: Back when playbooy was airing I exchanged a couple of mgs with @my-rose-tinted-glasses talking about not being able to get attached to any of the character. In my answear I said I started the series already attached because I was keeping up with the characters and plot and got pre-excited about it. So my investment was already high.

I think something similar is happening with We Are the series and the known ships. What I mean is most of the people watching this have already seen at least one show with almost all the main pair. We know what their deal is, what their chemestry is, what their dynamic will be like. The details might be different but we already know them. And I feel like the writing of the series relyed on this fact too much. I don't think there was any effort being made into making you root for them. Maybe PondPhuwin having to write the resolution to you must be my slave plotline. But that is it.

AouBoom get together at episode 5. We barely know anything about either of them, Fang is such a non character at the point I could maybe tell you three things about him. I am not sure how I am supposed to care about them except for the fact that it is AouBoom and I have seen and loved them in other shows and like many people desperately want them to be mains.

ChainPun was the only expeption, they had to use crumbs and a slow writing and only making them get together at the end because they are the only ship we never saw before. The only ships the writer couldn't assume you the audience already be invested in from the get go. (Also why I was at this point near the end only invested in them much like @respectthepetty)

I want to be super clear about something: I AM NOT CRITICISING YOU THE AUDIENCE FOR THIS RESPONSE. I am criticising the writing for relying on that response and not writing any extra stuff that would help with engement. God knows that I will be guilt of the same thing in other shows. I get pre-invested in shows with Cooheart or Fluke Natouch just because I love those two actors. And If I ever get my Fluke Natouch criminal fucked up character of my dreams in a modern bl that show will be my forever fave are you kidding, they could mess up everything but that character and it would be a 10 out of 10. I am not immune to investing in something just because you love a ship or the actors. I am just saying the writing could have done more to support the ships and assume that would be a small % of the viewers that needed more time and proper writing to get attached to the other ships.

Another big problem for me was something that actually happened to me before with playboyy. See at some point my the middle of Playboyy I realized that the show was never going to have the time to actually go has deep into characters and relationship dynamic they set up as much as I wanted them to. So my emotional engement wained a bit. I still had a lot of fun with it. But I wasn't as much into it as I was in the beggining emotionally speaking. With We Are the Series I realized that pretty much at the begging and got confirmation at episode 5 when AouBoom's character just got together like that. With no arc, no story, no effort. And I know that a story was there, We were told that. But I would have liked to have seen the story instead of it being told to us later.

And I know I am not the only one that found the WinnySatang resolution to be lacking and a little off. You can see @heretherebedork post x x x x about it, I agree with them.

Part Three: Conclusion

Ultimately this show is mid. It's value comes from escapism and the fact that it came out right now, amongs other more plot heavy bls and experimental genre dips. That it does something a little different then all the other Uni BL that came before. And that is actors we already know and love.

It's average for me. But it obviosly meant something for people and that matters.

I want to leave this review but again point out, critiques are not hate, a person not liking a show you like is not an attack on you or your judgement. I know it can be upsetting I have been there. I make a lot of effort to understand different POVs of shows and trying to see what the other person saw in this media, and what kind of life biases (bias as in we all have them, art is subjective and we all look at it according to who we are as people) could make them feel the way they do.

If you do like this show and have read this full post thank you, even if you disagree with me.

I want to leave you with this Italian Idiom: Il mondo è bello perchè è vario. The world is beautiful because its varied.

[automaticpenguincreation]

[automaticpenguincreation]

So I have been trying to keep up with the FoureverYou Project because I miss Cooheart and I am dying to see him paired up with Pond (180 Degrees) and I want to see Bas in something else too.

MDL doesn't list the directs or crew of this series. But I have been assuming it's New Siwaj because it's Wabi Sabi.

Recently I was reminded that Perfect10 liners is confirmed to be a New project as well. And this show is also shooting.

Now I have seen bts and vlog stuff from the Fourever You Project on New's instagram so I know he is on set for that. And the Q dates never match up between the two projects.

So I am forced to assume that New Siwaj is directing two projects with huge casts and multiple ships of 16 Episodes (Fourever You) and basically 30 Episodes - 10 x Ships (Perfect10 Liners) at the same time. And I don't think that's a great idea.

Multitasking on that level sounds awful for his health for one. And for two I am not convinced you can do justice to two big projects like this while splitting your time.

I am not sure where I am going with this. I am just re-adjusting my expectations early I guess.

Of course this could be more normal then I think and therefor not a big deal. If anybody as any info on another director who shot two bls at the same time or if that's common or whatever. Let me know. I would love to be wrong to be worried.

@lurkingshan Not sure if you want the update but since I mentioned the show to you fairly recently and you said you wanted to check it for cooheart I thought to tag you here. I guess we should go into it with low expectations.

[automaticpenguincreation]

[automaticpenguincreation]

You see they're arguing about their financial burdens and the daddy ain't offered to help with a single cent? Just watching his kids punch each other in the grass...oh ok. I said next slide please.

[automaticpenguincreation]

why are they like this 💀

[automaticpenguincreation]

View this post on Instagram

A post shared by BoysLoveUpdate 🏳️‍🌈 🇫🇷 🇬🇧 (@allabout_boyslove)

CONGRATS TO MEWTUL for confirming their relationship — so happy for them during this celebratory time in Thailand! 😍

[automaticpenguincreation]

The mum:

It tastes even better today for some reason.