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thebroccolination · 23 days ago

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GMMTV ISN’T CONTRACTUALLY FORCING THEIR ACTORS INTO THE CLOSET

Recently, I saw a fan from the U.S. claiming on TikTok that GMMTV contractually forces their queer actors to keep their sexual identities a secret. Why else would there be so few openly queer actors???

So, first of all, it’s not like the few openly queer actors in GMMTV had to break some corporate closet door to escape, and then GMMTV went, “Aw, shucks. Well, I guess y’all win. We’ll keep paying you, you little rainbowy scamps.” There are only a few of them because being openly queer in Thailand’s media industry is still fucking hard.

Fluke Natouch of Until We Meet Again (and OhmFluke 1.0) fame left his agency years ago to work freelance so he could navigate his career on his own terms. When openly gay director New of Studio Wabi Sabi approached him to offer the role of Pharm, Fluke very actually asked New if he was sure he wanted an openly gay actor in his series. This was a conversation that two openly gay men had! No sexualities whatsoever were hidden in the having of this conversation! Or in the public recounting of it later!

Fluke asked New this because there are still roadblocks for openly queer actors, and as a freelancer, he knew this. Some sponsors are hesitant to have a queer face on their commercials, and some of the industry’s upper management are old bigoted guys holding the purse strings. Why do you think so many of these guys have to appear straight-presenting?

Interfans contribute to the glorification of heteronormativity, too. How many times have I seen interfans lusting over the KinnPorsche actors as “real men” or excusing Joss’s myriad issues over the years because he’s “so hot”?

How many femme actors are given roles with complexity? How many are shunted into comedic roles or tragic figures? How many interfans point at Pharm and complain that He Cries Too Much? You’ve all seen it. “P’DEEEEEAN.”

Regardless of what interfans claim to want, the series that tend to do best nowadays feature straight-presenting actors. Bad Buddy, 2gether, My School President, KinnPorsche, etc.

Ironically, the series that lean hard on queer themes tend not to do as well.

So you can see why most choose to keep at least a veneer of heterosexuality or else keep the glass closet door closed.

New cast Fluke and Cooheart in Until We Meet Again because Studio Wabi Sabi was both agency and production company owned by New, and New could do whatever he wanted. SWS was very much a safe haven for queer actors of all levels of openness.

And regardless of my complaints about New’s directing and perpetual insistence that he do all the editing and sound design himself (stop, man, I’m begging you, learn how to delegate), he has been working for years to create a welcoming space for queer actors in an industry that is still extremely cautious, and I’ll always respect him for that.

As much as people love to hate a corporate body, GMMTV’s myriad flaws are more based in the categories of “terrible organization” and “poor management” and “haphazardly throwing a thousand medicore, half-baked projects at a wall until one of them sticks by chance and then celebrating that surprise hit into the ground”—not “forcing their actors into the closet.”

As far as I’m aware, the only khuujin (“imaginary couple”) in the industry who’s Openly Dating is PorscheArm, and they were already out and together before the fame, so they’re more Public Figures Advocating for Social Progress than they are BL actors. I’d say ZeeNuNew are borderline, because while they seem increasingly more cavalier with their subtlety, even they’ve been excruciatingly careful in their labeling over the past few years. (“Are you a couple?” “You could call us that.”)

And there’s a reason for the caution. Things are changing for the better, but progress is slow.

In an early, post-SOTUS interview from 2016, infant actors KristSingto were point-blank asked by TV hosts if they’re “normal” with a heavy insinuation that they’d be mocked and laughed at unless they asserted their heterosexuality in front of a live audience. Not exactly a warm and kind environment to say, “Actually…” As the first in the line of fire, KristSingto were constantly bombarded with invasive questions and suspicion and homophobia, and it’s only been nine years since SOTUS aired.

Now, you’ve got the evolution of hosts making lewd innuendos at khuujin and trying to “trick” them into Coming Out for content. Yet, all the khuujin seem to know how to play the game Juuuust Right to avoid saying anything concrete and damning, leaving just enough crumbs for fans to pick up on and enjoy.

Because look how the few openly queer actors are treated. Bruce Sirikorn Kananurak’s best-known role is framed villain Aey in Lovely Writer, and Gun Korawit Boonsri is regularly cast as Sassy Gay Side Character. Cooheart gets variety in his roles, but he’s with Studio Wabi Sabi under New, an openly gay CEO who famously allows his actors a ton of freedom in their image. And it says a lot to me that Cooheart didn’t make the move over to GMMTV along with his colleagues last year.

So, y’know, of course I’m not saying GMMTV is paradise. While he was with SWS, Boun said he wanted to get tattoos but New advised him against it because it might have limited potential roles. So New didn’t forbid it, he just cautioned Boun against doing it. Meanwhile, he implied recently that he’d like to dye his hair blond again, but GMMTV has to approve things like that. Hence, you’ll hear about some GMMTV actors who just get a tattoo done or cut their hair without telling anyone and then they show up for work with an insouciant shrug; the beg forgiveness>>>ask permission move.

So GMMTV does have some stupid public image rules, and they have also discouraged certain actors from interacting with each other in case it drives their profit margins down (see: The Chronicles of Management Driving KristGun Apart—I’m making a post about it, don’t worry). And I’m sure the Grammy Powers That Be go ://// if a GMMTV actor says, “Hey, I’m thinking of telling the world I’m bisexual tomorrow,” and go, “Maybe don’t though.” It’s just not something they’re Contractually Obligated to hide; it’s more common sense.

Like I said, GMMTV’s real crimes in my eyes are things like 1) repeatedly trying to push men like Foei and Joss who’ve proven themselves to be toxic nightmares to women and queer people over and over throughout the years, 2) overworking their most popular actors to physical and mental exhaustion, 3) barely promoting their GL productions despite their obvious popularity, 4) shoving their Not Singers onstage with zero vocal training, 5) prioritizing trends over quality, 6) having Zero Plan of what to do Most of the Time, 7) hiring on more and more actors without hiring enough managers to support them, and more.

There’s no “you gotta be Heterosexual-Presenting or else” clause in their contracts. They’re just actors in a conservative Asian country where marriage equality has only recently been recognized, and that’s not even close to having social equality. Plenty of western actors don’t want the extra baggage of being Openly Queer (see the Kit Connor debacle), let alone in a country controlled by military and monarchy.

Thailand isn’t a queer paradise.

Hell, look at Japan: they invented BL and GL and their government isn’t even close to recognizing marriage equality. To the majority of Japanese people, BL and GL are embarrassing subgenres that “Normal People” (ie: what heterosexuals are called in Japan—yes I’m serious) would never publicly admit to enjoying. I know this because I was a Queer Foreigner in Japan for eleven years and my whole existence was weird.

As far as I’ve heard from friends who work with GMMTV, it’s a far more progressive company than many interfans give it credit for. Many of the staff are openly queer, a ton of their directors are openly queer, and their actors who are queer are either open with the understanding that there are limitations to that choice or closeted to protect their job opportunities. Once you’re Openly Queer, you’re pushed into a very different and much smaller box, and they all know it.

So y’know. GMMTV actors aren’t All Straight, and the ones who are queer aren’t Closeted by Force. GMMTV is just a company of people with a wide tapestry of nuance, just like you’d expect from any large organization of artistic and business folk producing queer media for a general audience.

In 2025, let’s please abandon the myth that GMMTV is an evil kpop company. <3

It’s a sloppy, poorly run nightmare factory. :D

EDIT: Also, director X confirmed on Twitter last year that GMMTV has no anti-dating policy.

#thai bl #thai gl #thai ql #gmmtv #studio wabi sabi #domundi

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chaos0pikachu · 1 year ago

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Is BL Being Overly Influenced by Modern Western Romance Tropes?

Short answer: No. anyways, in the following essay I will explain that James Cameron is a weeb...

(okay fine~~ lets actually do this)

TLDR: discussing what media globalization is, how fandom can distill it down to only American/European cinema, showcasing how a lot of current BL is influenced by countries within it's own proximity and NOT "the west" but each other, also James Cameron is still a weeb

I had seen a post that basically proposited that BL was being influenced by modern western romance tropes and had used things like omegaverse and mafia settings as an example. I found this, in a word, fucking annoying (oh, two words I guess) because it's micro-xenophobic to me.

It positions western - and really what we mean by this is American/European countries, we're not talking about South American countries are we? - cinema as the central breadbasket of all cinema in and of itself. Inherently, all following cinema must be in some way, shape, or form, influenced by American/European standards, and as such America/European countries are directly responsible for cinema everywhere else, and these places - namely non-white countries - do not influence each other, nor have their own histories in regards to storytelling or cinema and do not, in turn, also influence American/European film making either.

Now like, do I think all of that~~ is intentionally malicious thinking on behalf of folks in fandom? No, so chill out.

I do, however, think a lot of it is birthed from simple ignorance and growing up in an environment where ~The West~ is propagated to be central, individual, and exceptional as opposed to the monolith of "Asia" - by which we mean China, Korea, Japan don't we? How often in discussions of Asian countries is Iran, India, or Saudi Arabia brought up even tho they are all Asian countries? - or the monolith that is South America - in which some folks might believe regions like the Caribbean and/or Central America belong to, but nope there both North America.

Anyway, what we're talking about here is the concept of "media globalization":

"The production, distribution, and consumption of media products on a global scale, facilitating the exchange and diffusion of ideas cross-culturally." (source)

"The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. [...] the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. [...] Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient’s culture." (source)

Typically when I see fandom discussing what falls under MG the topic is usually focused on how "the west" is influencing Thai/Korean/Chinese/Japanese media.

Enter, Pit Babe.

Surely Pit Babe was influenced by Supernatural right? Omegaverse is huge in the west - love it, hate it, meh it - it originated in the west - specifically via Supernatural after all.

Nah.

Omegaverse has been popular in Japan and China for almost a decade, if not longer. The earliest omegaverse manga I can think of is Pendulum: Juujin Omegaverse by Hana Hasumi which was released in 2015, almost a decade ago.

(what if you added furries into omegaverse? WHAT IF?? - Japan)

There's countless popular omegaverse manga too, and the dynamics only moderately resemble the ones we're familiar with in the west. Juujin is part omegaverse and part furry/beastmen - the alphas are all beastmen the omegas are humans - while something like Ookami-kun Is Not Scary only slightly resembles omegaverse dynamics as a hybrid series - beastmen are really popular in Japan in part b/c of historical mythology (you see the combination of romantic Beastmen and Japanese culture & folklore in Mamoru Hosoda's work The Boy and the Beast and Wolf Children).

Megumi & Tsugumi (2018) is so popular they're an official English edition published by VIZ's imprint SuBlime and that's a straight up omegaverse story.

(look at the omega symbol on the cover loud and proud baby)

So if Pit Babe was influenced by anything, it certainly wasn't "the west" it was Japan, Korea and China. Because those countries have a thriving omegaverse sub-genre going and have had such for 10 plus years now. Supernatural is popular in Japan, yes, and that may be where Japan and Japanese fans originally found omegaverse as a fictional sub-genre.

HOWEVER

Japanese fans took the sub-genre, bent it, played with it, and evolved it into their own thing. As such, other countries in their proximity, like Thailand, China, and Korea who read BL and GL manga, found it and were like "hey, we wanna play too!"

(is that an omegaverse yuri novel I spy?? yes, yes it is)

When I watched the Red Peafowl trailer, it had more in common with Kinnporsche, History: Trapped, along with films and shows like: Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, Lee Chung-hyeon's The Ballerina, Baik's Believer & Believer 2, Yoshie Kaoruhara's KeixYaku, popular Don Lee films The Gangster, the Cop and the Devil and Unstoppable alongside BL manga like Honto Yajuu and Bi No Isu (probably one of the most well known yazuka manga to date).

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Like, we're seeing a rise in mafia based BLs and people think that's because of "western influence" and not the absolute insane success of kinnporsche??? Especially in countries like China, Korea, Taiwan, Philippines and other Asian countries???

Mafia films and gang shows aren't even that popular here in America/Europe; don't get me wrong, they still get made and exist, but the last full length film was The Irishman which did not make it's budget back, and while Power is still on-going it's not a smash hit either. The heyday of Breaking Bad, The Sopranos, The Wire, Goodfellas, and Scarface are long gone. And if you've watched any those shows or films they have very little in common with Kei x Yaku, Kinnporsche, or Red Peafowl in tone, or style.

(who knew martin just wanted to make his al pacino/robert de niro fanfic come to life all these years?)

Another example, The Sign, which is clearly taking inspiration from Chinese costume dramas: Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again, and previously mentioned cop dramas.

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Like, I know y'all don't think Twins is influenced by, what, American sports classic Angels in the Outfield?? Gridiron Gang?? Rocky?? Nah that shit is inspired by the popularity of sports manga like Haikyuu!!, Slam Dunk, Prince of Tennis (which even has a Chinese drama adaption), and the like. And also probably History 2, & Not Me but I'm like 87% sure Twins is just Haikyuu fanfic.

So like, does this mean that there's NO history in which American and European cinema influenced these countries? What, no, obviously that's not true, American/European totally have had media influence on countries like Korea, Japan, etc.

Astro Boy by Osamu Tezuka considered "the father of manga" was inspired by Walt Disney's work on Bambi. Another more recent and prominent example is director Yeon Sang-ho and his film Train to Busan.

"And it was Snyder’s movie [Dawn of the Dead, 2004], not the 1978 original, that filmmaker Yeon Sang-ho recalled as his first encounter with the undead. “That was when I started my interest in zombies,” Yeon said, in an email interview through a translator from South Korea. Even today, he added, “it’s the most memorable and intense zombie movie I’ve ever seen.”" (source)

HOWEVER, the global influence doesn't stop there. It's not a one-way street. Yeon Sang-Ho was inspired by Zack Synder's Dawn of the Dead, a remake of George Romero's own work, but Yeon Sang-Ho's work has inspired countless Korean film makers to make their own zombie media; following Train to Busan there's been: Kingdom (2019 - current), All of Us Are Dead (2022), Zombie Detective (2020), Zombieverse (2023), Alive (2020), Rampant (2018).

And hey, wouldn't you know it now we're starting to see more zombie media coming out of places like Japan (Zom 100 the manga, movie, and anime) and High School of the Dead.

Do you know what Domundi's series Zombivor (2023, pilot trailer only) reminds me of? It's NOT The Walking Dead (which is the only relevant zombie media America has created in the last decade) it's Korea's All of Us Are Dead (2022). Comparing the trailers, the settings, the tone, it's clear where Zombivor is pulling inspiration from: Korean zombie cinema. NOT American zombie cinema.

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In fact a lot of Domundi's shows - Cutie Pie, Middleman's Love, Naughty Babe, Bed Friend - are all very clearly inspired by Korean filmmaking, specifically that of romantic kdramas from the 2016 - 2020 era. Not always in story, but rather in technique.

This is media globalization. It's not simply ~The West~ influencing non-American/European countries but countries who are often more close in terms of: proximity, culture, and trade are going to have more influence on each other.

It is far more likely that Aoftion (Naughty Babe, Cutie Pie, Zombivor) was influenced by watching Train to Busan, All of Us Are Dead, and other Korean zombie shows and films than a single episode of Walking Dead.

My point isn't that this goes one way only, but rather it is very literally a global thing. This includes American and European film makers being influenced by non-American and European cinema.

Martin Scorsese, Steven Spielberg, Darren Aronofsky, Christopher Nolan, the Wachowski sisters, George Lucas and James Cameron have all been influenced by Japanese film making, especially the works of Akira Kurosawa, Satoshi Kon, and Mamoru Oshii.

John Wick's entire gun-fu sub-genre is heavily influenced by classic Hong Kong action films, specifically John Woo films. Legend of Korra, The Boondocks, Voltron, Young Justice, My Adventures with Superman are all obviously inspired by Japanese anime but animated by a Korean animation studio (Studio Mir). Beyond that, the rise in adult animated dramas like Castlevania, Critical Role Vox Machina, and Invincible to name a few are very clearly taking inspiration from anime in terms of style. The weebs that were watching Adult Swim's Inuyasha, Bleach, and Dragon Ball Z have grown up and are now working in Hollywood.

Okay so like, what's the point of all this? What's the issue? Since American/European cinema does influence et all cinema does any of this really matter?

YES.

I take contention with this line of thinking because it centers "the west" and our supposed individual importance way to much. Declaring definitively that "BL is being influenced by western tropes" and then including tropes, narratives, and film making styles that aren't inherently western and actually have major roots in the cinema of various Asian countries, removes the existence of individual history these countries have which are rich, varied, and nuanced. It removes the "global" part of globalization by declaring "the globe" is really just America and Europe.

It distills these countries down to static places that only exist when American/European audiences discover them.

BL doesn't exist in a vacuum you can trace the development of Korean BL to the development of Korean het dramas almost to a T. You can also trace their development to the queer history of each country and how Thailand interacts culturally with China, Japan, Korea, etc and vice versa. It also ignores the history of these countries influencing American cinema as well. Don't mistake "the globe" for only your sphere of experience.

Anyway James Cameron is a damn weeb y'all have a good night.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

#kinnporsche #pit babe the series #the sign the series #twins the series #red peafowl the series #domundi #gmmtv #chaos pikachu speaks #fucking a this was an entire essay #i should drop a ko-fi link cause good god damn #chaos pikachu metas #Youtube #pikachu's bl film series

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