#bl and asian markets

[waitmyturtles]

Hello Turtle,

What do you think of the Sky-Nani phenomenon? People seem to be crazy about them ^^ Do you think it's because they aren't officially a pair (even though that could be discussed since they are doing events and fan meeting together)?

Thanks

Hi Non! I'm sorry I missed this over the holidays.

There's a lot of theories out on the internet explaining the popularity of SkyNani. I didn't watch High School Frenemy, so allow me to first surmise (and hope) that these two just acted really well together.

I've thought about the SkyNani pairing a couple of times recently in the course of thinking about the present and future of the Thai Series Y genre (here and here). The western QL scholar, Dr. Thomas Baudinette, surmised in a tweet (.... that I am having trouble finding, forgive me, when I find it, I'll link it here) that SkyNani were popular particularly in Thailand because of the "authenticity" of their fan service -- their being realistic bros, as opposed to unrealistic pseudo-boyfriends. (My guess is that Baudinette gleans this information from Thai forums such as Pantip, but that's only a guess.)

In the two links I included above, I myself surmise that the SkyNani pairing is popular particularly among ultra-conservative and conservative Asian markets that still consume QLs or queer-coded media, as a means of fans being able to consume media that is not having an in-your-face conversation about queerness and queer themes. I propose that this is intentional on the part of GMMTV wanting and needing to serve markets (such as China, Malaysia, and Indonesia) that do not allow for in-person fan meets of consecrated queer-coded BL pairs, and have only welcomed solo fan meets from GMMTV artists.

(I don't know if other studios have bucked that trend. I see that ZeeNuNew have done fan meets in Hong Kong, but I'm not sure if other huge ships, like DaouOffroad and so on, have been able to conduct fan meets in mainland China.)

Being part-Malaysian, I want to note that Malaysia outright bans homosexuality, and the promotion of certain QL/BL artists in Malaysia and Indonesia never include public mentions of their QL series.

Yet, these are big markets for QL's growth, especially given the economic power of these fans to buy merchandise, streaming subscriptions, and concert tickets. So I surmise that GMMTV diversifying its pairings to include "bro-ships" is, for them, a good business decision.

It's concerned me, and other QL devotees here on Tumblr, that this trend could lead to a watering-down of queer themes in major QL productions. At the same time, I personally think that this won't be a universal trend -- because shows need to differentiate themselves from each other, and try out different queer themes and perspectives so as to set themselves apart from others in the wider market. At least, I'm hoping that's the case, and only time will tell.

Finally, some other rumors about SkyNani's popularity are that they're filling the "just friends" shoes of the OhmNanon ship that busted last year. This explanation doesn't quite fit for me, considering the very in-your-face queer conversations that Bad Buddy had. But I think it's interesting that the SkyNani promotional materials lean so heavily into the "friend" terminology that Bad Buddy created, and that GMMTV likely wanted to continue pursuing.

To be honest: I'm kind of curious about High School Frenemy, considering that I loved Fon Kanittha's work in 10 Years Ticket. But I am so behind on shows that it would take a lot for me to make time for HSF. However, I'm likely going to add it (without watching it) on the Old GMMTV Challenge list as a harbinger of the style of ships that GMMTV is playing around with in Series Y's second decade of existence.

[maybe-boys-do-love]

Actually kind of tired of seeing people qualify shows as QL or queer coming-of-age instead of BL when they’re perceived to depict any aspect of the gay experience beyond two guys just falling in love.

[moviesstoriesandbooks]

The only thing I'd like to add to the discourse is how Pattaya and it's nightlife (?) is a living breathing character in Moonlight chicken . It feels like how in HP hogwarts always protects its occupants, and help is given where it's asked for ; everything ends well .

I've never been to pattaya , but some shots , the making and enjoying of the local cuisine, liming riding his bike in the late night traffic , the festivals bringing people together , the common struggles of people living in and around an area ...

It's such a simple yet very heartfelt loveletter to pattaya , just like the chicken rice . Only minimal ingredients, but still a fulfilling and cozy meal to the hungry working class of pattaya. ❤️

[sonnburntskies]

I’ll never understand the appeal of fanservice.

Like, am I alone in absolutely not caring about celebrities real lives at all? I love the things they make (like the characters they play or the music they make) but I usually know next to nothing about who the actor/musician/artist etc. is behind it and I don’t want to. Those are real people, not content for me to consume. I want them to have privacy and I regard them as completely separate entities from the things they make.

Sometimes I feel like I’m the only one with this hard line separating fiction and reality.

[negrowhat]

Sangmin Dinneaw Ep 1 Elevator Pitch

Because the tag only has like 4 people talking about it and I want to talk about it with some of mutuals and strangers alike. Ep 1 dropped 6 days ago and I still have no one to talk about it with so here we go!

This is Dinneaw! He is a very cute young man who helps his beloved mother run the family homestay, 'Dinneaw Homestay'. He does quite a few jobs for the homestay which includes checking guests in and out, working as a barista at the homestay's cafe, and selling Dinneaw Homestay goods at the local market. Dinneaw's ultimate dream is to be a tour guide.

This is Sangmin. He's a handsome young Korean man who travels to Thailand and winds up staying at Dinneaw Homestay. He's actually lived there before at a very young age through some sort of foreign exchange situation. I'm not really sure how long ago it was exactly IQIYI subs aren't that reliable but sometime between one and two decades prior to his return as an adult. Judging by the way Dinneaw's mom talks about him, he's at least one or two years older than Dinneaw.

Unlike a lot of BLs we have seen that like to use characters from other Asian countries as a plot point, Sangmin actually does speak Thai. He's not expert in it, but he knows enough to have full conversations with the people around him. He does get mixed-up and stumped from time-to-time but that's okay.

Dinneaw does seem annoyed by Sangmin's presence but that is mostly because his mother seems to be a tad more fond of Sangmin than Dinneaw would like. Like she thinks about Sangmin daily and she misses him dearly and she immediately recognized him when he showed up again. In her defense though, Sangmin was kind of forced to leave her home and he was very young and she is a mother who took care of him so in her mind he's another son who's been missing for over a decade.

Anyways, Sangmin and Dinneaw have instant chemistry. Sangmin seems immediately interested in Dinneaw and smiles very happily every time he sees him. Dinneaw definitely seems attracted to Sangmin but he still finds him annoying and he picks a lot of fights with him. We do get quite a few scenes that display the chemistry between them...one being an insanely oily massage scene.

We also have our side pairing introduced already. Athit and Tor. They're both friends of Dinneaw and both own vendor stalls at the same market. Athit sells herbal liquor and Tor sells chicken meatballs. Athit already has his sights set on Tor and Tor is just happy to have a regular customer. If you recognize them it's because they also played a side couple in The Rebound.

Anyways the ep ends with Sangmin and Dinneaw sneaking out to go drink together so ep 2 is no doubt going to start with them getting drunk together.

Ep 1 was a good mix of comedy, flirting, slice of life, and the tiniest tinge of sadness. After y'all watch ep 1 of The Boy Next World slide on over and catch up with Sangmin Dinneaw, it will also be airing on Sundays on IQIYI.

[chaos0pikachu]

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).

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.

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.

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]

[piosplayhouse]

The horse is six feet under at this point I know but I still can't get over the gall of James Somerton correctly! arguing that Disney's lack of queer representation should be blamed solely on the company and not on the Chinese market, only to immediately fuck up any sort of logic he had in saying that by concluding that this is because China should be completely written off as a viable market because the government only lets people watch shows about communism and censors everything else 🤪 source: I shit you not, a right wing conspiracy theorist !! Since he doesn't actually know anything about the subject he's talking about, he's not actually making any arguments. He only mentions Chinese BL because the article he plagiarized did, and even then he has to punctuate it with a "audience of mostly STRAIGHT WOMEN! " of course, even though the article also acknowledges and has multiple interviews with queer Asian people who found comfort in the genre right below all the stuff he copied. There's no mention of queer Chinese artists or lesbian works or any sort of empowerment, probably because he didn't care to learn about any of them, and so rather than ending with what could have been a strong message about the persistence of queer identity even under political oppression, the video fizzles out into nothing with an aftertaste of "so Disney should just say fuck the Chinese and make whatever they want" (because yeah James sure that's the reason why Disney doesn't make gay stuff there's definitely no biases within the company itself or American culture) and "well at least we still have the Japanese and the Thai are making bl now!" Just the epitome of self-centered white saviorism. No real sympathy or respect for queer Asian struggles, just a reframing of a unique struggle with representation into "well I got mine so go get yours somewhere else" while he waits for them to spit out a work that he can regurgitate into a profit on his channel

[thebroccolination]

Hey so hi! Hi there!

Quick li’l baby gripe:

If there’s one thing I’d adore fans to stop doing in 2025, it’s dog-fighting the queer media industries of Asian countries against each other.

Yeah? Sound good?

Over the last several years, I’ve seen hundreds of English-speaking fans in the comment sections across all social media uplifting China, South Korea, Thailand, Taiwan, Japan, etc. only in order to dunk on another Asian country. This is 1) super unnnecessary, 2) rude, and, indeed, 3) a form of racism.

“China’s censored BLs are the best even without all the gross fetishizing sex scenes in Thai BLs!” (Note: “Fetish” is going on the top shelf until y’all learn what it means.)

“Japanese BLs are superior to the rest of Asia can’t beat the kings of the genre I’m so sorry everything else is subpar lol”

“Japanese BLs are so BORING compared to Thai BLs!!”

“Taiwan’s BLs used to be great but South Korea’s production quality is coming for y’all.”

Like???

You see it, right?

Simplifying a country’s entire queer media industry so you can use it as your own personal Pokémon to take down another country’s entire queer media industry is a phenomenally disrespectful thing to do with your internet access. Like, in the vast majority of cases I’ve seen, these are English-speaking fans who aren’t even from the countries in question. This isn’t “my country is better than yours,” which is a different, childish thing to do; this is, as far as I can tell, mostly western fans pitting Asian countries against each other like they’re sports teams.

Doing this undermines the incredible progress made in Asian queer media and perverts it into a game of fantasy football where people seem to be rooting for one country against another. This is so absurdly cruel and immature for no reason, especially when you’re a guest in these fandoms.

Going forward, I want to see more fans celebrating this beautiful genre. Cheering on the fantastic strides taken across all of Asia. To explore and consume the sheer variety of queer media coming out of every country, not just the most popular titles or the easiest to access. To delve into all the very specific political, cultural, socioeconomic, and historic circumstances behind each industry’s challenges and victories so you appreciate how difficult these series are to produce and market and protect for future generations.

Queer media is a miracle in a world ravaged by the homophobic aftermath and present influence of colonialism, and it only exists thanks to the tireless effort, courage, and passion of people who deserve our accolades. Don’t just passively take these series at surface value. Look into them. Look at the risks people are taking.

This is art and bravery and love, and if you’re going to be here, you should show these people the respect they’re due.

Leave this weird practice of pitting countries against each other in the past. Be part of the joy in everyone’s achievements.

For fuck’s sake.

Thank you.

🏳️‍🌈

[evilbeepthemeep]

You know after watching James Somerton's dog shit Killing Stalking vid, I don't know how people didn't notice the racism.

He literally just analysed it from a western culture lens and divorced it from the culture it did come from.

As well as refusing to do any research into why it's classed as a romance. Pretending that straight women and the publishers were behind the categorisation of it as a romance. When it was marketed as a Boy's Love manhwa in its native country of South Korea. Meaning the whole point was you are meant to ship the characters together. Plus Boy's Love is a genre for a majority female audience. Who are mostly queer in some way.

He also complained about the sex scenes. Like the sex is there for people to get off to. Because even porn can have artistic merit and be a horror story. Sex and horror go hand in hand after all.

The most egregious thing was him bringing up an interview Koogi did in 2018 while KS was still being serialised to prove it wasn't a love story. Completely ignoring a different interview she did in 2019 once the story was over to confirm Sangwoo loved Bum.

Throughout that god-forsaken video he kept mispronouncing the characters names. Like he kept calling Bum things like bomb and balm while also always calling him Yoonbum, when Yoon is actually his family name and Bum is given name. And forever saying Sangwo instead of Sangwoo unless I'm wrong about that but I doubt it.

His anti Asian racism is so fucking blatant the only reason people didn't fucking say anything because it was hating on a comic that they disliked for being queer in the wrong way.

So if you did like James Somerton and didn't notice the racism, please check your biases. Talk to those of us who are into BL as a genre and actually listen to us when we say it's not straight girls fetishising gay men. It's usually queer people who enjoy our media to be different from what the West has to offer. Most of us aren't white either.

And if you liked the Untamed, I'm sad to break it to you but that was also a BL novel written by a woman who wrote kinky gay sex.

[olderthannetfic]

Is there gay fiction that feels like fanfic of non-gay media, and if so how can I find it?

I can only find stuff that's very overtly in the romcom or dark fantasy genres (aka the only genres that visibly exist these days), where characters seem to be created to be titillating, but I wanted more like, normal dudes solving a mystery and falling in love along the way or something.

--

Well... there's my day job, nonnie...

But self-promotion aside, the terms you're looking for are "BL" or "m/m romance". The kind of thing you describe is mostly self-published by and for an audience similar to who uses AO3. Right now in 2024, much of it is on Kindle Unlimited and even more of it is ebook only.

A lot of it is more or less marketed as romance, hence the name "m/m romance", which tends to get used by the people not coming out of anime and other Asian media fandoms. (I think we should call all of it BL, honestly, but the more Western end of things is full of people who've never heard that term.)

Even the stuff promoted as "romance" will often be mystery novel series with a central couple rather than really traditional genre romance.

There is some queer mystery from traditional publishers. I have no idea what's big now, but there were various series with gay leads a billion years before other genres caught up. Some of it has more of a cis gay dude big US city culture, which does not feel like fic.

--

It sounds like you may be relying on mainstream publishers and paper books. For the content you want, this is a big error. Selfpub was vanity published garbage in the 90s, but some time between 2010 and 2015, there was a seismic shift as ebooks finally fully took off.

[maybe-boys-do-love]

Finished Last Twilight, and I'm not adding to the ableism discourse, because most things have already been said and with a lot of beautiful nuance that I agree with. But I do want to talk about how that ending arrived because of Aof Noppharnach's consistent symbolic commentary on the experience of living with HIV in much of his work, with an approach that's unique among all queer content. Imma skip Gay OK Bangkok since its not even a metaphor there, but I'll explain my rationale for the others, and we can just appreciate the foundation Gay OK Bangkok lays for us to think about the rest of his stuff.

The motif of life-saving medical intervention comes up in all but one of the works he takes screenwriting credit on. He's Coming To Me: P'Med dies originally because of a lack of medical intervention. 1000 Stars: Tian gets a heart transplant. Moonlight Chicken: this one's more subtle, but the whole series is explicitly established in the context of reopening following the COVID pandemic, and Wen will later say to Jim, "we are survivors." It was this line upon rewatch that made me start considering how thorough this theme is. Survivors of what? The meaning is three-fold: hard lessons in love, COVID, and, for gay men of their age, the HIV epidemic. The hope of medical intervention for Day's condition takes on a secondary meaning, with this trend in mind, even if the mixed disability politics between visual impairment and being HIV positive really fails.

His comparisons are more intricate though. Pills and daily regimens are a consistent motif. Day has his daily eye-drops, Tian his pills (which are presumably immune-suppressants to help accept the transplant but I'm not going to Viki right now and watching every ep to find out so someone feel free to correct me). 'But people take medicine for lots of things,' you say. 'Just because its gay doesn't mean its an HIV metaphor!' You have a fair point! But here's where Aof gets real fun and sneaky. P'Med dies from lack of pills the same year Torfun, whose heart will save Tian's life, is born, 1997. I'm mentioned once before 1997 as important for the class-conscious Aof because of the Asian financial crisis that Thailand set off that year. However, 1997 is also important because its the year HAART, or Highly Active Anti-Retroviral Therapy was first used in Thailand (it had hit the market only one year earlier). HAART, a multi-drug regimen, boosted someone's life-expectancy with HIV up by 15 years, and its side-effects were significantly milder than previous approaches. The medical conditions of P'Med and Torfun's heart point us directly to HAART, and what it could offer.

Now we're moving out of the medical and into the experiential connections because, while Dark Blue Kiss is the only work Aof chose to take credit for screen-writing without incorporating medical references, it is by far the most dense with references to the issue of concealment. Its in the narrative as people closet identities and hide relationships, yes, but its in SO much of the visuals, too, most obviously the Pete & Kao mug hidden inside its coozie. It's easy to see the surface story about gay visibility and the closet, but there's a more specific subtext here about the associated condition that intensified the stigma of being gay and how that impacts your sense of self. Bad Buddy explores this issue less, but even in the BL Bubble, its haunted by the stigma of homophobia--it just shuffles it over onto rivalry so the audience can experience it without reproducing it.

However, the grief and shame of surviving when others haven't haunts Aof's other works much more intensely. Jim and Tian both are hung up on guilt for someone's death that they did not actually cause, continuing to pursue the goals for those that passed rather than their own. Then, there's Thun and P'Med, which is the best allegory for living and dating with HIV, bar none. It goes into the feelings of stigma and the limits of physical intimacy with partners that living with HIV caused, especially prior to Truvada's introduction in 2004. Even then, the show depicts how a HIV negative partner maintains the choice to participate in their own regimens, as Thun's desires for physical intimacy with P'Med manage their relationship and never the other way around.

This sense of required separation and gay identities that are less sex-focused also play into oft-maligned motifs in Aof's work. He's talked explicitly about people's criticisms of the limited physical intimacy in his earlier works that led to the more prominent stuff in Bad Buddy, but I hope given the above context, we can appreciate why physical intimacy is less of a priority than other kinds (and I'd add that 1000 Stars, which got the most sh*t about it, is actually one of the most erotically-charged BLs out there because of it's restraint). Then, you have the finales where characters separate for periods of time, and while I don't see this as explicitly tied to HIV experiences (Aof is literally following the book of romcom beats there, even if everyone whines about it), I can't help but appreciate a tangential connection to loving beyond time and distance that was required for those who lived with or lost loved ones to HIV.

I would've loved to see a version of Last Twilight that didn't absolutely bungle its metaphor, because it had every element to be something great (except, I'm sorry to the fans, lead actors with the necessary queer romantic chemistry). Watching the last episode, when the show seemed to finally rediscover plot and pacing, all the other pieces that had been drowned out by the disability conversation peeked their heads out, and I saw what the show wanted to be. The topics related to living with HIV of stigma, survivor's guilt, and assistive technologies: they were all right there, not just for Day but for everyone, if only they had been given the proper time to marinate to develop more complexity. It's the rare instance of a show where I'll choose to spend time imagining what could have been rather than obsessing over what was or just moving on. Even a misstep from Aof, like this, is overflowing with so many more layers than most series. The failures of Last Twilight, in relationship to his other works, even let you see how much food for thought he's providing.

[scarefox]

The way some people straight up deny soft criticism of the BL industry (stuff that isn't even a secret if you don't close your eyes and ears!!!) Criticism by literally LGBTq people working in said BL industry in Thailand..... basically one of the only ones who's voice are most valid here in this discourse. That's not hypocrism of people working in the industry to open their mouth! That's called self-awareness and using this genre to convey a message and trying to fix issues. This is about Step by Step and Lovely Writer atm. But those are not the only dramas who brought up some critic but somehow people get salty now about that little poke from SbS? Did you sleep the past 3 years?? And it's not a coincident that it's always the same topics certain BL dramas brought up!

I feel like some people here don't get that you can criticize your own work place, your own industry, your own country WITHOUT hating, shaming or demonizing it completely! Yall need stop this black & white thinking and the constant urge to feel personally attacked by something like this...

Especially the message of LW (the same people who make SbS now) was that there is nothing wrong about loving BL stories and they do like producing them. BUT that there are some things in the industry that are bad and harmful NOT ALL OF IT, SOME THINGS! Like the treatment of actors and certain topics by companies and producers. And the main theme of LW: the toxic overstepping and overcontrolling shipping culture that can (and did) destroy real life relationships / friendships under the weight of the pretend relationship (pretend as in they are not dating for real (everyone knows that! or should know that! this is also not even a secret if you watch interviews outside of the fun and couple game shows) at least in most of the cases.... in some rare ones yes, in some very rare cases some actors actually date but they are too afraid to come out due to homophobia and the way the industry & fandom treats those cases (source Dr. Thomas Baudinette who studies the industry as a form of queer asian media and interviewed companies and actors since years... somewhere in this he talks about actor relationships, I can't find the time stamp atm))

ALSO the point about exploiting the LGBTq community is NOT about the fans or LGBTq audience who love these dramas. But about businesses and literal Thailand itself. For using those stories and actors / couples for advertising, for marketing, for tourism even. BUT at the same time some don't care for real life LGBTq issues and rights or the fact that Thailand is still not agreeing on equal marriage (which is not just about them not being able to marry but they get denied a lot of things married couples get. alone the fact that they can't see their partner in the case of an emergency in the hospital because 'they are not family'). In the said SbS scene they were literally discussing which pretend couple has the most fans and how they could use their fandom and fan clubs to gain profit. Don't you guys get how fucking frustrating this is for the LGBTq people and allies who work in the BL industry, to get paraded in front of the camera for money and image but still don't get treated equally??? THAT is what they mean with exploiting.... And it's a lot of producers, writers and some actors who voice those points, not just these few self-aware BL dramas. But doing it through the medium they adress is the best way to reach the right people, to make the right people aware and ask for their support. Since they can't say such things directly (even though they should) unless they want to lose their job, they still like to a degree.

And I am sorry but the opinion of actual thai people who are inside that industry is more valid than some random fan who just doesn't want to understand those things in order to enjoy their shows without feeling bad.... What if I tell you that you can do both and that this is not about shaming you or making you feel guilty (unless you participate in toxic overstepping behavior or are actually LGBTq-phobic, then yes feel guilty)! Acknowledging issues, supporting to fix those issues and still have fun with these dramas and actors.... Those things can and do coexist and nobody said otherwise!!

[bl-bracket]

Anyways I was going to make a post about the process of picking bracket topics and whatnot and was trying to come up with some examples of types of topics that would or wouldn't work and for whatever reason I thought of the concept of a "best murderer bracket" and I can't stop thinking about it lmao

it's just like such a funny concept? the idea of fictional murderers battling it out, especially ones from bls (which like I don't think is most people who are not super familiar with the genre as having a lot of characters who have killed people) is just funny in like an absurd way. like abstracting yourself from tumblr and tournament blogs, the idea of telling someone else that there's a tournament going for fictional murderers from east asian mlm tv shows, a genre that for several years was primarily shows about high school and uni students.

anyways that devolved into thinking about it more seriously, and then deciding a more practical way of doing it would to make some kind of directory of bl murderers. which would then lead to a lot of interesting statistical analysis, like characters with highest on screen kill counts, which countries have the highest proportion of fictional killers, etc. you can then make a separate category for characters with implied kills that aren't explicitly shown on screen or vague. and you could track how the number increases over time, which I assume exponentially goes up as more bls are exploring darker and more serious genres.

anyways back to the country stats, I started thinking about what the breakdown would look like so here's my guess based on zero research and just my general knowledge of shows

China. While having very few bls (censored or otherwise), they have a very unfair advantage and that is genre conventions. The 3 biggest Chinese bls I can think of are: The Untamed, Word of Honor, and Guardian. With The Untamed and Word of Honor, the conventions of xianxia and wuxia genres means that there are a lot of characters and almost all of them have killed before (usually nameless canon fodder but still). And then with Guardian, it's a supernatural detective mystery show with murder plots in it and a lot of characters, which again leads to a pretty high kill count. So even only counting these 3 shows, China will probably have the most killers in bl, or at the very least most kills done.

Thailand. It's a numbers game on this one. There's just so many Thai bls and an increasing number of like detective or mafia ones. A show like Kinnporsche has a lot of killers and deaths. Then there's other shows that include a few murderers (but less than Kinnporsche) like The Sign, Manner of Death, 4 Minutes, 3 Will Be Free, Never Let Me Go (Palm did shoot a couple guys dead elt's nto forget), Dead Friend Forever, etc. However the numbers also hurt Thailand in terms of proportions, since there's a lot more Thai bls that don't have murder, so it actually might be 3rd.

Japan. You're not getting much murder from your Cherry Magics and Old Fashion Cupcakes, which is what a significant portion of bl fan's primary exposure to Japanese bl is, but let's not forget that there's a lot of dark Japanese bls where murder is definitely on the table. Now I don't actually have a good gauge of what the numbers on this is, cause I haven't really delved that deep into this corner of the bl market, so I can't make a good estimation but I bet there's more than I'm aware of.

Taiwan. They've got a couple of mafia shows like HIStory 3: Trapped and Kiseki: Dear to Me, both of which have some implied and explicit murder (though less then you would expect if we're honest). That'll give them a few kills and they also have a relatively smaller pool of shows to pull from, meaning percentage wise it's a bit higher.

South Korea. Ok I am far from an expert of bls from South Korea, but unless there's like obscure short films I'm not aware of, the only drama I can think of from here with kills is Long Time No See? or I guess The Director Who Buys Me Dinner has like 1.5 murders? anyways Korea also has a not insignificant amount of bls to their name so proportionally it will be quite low.

The Philippines. Out of all the countries on this list, I am least familiar with the bls from here, but from what I've gathered during my routine mdl searches, basically all of them seem to be murder-free (unless of course there's some shocking plot twists in them)

anyways I'll probably never do this project just cause it would require a lot of time and collaborative effort and I've got a lot irl going on right now (hence why the submission period for most whipped is so long lol) and also have some other projects I'm already planning on doing so I don't really have time to do it. but I wanted to tell y'all about my thoughts on the matter.

also sorry if this is the weirdest thing I've ever posted. kinda had a major stress breakdown today but then resolved it relatively quickly cause I realized I could just reschedule the life altering appointment that was causing the breakdown lmao so I'm in a strange frame of mind lol

[impala124]

So, after I put this ask into the world and went back to minding my own business, @lurkingshan was kind enough to answer it and tag a few of her friends to share their thoughts on the matter. Thanks to everyone who interacted with the post.

In addition to this thoughtful post from @starryalpacasstuff , I feel that in order to understand the near absence of queer media in the Indian media landscape, people need some context as to what the ground realities are in India like.

Decriminalisation of homosexuality in India happened in 2018. In an unanimous decision, the court overturned its previous ruling and declared that any law that criminalises consensual sexual conduct between adults of the same sex is unconstitutional. The public backlash wasn't that huge, but a prominent member of the ruling party questioned if the courts are willing to legalise sexual intercourse with animals in the name of personal liberty.

To understand the relatively less public outrage in this scenario, we need to look at how Indian society functions. Indian culture is very collectivist in nature and having individuality is strongly discouraged. If something becomes a threat to them continuing their traditions, they'll try to beat it into submission. It isn't to suggest that people can't/won't change, it just takes time. As long as something isn't out in the open, they can just ignore it and go on about their lives. PDA is not a common thing in India even between heterosexuals. So, the chance of anyone being 'exposed' to homosexuality is close to zero. Landlords are already wary of renting apartments to guys who live together - the reasons they give is that men won't maintain the house properly, neighbours will complain because of noise, etc. So, nothing significant changes in the life of a layman because of this decision. Housing discrimination isn't faced when its women that are living together (disregarding religion and caste). The bitter truth is that housing in India is deeply segregated on the basis of religion and caste, but that's a discussion for another day.

The big fight will happen when the gays ask for marriage equality. As of 2024, same-sex marriage is not legal in India. The courts have said that existing laws have to revised in order to extend marriage equality to the homosexuals and that process has to go through the Parliament. Given the current state of Indian politics, no political party is going to put marriage equality on their election manifesto.

Keeping all of this in mind, I understand the reasons for the sparse queer media content we've seen in India. Once I started talking to others, I realised that I've severely underestimated the number of teen girls and young adults who watch BLs from several East Asian countries. The producers/creators really need to grow a backbone and create the content that clearly has a market, they are leaving money on the table. In the meantime, we need to engage with the existing queer media to give them irrefutable proof that the audience exists!!!

[waitmyturtles]

Turtles Catches Up With Old GMMTV: Not Me, and Negotiating the Romance Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I offer thoughts on Not Me, GMMTV's first BL that decentralized romance to share space with an issues-based storyline.]

Yes! I feel like getting to Not Me on the Old GMMTV Challenge list was a touch of a milestone, as I engaged a good number of friends (including the wonderful @wen-kexing-apologist, @ranchthoughts, and @chickenstrangers, when we're not talking about Only Friends, ha) on their love and/or appreciation for Not Me.

Not Me falls into the sub-echelon of BLs on the OGMMTVC list that navigated romance storylines with what I call either issues-based storylines (as we also see in The Eclipse), or other genre-based storylines (such as crime storylines in Manner of Death and KinnPorsche). Manner of Death was the first of this kind of BL (or maybe it wasn't a BL?) to appear on the scene, premiering on WeTV, and Not Me was GMMTV's first foray into this world.

I'm going to break down this review into a couple of potentially non-congruent parts, and I hope this all comes together. I'm going to take a look at:

1) How successful Not Me was as a holistic story, facing competing sides from its issues-based storyline and the need to incorporate a romance storyline for OffGun/SeanWhite,

2) How the in-built sponsorships of the show reflected on the issues-based storyline that Not Me was telling, and

3) In an attempt to tie these two together, whether or not the DanYok storyline specifically was helpful or detracting from the success of Not Me as a complete drama.

I admire both Nuchy Anucha and Golf Tanwarin (of Not Me and The Eclipse, respectively) for tackling BIG issues in their BL-centered shows. From a narrative infrastructural perspective, I cannot imagine the writing and directing of these shows to be easy. I've learned a TON about the Western romance genre from @lurkingshan, my drama structure guru par excellence, because honestly -- while I've watched a lot of Asian dramas in mah day, noting which dramas nail it by either being rooted in or inspired by the Western romance genre in terms of their fundamental elements is something I'm still new to. (Thanks to @lurkingshan and @neuroticbookworm for reviewing this post in advance for accuracy!)

When I was first putting together the OGMMTVC watchlist, my general assumption about Manner of Death and Not Me was that MoD was not a BL, and that Not Me was a BL, by way of pure genre definition and the marketing of OffGun as the shipped leads of Not Me.

I discussed in my MoD review the debates between whether or not the show qualifies as a BL, and honestly, I think it's up to the eye of the beholder (and I had a lot of fun debating both sides). To me, MoD is first and foremost a very good and intriguing crime story (written by the EXCELLENT screenwriter, Title Nirittisai, also of the EXCELLENT BL, He's Coming To Me), regardless of the BL label/definition. And the romance between Bun and Tan (led by the wonderful MaxTul) was, to me, the icing on the cake of the successful crime story, not central to the solving of the mystery of the plot, but certainly a driver of the dramatic lift and impact of the show (and OF COURSE, it helps that MaxTul are just chef's kiss with their chemistry).

My drama friends and followers of the OGMMTVC know from my passing notes that I had quibbles about the structure of Not Me, keeping in mind that Manner of Death was able to decentralize romance while still keeping the BunTan coupling as a driver of the drama as a whole. After the first five episodes of Not Me, I was wondering.... what exactly am I watching here?

I admit: I'm not the biggest fan of anarchy, and extreme political movements as a whole. I'm more of an advocate for long-term change, and coalition-based advocacy. (I also experienced misogyny while engaging with anarchists back in mah day, and just -- that left a bad taste in my mouth.) It didn't sit right with me that multiple men in this show -- Black, White, and Gram, specifically -- all did not engage Eugene (played by the wonderful Film Rachanun) in prior explanations to their future actions. Generally speaking, when I see male anarchists either portrayed and/or acting in real life like that, I tend to check the fuck out.

I think that Not Me spent more time than necessary demonstrating that at the start of the series, these guys were acting out of their own set of uninformed and/or ill-informed concrete beliefs. What I did appreciate was that the show, over the course of the series, had the guys experience change by way of education (especially through their conversations with their classmate, Nuchy), and by the exposure to new minds in their space, namely White's approach to anarchic tactics being different, more measured, and more thoughtful than Black's. I think all of the guys (.... maybe except for Yok, but I'll get to that in a bit) ultimately demonstrated a much deeper and more intricate understanding of the complications of their beliefs, and how power functions in capitalistic societies, by the end of the series.

I spoke with @bengiyo and @lurkingshan when I was watching the series the first time around about how I felt the romance storyline of SeanWhite was a bit too fast in its implementation -- especially because, again, the first five episodes were so issues-based, and even the majority of episode 6 was based in the attempt to raid the drinks manufacturer.

But, @ranchthoughts reminded me that the first indication of Sean recognizing that White might be a man that he could love was at the start of episode 6, at the end of Gumpa's fake kidnapping raid -- when White said that he'd sell out his friends for the sake of saving Sean's life, and implored Sean to value his own life, which is something we could not imagine Black ever doing.

Thanks to @ranchthoughts's note, and a close rewatch of episode 6, I agree with her (thank you, Ranch!), and I think the series's transition to the SeanWhite romance through episodes 6 (the raid), 7 (the protest and the equality celebration) and 8 (the sleeping face-touching and the first kiss) was not as clunky as I first had experienced. Referencing @lurkingshan and @neuroticbookworm's notes to me (thank you, ladies!), it's also important to note that in relation to Sean's huge family loss earlier in his life: his hearing from an empathic person about the value of his life may not have been a message that Sean had previously been given.

All that to be said, though -- it's clear that Not Me had issues with that transition, if I had to rewatch the episodes to catch those nuances. Especially because an indication that this show either would be a romance (which it wasn't quite, exactly) or an issues-based show (which it was and wasn't), all wasn't very clear, even to the end. @lurkingshan and @neuroticbookworm, in the course of my writing this review, noted that parkour was an important piece to the storytelling -- I agree with that, and I might even argue that the early depictions of it (along with the cute dude pile, gotta love a cute dude pile) seemed to indicate a story moving away from romance and more towards an issues-based perspective.

While I spent a lot of words on this, I do feel that this a minor quibble, especially as I rewatched some episodes and I TRULY enjoyed AND LOVED the OffGun dynamic. Y'all know that I wasn't sparing in my critique of Third in Theory of Love, and I have to say: Gun's Third did not show his range. Gun was AMAZING IN NOT ME. I now know what y'all are talking about with his acting. His White VERSUS his Black -- oh my god. Brilliant. He kicked fucking ASS, and convincingly demonstrated character differences between White and Black. (I need to see Gun in more roles like that!) And also! I am an admitted Off girlie (cc @lurkingshan). And Off totally held it down in Not Me. I thought he was FANTASTIC, and despite the storyline not holding his transition to SeanWhite as smoothly as I would have liked, I think he held it together for a convincing deep-in-love posture by the end of the series. (And I must give it to OffGun for managing a fabulous intimate scene, which I know from @bengiyo was rare -- if not the first time that GMMTV had a sex scene in a BL. OffGun were fantastic, and I'm glad they held the mantle for that moment.)

And of course, OffGun gave us one of the most iconic moments in Thai BLs, one that I have loved going back to time and time again in the course of my processing this show.

(Source: @namchyoon!)

So -- speaking of a show being issues-based, I want to take a second to talk about the in-built advertisements in Not Me, from the Suzukis (POWER YOU UP!), to the Oishiis ("it's cold and fresh"), to the soy milk, everything.

Like I said earlier: I think Not Me demonstrated the growth of the guys in their education about the efficacy of their original anarchic tactics. Sean himself states that with White by his side, he will continue to fight for what's right. Not Me doesn't mince words with the issues that it examines -- but it does so alongside these in-built advertisements.

As an #old, I gotta hand it to Nuchy and team. I appreciate that the showmakers did not flinch away from the reality in which this show was made. I'm glad it was sponsored all over the place -- of course it would be, as an OffGun vehicle. The reality of a global capitalistic society was placed starkly AGAINST a dialogue of the pitfalls of that very kind of capitalistic society. It was a WELCOME juxtaposition. We literally could not have watched this particular show if it wasn't for the sponsorships -- who knows if it would have gotten made. I appreciate that this show demonstrated the kind of slow change -- that we NEED to make change in a world that doesn't change very quickly -- up against the stark political messages of the show itself.

I think that's sophisticated commentary. It didn't shy away from reality. For me, the show was summed up beautifully by Nuchy in the finale.

If I were to translate what Nuchy is saying here by way of the nature of the society that we have: we have rules in place. It's our biological predilection to want social order. We have customs in place -- like advertisements for shows. Can we change the paradigm on a dime? Not always. I thought it was courageous of Not Me to place those advertisements next to potentially hot political commentary (especially for a Thai government and conservative society that doesn't always take well to critical commentary) and serve it up to BL fans and drama fans alike, many of whom are younger and can contemplate positions like anarchic frameworks -- and to be creative about how to make good change happen from those positions.

(With this point, I wonder if it was truly Not Me's influence that allowed GMMTV to feel comfortable in its decision to air The Eclipse the next year without sponsorship funding. I hope so, and I'll get to that more during my The Eclipse rewatch later on in the OGMMTVC project.)

To tie up what I hope I can successfully bring together by way of an examination about romance and politics in this show: I really thought the DanYok side coupling was indicative (more so than the sponsorships) of the downfall of basic social expectations on a show like this. I totally see why DanYok is beloved -- listen, the chemistry that First Kanaphan has with EVERYONE is mind-blowing, let alone Gawin Caskey, a deep fave of mine. DanYok is definitely still a popular ship -- just check the tag on this site.

Anyone who reads around here knows that I'm not a fan of the branded ship pairings. That First is paired with Khaotung Thanawat now, another extraordinary actor, is so fabulous by way of pure talent, but damn it, I want them both to act with other people, too (I mean, for heavens' sake, Khao was paired with PAWIN in 55:15 Never Too Late, and they nailed it). And the economics behind them being paired with anyone else right now do not calculate, as FirstKhao are so successful as to be GMMTV's first pair to have an international fanmeet later this year in Brazil. It's the economics, in the end, that are driving this reality.

Going back to Not Me: it seemed to me that Yok's beliefs as an anarchist were set aside not for education (unlike Gram, who grew into an expanded belief framework through Nuchy), but for exposure to a really hot and artistically talented dude in Dan, who also happened to be a cop. And DanYok certainly provided a spicy edge to this show that could be comfortably marketed next to SeanWhite.

Now. I am extremely critical of the power cops hold. I also get, as a simp for dudes, the power of hot artist dudes. I get that Yok found Dan hot and appealing. I get it. If I were Yok, I'd be like, all ogly eyes for Dan, too. My man, I get it. But. If I had committed to my friends to not fuck up our work together for the sake of a crush, then I'd have to check myself. Separate work and romance, especially in dangerous situations -- that's advice that I'd give to my kids.

Yok's trajectory was unlike Gram's, in that Yok totally fell apart for Dan, seemingly forgetting the missions and values that he had committed himself to. I am ALL for change and growth (hello, Khai). Yok didn't seem to change. Yok seemed to trade his convictions (cc @bengiyo and @lurkingshan, thank you for the convo) to simp over Dan, a dude that, holy fuck, THEN sold his Yok and his crew OUT, AFTER admitting that he had killed Sean's dad. WOW. I mean, Dan's complicated! Yok might like complicated dudes, I respect that! But Yok seemed to totally forget, in the face of attraction and love, that he really had committed himself to his group that depended on his engagement for missions, and -- if you're gonna commit to a dangerous thing, at least don't leave your friends high and dry. And putting your trust in a cop that may -- and then DID -- sell you out is only just more problematic.

Did Yok redeem himself at the end? I think so, possibly. I think he showed critical awareness for the risk of his attraction to Dan. But I do feel like GMMTV played First a bit. Yok, Akk (also a cop), and now Sand. These are characters that are kinda givin' it up for the hot dudes. I want to see more backbone in First's characters. I'm not saying that I would have liked to see Yok as a one-sided character. But I think Yok's beliefs as an anarchy-inspired character, who traded his mindset in for love for a cop, could have been explored further. It wasn't, because there was SO MUCH else going on in the show (I haven't even mentioned Gram and Eugene, and Mond was SO GOOD as Gram), and I kind of think that the show added DanYok as a spicy BL romantic edge that really needed as much intricate ethical closure as only SeanWhite ended up getting.

Not Me was not a perfect show. I offer criticism here. But: I did VERY MUCH enjoy it, because it held a LOT, and I think Nuchy Anucha, as I said earlier, was extremely courageous for tackling ALL of what she did in this show. I love @he-is-lightning-in-a-bottle's tags on this post that indicate that the show went very deep in depicting accurate protest postures in art and messaging. I will absolutely appreciate this show for showing me Gun's true range. This show makes me VERY happy for OffGun's return in Cooking Crush. Mond and Film, I loved them. I have quibbles about the way in which the show's issues-based message may have been undermined for the sake of DanYok's love story. But I love First, and I LOVE GAWIN. DanYok could have been leveraged better for something more enlightening than an attraction-based romance.

For a show that held a LOT, I think the majority of the show was successful. Not Me will be at the top of my list of shows that I'll want to rewatch, to enjoy SeanWhite's unique turn as a couple that continually, in every single episode, spent intentional time learning more about each other. The love they ended up developing, alongside the issues they believed in, ultimately came together convincingly, which was indeed a dramatically complicated and successful feat.

[Okay friends! NEXT! I have wrapped up 55:15 Never Too Late, and that review will drop next week. I added 55:15 for its rumored BL storyline and macro commentary about BL culture from a GMMTV lens. I gotta say: Khaotung Thanawat's storyline went way beyond BL. It was a gorgeous queer coming-of-age storyline that included playing against an older version of himself in Kob Songsit (Kinn's dad), and just -- it was surprisingly sophisticated and mature. I love that GMMTV het dramas do not shy away from queer storylines, and I think 55:15 provided some fantastic generational context for what it meant, and means, to be queer in Thailand over the course of decades. I can't wait to process it.

NOW! I SHOULD be starting my long-awaited Bad Buddy rewatch, for which I will need some time, and will take a brief break from writing reviews to pen Many Deep Thoughts. HOWEVER! I am also going to pause on the OGMMTVC to watch Cutie Pie and Cutie Pie 2 You, to get to know Zee x NuNew, as they seem to be the first Thai BL pairing to come to America next month. This is culturally important! I'm gonna do my ZeeNew homework.

So, after next week, I'll be on a bit of a break for a beat, but I'll be back real soon with the motherlode of honorary analyses for my fave Thai BL of all time in Bad Buddy.

Here's the status of the OGMMTVC watchlist. For a more up-to-date version, please check this link!

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