#Fadel can say whatever he wants

[braceletofteeth]

✨ The first burger ✨

[fadelsburger]

THE HEART KILLERS (2024-2025) เขาจ้างให้ผมจีบนักฆ่า dir. Jojo Tichakorn Phukhaotong

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are not gentle, and contain meaning that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.

[sunsetsover]

i went back and watched first ep of thk again this time without being psychologically flashbanged every 2 seconds (which was only semi-successful tbh) and my biggest take away out of everything was that bison really gets off on power.

you can see it clear as day in that very first scene with the guy that they're targeting. this is clearly someone who has money and power - he's picking men out of line up like they're nothing more than clothes on a rack. but the reality is that bison is the one who's really in charge. bison is the one who has all the control. bison literally has this big, powerful man's life in his hands, and he really, really likes that.

you can see it in the look on his face when he shoves the guys face into his chest - he's disgusted, clearly, but he's also smiling. he looks so deeply satisfied, and why would he in a situation like that if not for the fact that he knows he has all the power in the world in that moment and is almost a little turned on by it. it doesn't matter that the other guy thinks bison's some weak little guy to be bought and given commands. it doesn't matter he's sitting there all smug thinking he's in control. bison knows the truth. that's enough. it's probably why he can so easily play along - that knowledge. that power. because really, what does it matter how rich or powerful someone is now that bison has him in his clutches? and what is that if not complete and total power?

you can see this desire for power and control bleed into other dynamics too. i think it's why he's so 'difficult' with fadel. fadel clearly loves and cares about him, and his concern is well meaning, but he does treat bison like a child. and to a certain degree it's probably warranted (i mean look at what happened at the karaoke bar). but at the same time between him and the little bit we know so far about their mother, bison's completely smothered. and sheltered (the guy doesn't even know how to cook a burger. they literally run a diner). and i think that has less to do with bison being inherently untrustworthy or reckless, and more to do with the fact that he just doesn't want to do what he's told. and i imagine in turn that made his mum - and by extension fadel - tighten the reins on him.

because bison, at least so far, seems to have really no control or even any say over his own life. he just does what he's told, either his mother or by fadel. he has no other choice really - it seems he has nothing and no one else. he's effectively trapped (which i think will be the catalyst in his and kant's relationship, bc kant is also trapped in a situation he can't get out of, but i digress) so he's rallying against their control over him in whatever little ways he can - causing problems, being difficult, being purposefully obtuse. i think bison is someone who knows he doesn't have any real power, and so uses what he does have to his advantage. he plays dumb and weak and naive and sweet to manipulate people and situations so he can get what he wants for a change. that's his power. and it seems effective enough, and he probably likes the little things that it can get him, but i think what bison really likes is the fact that he can make people bend to his will. sure he has to work for it, but the fact that he can have people dancing to his tune while being completely unaware of what he's doing is what he really likes. i think that's where bison's true power lies. and i think that that power goes straight to his head.

which brings us to kant. kant, who - at least in my opinion - bison thought was just another guy with a big ego who just expected bison to lay down and take it. like idk i just got the impression that bison was not super impressed w kant at first. and bison does try briefly to wrestle kant for the dominance/power that kant obviously thought was his to take (like the tapping to see who was going to go to who, and getting in each others face to see who was going to break and kiss the other first) but soon enough bison just lets him have it bc ultimately it's not that important. they weren't supposed to ever see each other again. he was gonna get off either way. but even so bison gave as good as he's got, making sure kant knew he wasn't just gonna lie down and take it. and i think that at some point bison kinda realises hey this guy is actually listening. hey he's kinda malleable actually. hey he's kinda putting on a lil show for me, taking his shirt off nice and slow. hey this is a lot more fun than i thought it would be. but at the end of the day he doesn't get his shit rocked by kant the way kant clearly gets his shit rocked by bison. bison literally put that man to sleep. kant's lying on his sofa all but twirling his hair afterwards. in comparison bison doesn't even seem particularly bothered about the whole thing until kant shows up at the diner.

but anyway my point is we pretty much know bison's desire for power is going play out in his dynamic with kant bc of the whole bdsm thing. imo this is going to be even more important if it does turn out that he knows/suspects kant's motives - which, after a second watch, i am a lot more likely to believe. it was just so obvious. of all the things bison could've been doing right then, he just so happened to be cleaning the windows? with a big mirror right next to him? yeah ok sure. but don't expect me to act surprised if we find out down the line that bison was behind the scenes puppeteering this whole thing with kant - and with his family too.

because really the question is if he suspects kant's intentions - which he clearly did, no matter how briefly - why would he not tell fadel? why would he not seek help? and i think the answer to that lies - again - in the fact that bison wants power. any thread of it he can grab onto he does with both hands, whether that be that killing or domming or pissing people (fadel) off. playing games with people's minds and lives in that way - even those of the people closest to him, even his own - really doesn't seem like that much of a stretch judging by his behaviour so far. i think he'd probably be rubbing his hands together like an evil little fly at the thought of everyone thinking he was dumb or naive or a liability when the whole time he's the one pulling all the strings. he's the one who has everyone's lives in his hands. he's the one keeping all of their asses out of prison while at the same time he's got the guy who's supposed to be his downfall tied up in knots (both literally and metaphorically)

and even if that isn't the case and bison really does have no clue what kant's up to, i still think he's loving the fact that kant is so desperate and eager to win him over. bc ulterior motives or not kant really was sooooo dickmatised by bison. even before chris got on his ass he was telling his bestie abt it like 'i didn't even get his name 🥺️ it's like i slept w a ghost 🥺️ he only exists in my memory 🥺️' like he was down horrendous for bison the moment he got him in that hotel room, and bison KNOWS it. he knows the power he holds over kant, and he loves that shit. he loves that kant ate that shitty burger just to stay on his good side and he loves that kant is so doggedly persistent in trying to be his boyfriend and he loves that when his big brother tried to scare him off kant didn't run or give up but instead asked him 'well how can i get him off our backs?'

and sure we know why. but does it really matter? bison just loves the fact that he can tease kant and not give him what he wants and still kant will just grin and continue to chase him, drooling like a cartoon dog who's just caught scent of a freshly cooked steak. it doesn't really matter why: bison loves power and he loves how eager kant is to give it to him. that's why it's really not that shocking their relationship veers into bdsm territory. kant already seems more than willing to give bison whatever he wants, and what bison really wants is power (and freedom, but we haven't really seen the depth of that particular want just yet). of course kant's going to give him that power, no matter what that looks like.

(but while we're on the topic, i'm really interested to see the dynamics kant and bison adopt the next time they have sex. we know they venture into bdsm territory eventually, but if bison introduces that into their sexual relationship right away (excluding their first time obv) i'm gonna be really side eyeing that little guy bc it's like oh? why are so desperate to be in charge? is it bc you know that guy thinks he's playing you and you wanna see how far he'll go to get what he wants? is it bc the idea of you having this man - this man who thinks he's playing you for a fool - blindfolded and tied to your headboard makes you feel drunk with power? is it bc the idea of hurting this man who's trying to hurt you and him wholeheartedly LETTING you gets you off like nothing else? bc if that really is the case we're reaching unprecedented levels of horny i fear)

anyway this post was just supposed to be a little thing about bison getting off on power i didn't meant for it to turn into a character study/ted talk on his relationship dynamics but here we are lmfao anyway i love bison already i wanna dissect him in a lab <3

[bird-inacage]

The Heart Killers: Character Interviews (Kant/Bison Focus)

So this proved to be super interesting. Let us see what can be gleaned from these brief little interview segments with Kant and Bison.

Immediately, I'm struck by how serious and stoic Kant comes across. He has a very mature aura, and is quite hard to read (which I guess is a plus considering what he gets up to). I didn't expect this, based on how flirty and forward he appeared to be in the trailer, and that makes me wonder if it's all part of a persona he's playing. Or whether the real Kant is in fact more measured and introspective, and Bison just brings out his playful side?

A notable trait that gets signposted repeatedly is Kant's care for his brother Babe. I believe Khao has made a similar comment about him being family-oriented. It makes a tonne of sense to me as to why Bison would be drawn to a 'family man'; someone who has strong family values, when Bison's essentially been rejected by his own.

"My goal in life is to make sure my brother grows up into a good man. I want to make sure he doesn't feel like he's lacking anything. We're all we've got right now." "I just live day by day, just keeping with my goal which is making sure my brother grows up well." This is so telling of Kant's mentality. Not only does it suggest that Kant is a stand-in parent of sorts, but that he doesn't live for himself. (Which could be something of a parallel to Bison - who is unable to live by his own rules). His goals centre entirely on his loved ones' needs being met and supporting them. This definitely gives provider with self-sacrificing tendencies.

"I feel like my goal is just to make sure my loved ones get to live their dreams. For now, I just want my brother to have a good life. But one day, if someone comes into my life and I love them, my goal would be to make sure they get to achieve their dreams." And yet another selfless, touching sentiment. The desire to aid your loved ones to actualise their dreams, possibly before or over your own. I expect Kant will be a very doting, nurturing soul. (Lucky Bison).

I wonder if Kant and Fadel will empathise with one another over their respective little brothers, and the sense of responsibility that comes with it. Bonding opportunity perhaps?

The most mysterious thing Kant says is "One more thing I'm not a big fan of is the beach." (The reason is personal). Curious. First has specifically talked about filming on the beach, where they were able to do a lot more improv. Any speculations on the above are wide open.

Now let's move onto our resident Murder Kitten. I've always said that Bison reads as a real sweetie-pie based on everything we've seen thus far. He's very animated and expressive. Khao very deliberately uses a softer, lighter vocal register as Bison, which just accentuates this cute, darling image. A real child at heart who wants to make up for a life he didn't get to lead. "I go out, I'm just trying to live outside the burger shop." His childhood dream about seeing the northern lights is just another example of a boy who has daydreamed of escape, and welcomes any excuse to be as far away from his actual life as possible. He also mentions being fond of a stray cat who resides near their burger bar, who he enjoys feeding and playing with. This precious boy, I cant. (Note: I need to have scenes of this in the show PURR-LEASE).

Everything about Bison as a person feels at odds with his violent lifestyle, which seems to be a central conflict in Bison's character arc. It does beg the question of what if Bison had never been adopted, what kind of life would he be living instead? And I think this drives Kant's desire to fight for Bison's chance at a new start. A boy with big dreams meets a man who wants to realise them. What a match.

Another comment we've heard before in the pilot is "I also don't like liars", no doubt foreshadowing the fallout when he finds out Kant did exactly that. I do think it's likely that whatever drives Kant to take the detective job has reasons to do with his own brother. He may wish to clear his record of anything untoward for his brother's sake. Based on this premise, when Bison does find out why Kant did what he did, I think that will help soothe any hard feelings.

On a side note - I've seen a comment mention that Kant apparently calls Bison 'kitten' in the novel. ERM HULLO?!! I will allow one spoiler, and that is whether this is true or not. And if so, I DEMAND that it is a featured pet name in the show, because why on earth would you miss an opportunity like that?!

You can keep tabs on bird-inacage’s BL meta directory for other long-form posts around The Heart Killers, which I'll be updating as the show airs.

[bubbipond]

My favorite character thus far is Style and let me explain why. The main reason is that he is ridiculous and being used as a foil, for now. Granted he may have more depth to come, but as of now, he’s a foil to all three main characters. The most he has in common is that he’s a liar and does what he wants. But the difference is, he doesn’t do it for some big thing that is detrimental to his livelihood. He thinks it’s some kind of game where he can be the winner and doesn’t care that it could mean hurting Fadel. In comparison to his bestie and their killer babes, Style isn’t really anything like them. He doesn’t have some huge ulterior motive that leads him to being a dick, he hasn’t gone as far as Kant to make Fadel like him, he doesn’t even have some heinous job. For the most part, he’s the most normal character we have seen so far. But how long can his character last this way? Foils don’t necessarily have to stay foils the entire story, and I’d argue, when the character isn’t a villain, they rarely stay foils. So when do we start to see this character break down?

Interestingly, his bravado only seems to work in a setting where he has the highest upper hand. Before learning the truth, he had all the juice in the world to do whatever he needed, but now he’s falling apart. Maybe all four characters have a connection or maybe Style is just meant to be the character in the story that brings in some light. Either way, he is a fun addition to a dark world. Sure, he now plans to help Kant but, how much of that is laced in actually caring about subject matter? We have already seen that he is nosy and just wants information no matter the cost (a big one at that, you dumbass). But we have yet to see Style in a place where his vulnerability plays a role in his character.

Now that he knows the truth, I believe we will start seeing his characters bravado fall apart even more. There is no way Fadel is going to be painstakingly in love just over sex and him showing up everywhere. If anything I find it suspicious that Fadel caved so fast. Kant seems to think his bestie is just shameless because that’s how he is. But I have a sneaky suspension that Style isn’t meant to be a foil for long and so I can’t wait for this character to open up more.

But also I just don’t wanna have to listen to yall complain for the 3rd year in a row that dunk is such a terrible actor because it’s exhausting. And quite frankly some of yall be in his comments being bullies but that’s all imma say about that. 🤡

[foundhomehere]

I don't believe in Fadel's confession or him agreeing to being Style's boyfriend that easily.

First things first, he was telling Bison against dating literally like a day ago, and then suddenly someone like Fadel becoming someone's boyfriend is definitely sus.

Also before this scene, he was actually mad at Style for showing up to the grief support group, yet again. Not to forget that he brought Style all the way to the woods and disappeared for a good while before the whole "confession" happened.

Also as per his words, he "hated having to miss Style". However, at the gym scene later he was absolutely unfazed and unbothered that Style insisted on leaving suddenly (the same Style who has been all up Fadel's business all this time).

picture receipts as added:

It's not possible that he'd not even question this act of Style once but be calm about it.

Also, Fadel as a character is not that simple. He has closed off thinking with his heart a long time ago, knowing how it can negatively affect (and potentially endanger) his life. For him to suddenly be all lovey and emotional with a person he doesn't really trust, is beyond his character. Not to forget the fact that he knows Style and Kant are friends, and he 100% doesn't trust Kant, no matter what Bison says. Oh and also, with Keen looking out in whatever Fadel Bison does (and Fadel knowing this), you'd bet Fadel will be a lot more careful than we are show in today's episode.

And in the end, this damn expression of his. The slight subtle smirk. This man is not blind in love. He knows what he is doing and knows what he wants.

In conclusion, Kant should not be overconfident about his plans and actually be careful & mindful of what he is doing. Cause let's be honest even if they are in on the same plan, Style's chances of surviving Fadel Bison's wrath is much higher than Kant.

[motelroomjesus]

whooo I finished ep 4 and 5 of The Heart Killers

I still don't like Kant, I'm warming up to Bison, still obsessed with FadelStyle, and I want Style carnally.

I'm also really interested in how they're using the music and soundtrack to emphasize the emotions of some scenes.

This post is about to be longer than my usual since it's covering two eps but anyway

Spoilers under the cut !

Me when I overanalyze my BL:

First and foremost, that pat down scene in ep 4 where Fadel maintained eye contact with Kant as he searched him... How do u put that there and expect ppl to not imagine things, Jojo..... 😫 Even the goofy music in the background couldn't dissuade me from thinking they should hate fuck ☝️ but anyway

It's very obvious that while Style isn't fully committed and his feelings for Fadel are just starting to bloom, he definitely wants that man. Atp where we are in ep 4 he's obviously lusting after that man (face economy, body tea). I mean he gave him, apparently, the best sex of his life in a grief meeting storage room. He let the man cut his little crop top off. The lust of it all is so real. But I think now, after the chase, after spending more time with him, especially after hearing how Fadel was asking where he was, he's pursuing Fadel with more sincere intentions and I think he truly wants to know Fadel more. And lord have mercy, that scene in the woods.

That scene in the abandoned warehouse in the woods, aside from the iconic "I don't like that I miss you", is when I first noticed the soundtrack specifically highlighting the emotions. Now, I know soundtracks are meant to do that but I think they're doing it in a really fun way IDK They put a lighthearted cute, and low-key hopeful, little tune over a heated make out and handjob. It felt like it reflected their emotions in that moment really well and how the audience is meant to see the scene. It's not just a hot and heavy make out session because yay official, it's an indicator of a turning page, especially for Fadel. It's a signal that he can get butterflies in his stomach too, even with his enormous walls and stoic mask (defense mechanism), and I'm sticking to that interpretation. I love u my emotionally and sexually repressed little hitman.

And then Kant came in and decided NOW is the perfect time to finally tell his friend that oh yeah ur new bf is a hitman. It's not even that part that actually annoyed me, it's the little quip when Style says gunman instead of hitman. Like I'll kill u with a gun Kant. 😭

I fear I may never truly warm up to him, he is so annoying to me. 😔

Okay so ep 5, I kind of warmed up to Bison. He's cute he's fun, he's totally ignoring his instincts about Kant even tho he knows better. He seems less than helpful in most scenarios though, but whatever

There were two scenes that caught my attention and they were obviously meant to:

1) Kant and Bison post coital cuddles

2) Style and Fadel's intimacy towards the end of the ep

I'm mostly talking about the music again and the intentional use (or absence) of it. During the KantBison scene, when Bison is being so gentle with his kisses and telling Kant tender words, the music reaches a subtle crescendo once Bison says he feels like his life is changing since he met Kant and the camera lands right in Kant's distressed face. It was a great way to signal that Kant is gonna face the music very soon. I found that fun and I had to rewind a couple times just to make sure I wasn't making it up in my head. Could just be a transition sound choice, but I'm reading into it.

The KantBison scene felt like a big contrast next to the FadelStyle scene to me. At this point I think they're both feeling more than they're letting on for each other. Fadel and Style's night is, mostly, quiet. There's no backtrack for the most part. Fadel is splayed out in the bed just watching Style take his shirt off, exposing himself more than Fadel, and caging Fadel in by crawling on top of him. Style is on top of him kissing him, doing what he wants to, and Fadel is letting him. Style is telling Fadel that he wants to be trusted, he wants more from Fadel and he's willing to wait for him to be ready. He means it. And I know there's the component of this all starting for some car and Style now being aware of the reality of the situation but I think that's the point. That's the point of doing this specific scene with the absence of a backtrack until Style starts getting actually frisky. When Style is saying all of this and kissing Fadel's scar, we only listen to his words, their breathing, and their kisses. It's bare bones, but that's the point. To bare it all.

Did I read into that too much? Maybe! but idgaaaaffff. I'm eating this shit up and having fun dissecting things that maybe don't need dissecting. :P

I think it's obvious I'm more invested in FadelStyle than KantBison.... zorry! They put me-targeted drugs in FadelStyle. It's not my fault. 🧍

[thatswhatilikebruh]

My honest review is that; fadel and style's first time was very meh- very 5/10. NOW I know JOONGDUNK can put thier whole pussies into a love scene!! (hidden agenda is an amazing example of that) and I also know, that their other very intimate scenes(the sauna, style imagining fadel dancing for him and, that ICONIC masturbation scene) HAD INCREDIBLE, AMAZING CHEMISTRY LIKE-

SO HEAR ME OUT GUYS -

I feel like this scene really was made to look like that, I feel the choice here was DELIBRATE.

WELL- at least from Style's perspective...Now hear me out... what if... style really was a virigin???? LIKE-- that boy has no problem touching someone's titt or dick (because it has been already established, that he is shamelless and has no understanding of PERSONAL SPACE) buT NOW SOMEONE ELSE IS FINALLY TOUCHING HIM SO INTIMATELY! So lustfully i would even dare say!

I feel like my boi really had no idea what was happening, and just decided to let fadel do whatever he wanted, however he wanted (is it possible that they kept the original version from the THK book? Spoiler alert; DONT READ IF YOU DONT WANNA BE SPOILED BY THE BOOK

,,,

,,,

,,,

style was a virign there before he slept w fadel,,, and lowkey was depressive after their first time).

I feel like this makes more sense,,, IDK im severly sleep deprived im gonna go sleep

[justwriting]

THK episode 1 rambling thoughts

I am obsessed with this show. I have watched episode 1 five times! And I am absolutely in love with all 4 main characters.

I am not good at writing in-depth analysis or meta of any series as I tend to take things to literally sometimes. However, several things that strike me:

Kant and Fadel are more similar than we (I) think: Fadel with his job as an assassin by night and chef by day is precise with whatever he does. One only needs to see when he cut those tomatoes perfectly and carefully prep the burgers. Similarly, Kant as a tattoo artist means he needs to be meticulous and patient when he designed + apply those tattoos on his clients. Both also clearly love their brothers and willing to do die anything for them - including letting said self being blackmailed multiple times by a shady cop or moving your entire life hood/business to another town cause your beloved baby brother went bonkers during a drunken karoake session. Both also internalised their problems and project calm externally - although Fadel comes across as broody (but handsome) while Kant appears more affable (also handsome!) because of his flirtatious nature. Nevertheless, this is one of the reason why I think Kant & Fadel clashes (apart from Kant wanting to boink Fadel's baby brother) - they are too similar in nature and knows how the other operates.

Style and Bison are chaos incarnates and gremlins to the core. While Style may come of as ridiculous and bold, he is sharper than he looks. The fact that he can get under Fadel's skin so quickly means he clocks on what irritates Fadel and just roll with the punches without fear. Similarly, when Style told Kant he will only hit on Fadel if Kant gives up his precious car? That is him checking out Kant's interest in Bison because he knows how much Kant adores that car. Bison despite his sweet look is cunning and knows how to play to his strength. We know he has Fadel wrapped around his fingers. And while Kant may be the one flirting (at this point), Bison is the one pulling the strings. Even from their first one night encounter, Bison sets the pace (and tone) - from declining to give his name to boldly stating "You're not doing this solo, you know?". Plus while he seems receptive towards Kant's flirting (later on), Bison is constantly watching Kant's moves and calculating in his mind how much he wants to trust him.

Fadel and Bison relationship as brothers - they are polar opposites. However, it is obvious Fadel loves Bison even though he does not truly understands his lil brother. Similarly, while Bison may rebel, he ultimately obeys his big brother. After all, he wouldn't have asked Kant to win Fadel over if Kant ever wants to date him. May I also add that both Bison and Fadel are broken in some ways and it will be interesting to see their background story as the series progresses. I also personally think while Fadel is more stoic on the outside, he also has the gentler/fragile heart when compared to Bison.

Kant and Style are crazy - the former knows Bison is a hitman but still decides to seduce him (even with him being blackmailed, you can't convince me that is enough reason to proceed with the seduction). Style does not know Fadel is a hitman - however, the fact that Kant does not feel the need for his best friend to know of this important fact tells you a lot about how bold and fearless Style can be.

Kant, Bison and Fadel have control issues - in some ways they are all powerless and have no say on how to live their live. From Kant being frequently used by the police to do their dirty job to Bison/Fadel being raised as assassins. So, it certainly will be interesting to see how the 2 couples face their lack of control - some people have already theorized the BDSM scenes we will be seeing from KantBison stem from the need to have/give up control and it certainly seems to be heading towards that direction.

Either way, I am enjoying the cat and mouse game both couples are playing (although Fadel is clearly an unwilling participant at present). Both sides are convinced they have the upper hand, but I think all 4 are actually on a more even plane than they themselves realised.

[the-sky-the-stars-the-sea]

Gonna say I really liked episode 4. It was a perfect mix of comedy, romantic moments, and “something more is going on here.”

There were so many times I was laughing this episode. Like Style showing up to Heart burger and Fadel just. Cuts his shirt open.

As well as whatever the heck ^ this was.

And how can I forget when Style finds out he was hitting on a gunman? “Hit man.” “That’s not any better!!!”

And I loved all the scenes where Fadel was looking for Style and he wasn’t there. Like, sure, he didn’t want that guy in his life, but gosh darn it he’s missing him now.

And I loved it when Kant and Bison went to find out who had been bullying Babe, and they more than resolved all the problems.

And now Fadel and Bison know that this guy had something to do with the death of their parents…

In short, I loved the episode!! 10/10 it kept me engaged, the pacing was great, and it helped remind us about all that’s at stake. Can’t wait to see what happens next!

[ropebunnykant]

i feel like fighting off people who think fadel and bison are in on it together to try and figure style and kant out are just fighting off people who aren’t paying attention. cause like even IF pin theory is true and even IF fadel has complete ulterior motives in saying yes to style, it’s so clear they’re not actually formulating this plan together??

like yes fadel tried to tell bison to take care of kant but they literally tell each other they’re dating their respective guys in the same scene and neither of them seem under the impression the other has ulterior motives? if anything fadel would probably be a lot happier for bison in that scene if he thought he was being more cautious, but the whole thing is that even though bison DOESNT trust kant, he’s very obviously not letting fadel in on that. like he even brushes fadel off about kant drugging him and then proceeds to ask kant that directly! like whatever is going on, they’re not working together on it, and bison especially is not about to let fadel knows he thinks kant is up to something.

and same honestly goes for thinking fadel was faking the confession, like god no i don’t think he trusts style, but we quite literally see fadel missing style throughout the episode. we KNOW he was being honest? he can not trust style and also genuinely have feelings for him and want to be with him. that’s very clearly where both the brothers are at.

the only part of that theory that has any actual validity is the pin but even that i’ve been over would be a dumb place for bison to place a tracker or bug because he has no control over what kant does with it. it’s much more likely he’s placed one in kant’s apartment or car or something like that, somewhere HE can control. like seriously y’all think mr. control issues would use something he has no control over to keep tabs on kant? absolutely not!

[absolutebl]

Hello! I hope you started well into the new year. :)

I don't know how quickly you always watch the ongoing BLs but I have a question about the newest episode of Heart Killers today.

In the very last scene I heard Bison going to rude pronouns (understandable with his emotional turmoil) and he kept it in the preview for next week.

Would you expect him to keep using rude pronouns since he now started with it or use formal pronouns again? I think if I heard correctly in the crying bit of the preview he used pom again?

I think I see it in a different light than it comes across to Thai native speakers because in my language once you start with the rude or rather intimate pronouns you would never ever go back.

Also, is Kant quite a polite talker in the show? Since he uses polite pronouns even when Fadel uses rude ones, even though I think he's younger than Kant. Or is it iyo so he doesn't mess up the mission or even out of fear?

Thanks as always for taking the time to answer my brain's questions.

Take care! 😻

Honestly I'm not sure, my temptation would be to say a new entry like rao would be way more significant than a simple return to khun.

I think, regardless of actual age, since Fadel is Bison's older brother and wants to put Kant in his place, he's intentionally using rough language to show his bravado/power. But Fadel is also kinda crass and curt anyway as a character.

Without any negotiation over actual age dynamics or further indication of a positive attitude from Fadel, Kant wouldn't dare use phi/nong, so he has to stick with khun. He has no other option with Fadel.

Sure it's polite, but Kant is also, quite frankly just acting like a normal proper adult. It's the other 3 who are all over the place.

You can think of Kant as a bit more of a gentleman. Basically a polite talker, but also behaving himself as a functioning member of society. Less fringe. It's possible it's all performative, or it's possible Kant is just like that (or became that way after prison/whatever). We don't know. He's been a lying liar who lies this whole show - his politeness may also be a lie. He is, so far as we know, all facade.

Unless he gets stripped all the way down to the bone on all levels (not just fear, which is all we got in ep 7) I'm not sure we will ever know what Kant truly feels (or would truly speak). Which is why a switch to something like rao/ter would be hugely significant for him. He'd have to make the choice, though, not Bison.

In other words, I think Kant's politeness is also a kind of protective shell, a weapon against showing his true self.

[secriden]

This line. God, this line! It has been eating me up inside for 2 days now, because let's not forget, this line isn't about love, it's about trust. And that has implications that make me want to scream.

It's a direct reference to this moment earlier in the episode:

At the start of this discussion, Style and Fadel still have a kind of playful air about their conversation:

Style: Oh? Not even me? Fadel: You're at 80% at best. I feel like you're hiding something from me in the 20%.

In this exchange, though, there's a sense that Fadel is issuing a challenge, like there's something specific which Style can do to gain Fadel's full trust. And while Style knows there are things he cannot (yet) reveal to Fadel, I think a part of him is determined to be as honest as he can be, which is why he issues a challenge of his own by asking for more specificity:

Style: What do I have to do to gain your complete trust?

Part of this question is a simultaneously inquisitive and deflective - What (and why) do you think I'm hiding (something) from you? - but there's also a moment after Style finishes speaking where he stills and goes quiet that feels... genuine, weighty. Or, as @airenyah has pointed out in her meta on Style in episode 4, the "grounded[ness]" in Style's demeanour is a signal that Style means what he's saying in the moment. Maybe about his own desire to be worthy of Fadel's trust, maybe about how he genuinely does want this relationship to be real in whatever way that matters to Fadel.

I think Fadel sensed that too, because the moment looses all the lightheartedness it had before. Fadel pauses, and then gets a look on his face that just... breaks my heart. There's a sombreness there, like he knows he's going to have to say something that makes him sad. Fadel looks away, and then down, before he seems to steel himself and says:

Fadel: It'll never happen. No matter how much you love someone, I just don't believe that you can completely lay yourself bare in front of them.

Fadel says this like it's fact. Like what he's expressing is something foundational and true and irrefutable. It's not even about his doubt in Style's honesty, because this statement has no qualifiers or conditions put on it to connect it to Style. Rather this is what Fadel fundamentally believes about relationships and trust: he finds the very concept of being fully known and still accepted an impossibility.

Sure, maybe this is because of the falling out (or betrayal or disappearance) associated with the former lover; but I also think it might be because Fadel is acutely aware not only that he's hiding a rather big and dark secret (not to mince words, but: actual literal premeditated murder), but also about what it implies about Fadel. Because being able to kill another human, coldly and clinically and without remorse, takes a certain type of person. Because, yes, Fadel has lived through an absolutely harrowing and traumatising event (his parents' murder), but it's also undeniable that it changed him. Because there's something about Fadel that twisted dark and which he never quite got back. There's an anger, a hurt that colours every moment of his life; that enables him to look a man in the eyes, smile politely, and pull a trigger.

And at this point in their relationship, Fadel's understanding of Style is that he's... well, kind of innocent. Especially in comparison to Fadel and Bison, and even Kant.

Style, who easily reveals facts about his life which Fadel already knows (winning a car tuning competition), making Fadel doubt his own instincts about Style hiding secrets. Style, who also reveals the things Fadel doesn't know, like the tender and secret pain of a mother lost to cancer (which, now that I think about it, Fadel may also know) and his worries about a father who "lost his bearings for a bit" (which he probably doesn't). Style, who tries to comfort Fadel in his own loss by offering a safe space and a sympathetic ear.

Style, who doesn't just see Fadel for his tragedy, but is asking to be given the chance to accept all of Fadel as a person. Style, who not only wants but has the capacity, to be the only person Fadel needs to rely on. Style who, despite the sea of differences between them, understands Fadel on a level that is so very foundational.

I'm going to slightly segue and mention something that may not resonate with everyone, but really hit me in the gut this episode: because I lost my father when I was 16 after he battled cancer for 2 painful years. And this revelation about Style has totally shifted and coloured everything Style has done in a new light for me. Because not only does this totally explain Style's sometimes almost stubbornly childish demeanour (it's common in adults who've had to 'grow up' too early), but also why Style shows seemingly random flashes of insight and maturity when they are most crucial. Notably, Style has this almost instinctive sense of when he needs to back off a sore point with Fadel that I couldn't quite put my finger on until this episode.

I've seen a few jokes about Style's awkward subject change, but I've actually got a friend who I hold very dear to my heart who was one of the only people to give me a sense of normalcy and comfort when my dad was on his last few days and then at his funeral. And part of that was the instinctive way she would know when I needed to just. Not be a grieving daughter for a few minutes. To get a small respite from the overwhelming hopelessness and sense of impending loss. To get a moment to breathe and gather my strength, because knowing I was never going to see my dad again, or hear his voice, or hold his hand was tearing me apart back then. Sometimes she'd talk to me about college drama, sometimes she'd introduce a new kpop video to me, sometimes she'd just ask me what I wanted to eat and take me to go have a meal with her. And sometimes there really just isn't anything else to say other than "I'm sorry." Nothing you say - nothing you can say - is going to ever, ever make this grief go away, and in most cases, it was better when people (especially those who couldn't really understand) didn't try.

And I think if you look at Fadel very closely, there's a moment of genuine surprise (Fadel wasn't expecting the subject change at all) and then... something that looks like fondness mixed with exhausted relief. Because I don't think Fadel was ready to talk about his parents yet. This was honesty he wasn't ready to give Style, mostly prompted because Style himself had willingly been so vulnerable that a part of Fadel wanted to reciprocate. But further down that path lies not only his darkest memories, but also the connection to the part of his life he is not willing to share with Style yet. So this subject change is a relief, it's a blessing, but it's also Style knowing when he shouldn't push any further with Fadel's fragile heart.

Which brings me back to how well the episode's theme of trust (both deserved and undeserved) was woven in this episode. This is true on multiple levels and characters but I'm not even going to attempt to touch Kant in this post because... Lord, that is beyond me at the moment. Someone else needs to do that, pretty please, so I can reblog it and scream.

It starts, somewhat unexpectedly, with Fadel asking for entrance into the intimate spaces of Style's life.

So, this episode was not about Fadel's fear of his own feelings, desires, or even affection for Style - that appears to be fully addressed in episode 4. I think that's why we see Fadel be so physically affectionate and indulgent of Style in this episode. He's come to terms with his lust for Style's body (hence his comfort in initiating sex), he's accepted Style as his boyfriend and so can enjoy Style's playful teasing (still reluctantly, but Fadel is still an introvert even if he's mostly enjoying Style's rambunctious nature), and give into Style's (and Bison's and Kant's) cajoling with relatively little fuss.

He's even comfortable toying with the edges of revealing his darker and more sinister side by reminding Style implicitly about how violent Fadel has the potential to be. Recall that Fadel knows Style knows some of his capacity for violence; he just doesn't know how very thoroughly Style is aware of the full scale of this truth. It does help that Style evidences no actual fear and, in fact, looks positively euphoric. Like, buddy, pal, dearest one... please control yourself.

And yet something very, very telling is the way the show makes it a point to depict Fadel very deliberately getting drunk during the double date. Even before the date has started, Fadel looks to be about half a beer in and we see him constantly drinking, drinking, drinking during the whole date. From the conversation about trust he has with Style while Kant and Bison are being off key and adorable about it, to after Kant leaves and Bison gets worried. And we've seen Fadel cope with emotional and mental distress with alcohol before, so we know that Fadel is internally fighting some kind of very intense battle even as he is also very clearly enjoying moments with Style on this date (most notably when they're dancing by the bowling lanes and when Style asks him to go home with him).

So here's my take: rather than being about love, this is about Fadel fighting to hold onto his own philosophy on relationships and trust. Because as much as I do believe Fadel believes he's telling the truth when he tells Style that 100% trust is "impossible", I think it's clear that's not what he wants.

What he wants is to finish this last job so that the only thing he can't be honest about with Style will finally stop being a factor in his life. What he wants is to fully and completely reciprocate the openness Style seems to be giving Fadel. What he wants is to switch off his brain and let his heart lead for once, to stop fighting a battle he has no desire to win anymore, only he can't. Trust (not love) is Fadel's final frontier, and one which he can't quite give up in spite of himself.

Which is why I think Fadel intentionally gets himself drunk here. Because he wants to let his guard down around Style. He wants to open himself fully, he wants to "lay himself bare" for Style, he wants Style to know the full truth and accept him anyway - and he gets so close, but can't quite get there - because he doesn't know that Style already has.

When Style says this, Fadel thinks it's empty words, not knowing that Style has long passed the bar Fadel thinks is insurmountable. And just like Style was able to offer safety and reassurance to the vulnerability Fadel was showing in episode 4, Style instinctively gets to the core of Fadel's darkest fears again:

Style: One day, I'll be your 100%.

This isn't (just) a promise that Style will wear Fadel's stubbornness down, or that Style will be worthy of Fadel's 100% (which, already, has me in tears, ngl). Beyond that, this is Style promising Fadel isn't ruined for this; that it isn't too late, that whatever hurts and wounds Fadel has can be made whole again. That the kind of honest and all-encompassing and unconditional trust which Fadel says is impossible can, in fact, be his. That Fadel still has the capacity to trust and be trusted the way he so desperately, painfully longs for.

I know a lot of people have said Style in this episode is writing cheques he has no ability to honour, but I think it's more layered than that. Because in a very significant and profound way, Style is wholly deserving of Fadel's trust. Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. Style is a man who would stare into Fadel’s darkness and reach out first. Strip away the complication of Kant being blackmailed and dragging Style into his mission, and Style is literally perfect for Fadel. He is exactly what Fadel wants (and possibly has wanted for a very long time). He is, in fact, exactly what Fadel needs to ever experience anything beyond the shadow of a life he's had so far.

But oh, the cruel narrative means that Style is also, simultaneously, painfully undeserving of Fadel's trust; and this is something Style is very much aware of. I think that's why he's trying so very hard to be worthy in all the other ways he can be. Style's awareness of what Fadel is hiding enables Style to (counterintuitively) be completely honest about his feelings for and about Fadel even as he cannot reveal his motivations. So he gives Fadel as much honesty as he can: offers the vulnerability of his own pain and hurts; the comfort of his true understanding and acceptance.

And just as Fadel's vulnerability in the abandoned factory was met with Style choosing a form of physical connection that prioritised Fadel's pleasure (it's made very clear that Style is jerking Fadel off and that all his focus in that moment was on Fadel, not his own pleasure), so too is this moment met with Style very intentionally choosing to worship Fadel's body with all the tenderness and genuine emotional weight that Style wanted Fadel to have in their first time in the storeroom.

Because, crucially, this was Style giving Fadel the chance to lay himself at least physically bare. This is the closest either of them can get to full honesty with the secrets they both are keeping. It's why Style tries so very hard to show the care and adoration and genuine feelings he has for Fadel. Why he makes sure that the vulnerability of Fadel getting himself as drunk and as relaxed and as trusting as Fadel can allow himself to be is tied only to gentleness and tenderness and pleasure.

Because Style actually knows that Fadel can't (and shouldn't) trust him in the way Fadel truly wishes to.

And as much as I believe that Style genuinely means this from the bottom of his heart, the horrifying full truth is that it is Style that has the metaphorical knife hovering over Fadel's chest. He is the one with the capacity to actually give Fadel a new scar that would truly matter. He is, in fact, the only one Fadel wants to fully trust -- and this, along with Style's compromised heart, makes it so that the circumstances will doom them both.

[sunsetsover]

im finally rewatching ep 3 and i remembered that i meant to make a post abt how captain christ is sus as hell. as in this whole scheme he's got going with kant to me feels less like a legitimate (or as close to legit as it can be given the circumstances) investigation into a string of high profile murders and more like some kind of personal vendetta he has, maybe even w lilly specifically. and i have no basis for that other than how odd christ's reaction was when kant told him fadel and bison have different dads. idk the vibes are just off. there's something not right abt him. the whole situation stinks.

speaking of lilly tho i don't believe for one minute she's got her sons out there ridding the streets of bad men in some act of vigilante justice. bison literally calls it out in the first scene, saying that he'd seen their next target helping poor kids on the news or whatever. and yeah ok bad men often do good deeds, and ofc lilly uses that to try to belittle bison by saying that he's always been easily fooled by appearances. which is a little on the nose given the whole kant thing, but i think that actually the point was that she's referring to herself. as in she's the one doing the fooling this whole time w her conditional kindness and her weaponised warmth. helping poor kids while doing bad things behind the scenes. yknow. a common modus operandi in these circles i'm sure.

anyways my original point is that she tries to make out bison is naive and silly for even asking but at the same time the reasoning she offers them for why that guy has to die is vague as fuck. 'he's the man behind corruptions, drugs, human trafficking, and so much more'??? she might as well have said he steals food straight out of the mouths of the kids he claims to be helping too seeing as tho we're just saying shit. like girl cmon. you're an entrepreneur. i know you've trained those boys not to question you at all but lets try a little bit harder queen <3

i also do think lilly had smth to do w whatever happened to fadel's ex and that that might be why he lied to her when she asked if bison is seeing someone. at least partially. if he knows what she's capable of in that sense then he'd want to keep that shit under wraps, not for kant's sake but for bison's. i've said it before but bison's ignorance only exists bc fadel has worked his ass off to keep it that way. i feel like fadel knows, or at least suspects, that lilly isn't the woman she wants them to believe she is. but ofc fadel isn't gonna tell bison that. ignorance is bliss, and even if it wasn't that's their mother. her and bison clearly have a (relatively) warm relationship. fadel wouldn't want to ruin that with the truth.

also i don't trust style's dad either. why include a character in the intro that is seemingly so unimportant? what the fuck is up with the whole 'boonterm' thing? style's dad is obviously at LEAST mechanic running in these 'bad guy' circles considering style had to drop off the secretary's car to her. which like. idk what kinda bougie ass mechanics rich ppl be having but having your car dropped off to you - by the mechanic's son no less - at some random host bar instead of having to go pick it up seems like special treatment. like maybe it's not just a simple mechanic/customer relationship yk

and u know what as i'm typing this i'm thinking about the spiderweb motif that occurs in the show, first in kant's tattoo and then with keen in the intro (and he has spiderweb tattoos too i think?) and how everyone speculated they may be exes and maybe they are. but like. i also think it's more than that. like i just think that in this show there are a lot of people caught in a lot of webs who haven't yet realised they're the fly, not the spider. yknow.

[bird-inacage]

The Heart Killers Trailer: Initial Observations (FirstKhao Edition)

I'd like to thank Jesus, Buddha, Santa, Thor, whatever holy BL spirits reside above, and all hail our lord and saviour P'Jojo. This exceeded my expectations of what was coming and then some. So here are my initial takeaways from the trailer that blew my head clean off.

General premise goes: By night, Fadel and Bison are assassins for hire, but they only kill who they deem are the 'bad guys' (most likely corrupt politicians, sketchy businessmen and the like). By day they run a seemingly ordinary restaurant. A cop asks tattoo artist Kant for his help is getting these two caught. He agrees on the basis that this will clear his criminal record. In order to keep Fadel distracted from his advances on Bison, Kant convinces his mechanic friend Style to woo him. I expect to see cat-and-mouse, games of deception type plot here which should be really good fun.

FIRST IMPRESSIONS: BISON

Aside from the fact that Bison kills for a living, he actually seems like a sweetheart. He comes across as the more jovial, friendly and optimistic of the two brothers. He has no hesitation in offering to make special accommodations for Kant's dietary preferences. He seems to fondly prod his brother to open up to people, and to allow 'sunshine' into his life.

Fadel says, "Because I'm selective, not easy like you". "In this line of work, don't trust people too easily", a signposted concern that his little brother may struggle on this front. Seems to make a point of warning him to use his head rather than his heart.

Bison also tells Kant that his trust once lost means the person is question may as well be dead to him. If he does tend to trust easily, any betrayal would be understandably much more hurtful in his eyes.

FIRST IMPRESSIONS: KANT

Kant's ulterior motive is what brings him to Bison in the first place. The two supposedly have a one night stand, which leads to Kant falling in love with him. Whilst both parties are hiding who they really are, and what they're really up to, Kant appears increasingly guilty and conflicted by this. "What if I'm not who you think I am. Would you hate me then?" But on the other hand his feelings of guilt go hand in hand with the knowledge that Bison's capture or downfall would be his ticket to get what he wants. A decision that has him trapped. He seems to question whether he should trust Bison and whether that will come back to bite him. "My brother always says, don't trust anyone too easily. Otherwise, you end up being the victim."

It also speaks volumes that a cop would approach Kant with this proposition. It means Kant is clearly very competent at what he does, and has side-hustled as a vigilante before. So Kant must be pretty cunning or smart. For example he appears to knock his knife off the table in the restaurant to test Bison's reflexes.

RELATIONSHIP DYNAMIC

There's definitely a connecting theme of secrecy. Their intimacy is kept in secret due to Bison claiming his brother will kill them both if he finds out. Bison is keeping his murderous activities a secret (for obvious reasons). Kant is keeping his investigative activities a secret.

We can obviously expect this to all come to a head when the truth is revealed and identities are fully out in the open. Can Kant accept Bison for what he does and his lifestyle, potentially forgoing the possibility of clearing his record, in order to protect him? Can Bison forgive Kant for hiding his true motives, and trust him again - at the risk of both himself and his brother?

There will be a clear point of convergence between these two, when Bison starts to consider changing his life, if it means staying in Kant's. This echoes how Kant wants to clear his criminal record, perhaps in an attempt to wipe his slate clean so he can finally move on from whatever life he led before. There's a shared vision of moving away from the lifestyles that are bad for us.

OTHER OBSERVATIONS

STYLE / AESTHETICS: One thing P'Jojo knows how to do so well is create a distinct sense of style and atmosphere. This man is a pro at combining the right set design, styling, music and ambience to create a really identifiable flavour that is instantly recognisable. The music in this trailer is a friggin' BOP.

THE EFFING TATTOOS: I will say this till the end of time, but First as Yok was one of my favourite things ever. And seeing First with tattoos again just made me weak in the knees in all the best ways possible.

LEATHER GALORE: Khaotung in leather jackets. That's it. That's my observation. And I was staring. Very appreciatively may I add.

Also, the fact that Khao, who looks noticeably dinky next to the hulking giants of this cast is called Bison. BISON.