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One of my favorite scenes is just Chi Cheng being anxious, sad, and twitchy as he's realizing Wu Suo Wei is ghosting him after their first kiss.

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Champ watching sornjun turn their situationship into a relationship while Tai still won’t tell him how he feels:

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THE MUMMY 1999, dir. Stephen Sommers

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10 things I want to do before I turn 40 Upcoming JBL [Teaser with subs]

[source]

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Meet You At The Blossom + text posts for @philologicalbat, inspired by

bonus:

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Definitely. It's a deeply abusive patriarchal system. There's no way healthy intergenerational relationships can be created or maintained when children are essentially seen as tools for fathers to gain power. The children will feel manipulated, trapped, overwhelmed, and pressured by their parents' expectations. And when it's their turn to compete for the throne, they may use their own children to reclaim a sense of freedom and control.

They say that in Emmaly the heir wins the throne for their father and that's why one is abused through his whipping boy, one met his father for the first time two weeks ago and the other is a girl whose father doubts her every move.

Y'know, I see a problem with this tradition.

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pit babe the series episode 6

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If that was The Wedding, we will not survive the honeymoon!

A🐈 Kat Rambles Post:

Is anyone else still living in that room with Khanin and Charan this morning? Because I know I am.

I may have spent a ridiculous amount of time this morning rewatching THE SCENE-for science, well and for this post. Nevermind the story of the Emmalian Kiss, it absolutely felt like Khanin and Charan were binding their lives together during this scene. Khanin and Charan allowed themselves to fully unmask for each other, to see and be seen, and if those aren't unspoken vows to each other, I don't know what they are.

In all seriousness, my hat is off to the cast and crew of Mandee/Domundi, because they know how to tell a story. Between the screenplay, the direction, the acting and all the technical work (lighting, set design, filming, editing, music) - they clearly understood the assignment.

While the chemistry chemistries intensely, in the way the Domundi actors seem to have mastered, the scene itself tells a bigger story through the non-spoken communication and interactions between the characters.

Khanin has had to be bold and unwavering in his pursuit of Charan if they were to ever be anything more than their roles of prince and servant. Charan grew up in Emmaly, and was too aware of the differences in their stations to allow himself to dream about anything more. We have watched him falling in-love with Khanin against his will, and his active efforts to maintain distance between them-both literally and figuratively. Charan had every intention of running away, staying at the university and living his quiet professor life away from the temptation of Khanin. When that proved to be impossible, he held up propriety and formality like a wall between them.

Khanin was left with two choices: give up on the possibilities of a relationship with Charan, or embrace his prince role and take charge and boldly move forward. We have spent every episode since they arrived in Emmaly watching Khanin take on this daring and undaunted role, making it clear what he wants and not allowing himself to be discouraged. Which is where this scene STARTS. Once again it is Khanin asking for more, directly and unflinchingly expressing what he wants.

Even when Charan chooses to stay, he's still constrained within his role. Kneeling before Khanin he "humbly" asks permission, worshipping at Khanin's feet, and leaving Khanin to continue within his brazen role demanding more and telling Charan with both words and actions "You are allowed to cross the line."

The Lan have their headbands, and Charan has his pants-his own sign of restraint and the bounds of his social role and status. Ultimately Khanin is the one to free Charan from his self-control. That is the moment we see the full change in him. It is after this that he starts taking initiative, allowing himself to want and act on his desires fully. Charan allows himself to drop the mask and be vulnerable to Khanin, to go all in and let go of his role, and to meet Khanin as a man, not as a royal subject.

Khanin spends a notable amount of this scene with his pants (and mask) on. He remains bold, sexy and undaunted.

I absolutely love the parallel between Charan and Khanin that plays out in this scene. Charan has been forced to make himself smaller-constrained and held back in his role. Khanin on the other hand has been forced to be bigger-confident, commanding, with the illusion of invulnerability he must project as a prince. In unmasking (or rather depantsing 🤣), Charan can be his true self, unfettered and unrestrained. And Khanin can allow himself to be shy, timid, and vulnerable.

I have a lot more rolling around in my head about this show, but I've spent way longer on this post than I meant to, and I have a date with iQIYI I am running late for. Suffice it to say, I am delighted at how it has all come together so far, and am really looking forward to seeing where it goes from here.

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Khanin and Charan - it’s just us here.

New and Zee - Wearing cocksocks with three dozen people staring at them on a soundstage for days, with an intimacy coach hovering constantly to keep both Nunew and Zee’s bare asses in check.

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I only have five minutes to write this, but I HATED the sex scene in The Bangkok Boy.

It being layered with the fighting scenes along with the use of red paint just made me feel like everyone is going to die with Sun having to kill Peace, AND I DON'T WANT THAT! If I ever needed the softest sex scene, it was in this show, which would feel out of place considering the plot, BUT I NEEDED IT!

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mother night, kurt vonnegut

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I've been thinking about character arcs and the main characters from my stubborn today. What makes a good character arc? The character must undergo a meaningful transformation. Their "want" and "need" have to be connected, and resolved.

It's easier to see what they're doing with Sorn's character, as his flaws are clear, and there's no way they won't be addressed. He wants to be with Jun while maintaining control over the situation. He wants to protect himself from vulnerability and pain. But what he needs is the opposite: to open up, to consciously risk getting hurt, to let go of the illusion of control, and to trust his partner.

Jun's storyline is a bit more subtle.

He wants emotional security- to become resilient and mature, and to be reassured that he is loved. But what he might need is to realize that he's already strong- that, in his relationship with Sorn, he's the one who's more emotionally mature. That it might be his turn to become the mentor, and to teach his partner what it means to love and trust.

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The Bangkok Boy sounds like everything I’ve ever wanted in a story, but watching it is making me anxious. I know it’s gonna hurt me… more.

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Controversial opinion: I think that My Stubborn is actually well written, especially for a relatively low budget bl/ql.

There have been plenty of cheap and smutty bls and expensive and smutty bls but, as I’ve seen other people say too, My Stubborn just hits different and better than anything else. I think it’s because the writing is, for the most part, good. I mean the plot is solid and engaging, the characters are well defined, and the pacing keeps your attention without getting too convoluted or boring. We understand the characters and their motivations and we’re excited about where the plot is going. The actors and director are doing a great job and their nc scenes are insane, but I don’t think that it would be hitting nearly as hard as it is if the writing wasn’t solid too

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https://archiveofourown.org/works/66367939

For @cavetreasures for being the most correct person on the internet! ..... I didn't mean for this to go quite so... sad but I suppose episode 8 is still giving me a lot of feelings.

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Cinematography by Roman Osin PRIDE AND PREJUDICE (2005) dir. Joe Wright