#enmeshed boundaries in asian culture

[waitmyturtles]

Turtles Catches Up With Old GMMTV: The Bad Buddy Rewatch Edition, Part 3b -- More on BBS and Asian Cultural Touchpoints

[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 the second half of the third (ha!) of five posts on Bad Buddy. I'll look today at themes that myself and fellow Asian fans of Bad Buddy have caught and related to in this wonderful show.]

Here are links to part 1, part 2, and part 3a of the BBS OGMMTVC Meta Series. Today's post is a continuation of part 3a. Part 4 is here.

Yesterday, I began an unwinding about what I am calling the "Asian Cultural Touchpoints" of Bad Buddy -- the Asianness of Bad Buddy that is rooted and coded in the way people interact with each other.

As a quick recap from yesterday: I have been insanely lucky to engage in conversation with a number of legendary Asian BBS stans about the Asianness within Bad Buddy: huge shout-outs and thanks go to @grapejuicegay, @recentadultburnout, @telomeke, @neuroticbookworm, and @lurkingshan (who is not Asian, but has Asian relatives and is well-versed in the nuances of our cultures!). We captured a lengthy list of Asian cultural signposts in Bad Buddy and we've been having great discussion around them, including:

1) saving face, 2) intergenerational/inherited trauma, 3) the unique nature of secret-keeping in Asian cultures/societies, 4) enmeshed family boundaries, 5) setting up children to compete against each other for the sake of familial pride, 6) patriarchy, sexism, and the reversal of sexism among next generations, 7) the inset/assumed roles of family members based on patriarchy and elder respect, 8) assumed community within and external to one's family, usually based on where you live and where you go to school, 9) how one's identity is defined based on patriarchy and individualist vs. collectivist cultures, 10) how various cultures within an Asian nation live peacefully (or not) together (for example, what makes Pat and Pran different by way of Pat's Thai-Chinese heritage vs. Pran's ethnic Thai heritage),

and many more.

I unwound yesterday on the cultural touchpoints of saving face, intergenerational/inherited trauma (partly as a follow-up from my very first thesis on Bad Buddy), and the singular nature of secret-keeping in Asian cultures.

There's no way I can get through this entire list in two posts, but I do want to touch upon competition, enmeshed family (and friend, sometimes) boundaries, and patriarchy and sexism as three other cultural touchpoints that engendered quite a bit of conversation among our BBS mini-village.

Competition: ALL OVER BAD BUDDY. All over it, and we know it, and for the most part, we love Pran's and Pat's little love battles. Pat and Pran are constantly competing. Pat gets Chief Phupha into it in Our Skyy 2, dang it ("I'm Pha Pun Dao's top-notch," Phupha, psh). We don't know if the guys can function without having a competition going between them at any given point.

We know this structure started with their parents. As I talked about yesterday, considering the trauma that Ming and Dissaya faced in their young lives -- the trauma that they passed down to Pat and Pran, the rivalry and almost unbridled hatred that they expected Pat and Pran to embody -- all of that emanated through competition between the guys. Their parents asked them, daily, how the other kid was doing in school, making sure that their son was winning on top. As we know from Pat's rooftop monologue in episode 5, that was baggage he carried with him his entire life.

So many of these cultural touchpoints can be connected to the idea of saving face, as I wrote about yesterday. It is an overarching rule of any Asian child's life that Asian parents demand to be able to brag about their kids. Give me an Asian kid whose parents didn't do that to them, and I'll give that kid a huge hug, a gold medal, and a wish in an envelope that I could have had their childhood. Awards, top grades, top class positions, top university admissions: the need to be the best is neverending, for the sake of a parent not losing face for their child not succeeded at the top level of everything.

@telomeke notes the inherent cultural demands of Pran's and Pat's family in the competition paradigm that Pat outlines above.

[Re: Ming and Dissaya]: [E]very time [the children] do well, the bar often gets pushed a little higher. We actually see Ming doing this to Pat in Ep.1 ... when Pat tells him he was made class president. Ming says something like "get yourself a gold medal for rugby and then I'll let you brag"; Pat's achievement (though not dismissed) is downplayed rather than celebrated, and another goal is set. Anyway, my read is that both the boys had caliber to start with; it's natural to Pran (we don't see Dissaya really pushing him to excel), and I think he pushes himself to excel, to be the virtuous paragon of everything, as a barrier to the outside world, and to protect his vulnerable, secret interior. ... And Pat was pushed by Ming to match Pran's achievements, though not for the usual Asian parent reasons – it was to continue his own efforts to best Dissaya, IMO...

What @telomeke outlines here correlates perfectly with my own experiences of my Asian childhood: that even in the face of successes that my parents demanded, the reward was only a passive comment that I had to be doing more. There was never a moment where a parent's cup of happiness was truly filled from the child's perspective.

However, in the case of Pran and Pat specifically: @grapejuicegay had a further illumination that highlighted the utter pain and sadness of the outcomes and consequences of their lifelong competition. We know they were perfectly paired as a couple in love. But ultimately? Because of the pressures they faced as children vis à vis each other -- they also become the only people who could compete with each other. AND, because of that reality -- a new kind of empathy sprung up between them, what I called in part 1 of this series a radical empathy of a kind we don't always see between enemies to lovers. @grapejuicegay's thoughts:

I'm just thinking about the first family interactions we see for Pat and Pran and how Dissaya is framed as a concerned parent with her main worry being Pran taking on too much on his plate with being the head of the department. But also how that's so far removed from what her influence had made of him - an overachiever to the highest degree. ...[T]he whole point of Pat and Pran is that they're evenly matched in everything (which works so well because they're both such EXTRA little shits with so many lil' interests), and it's been there since the [original] trailer. They both keep competing to see who can get the most achievements to brag about, eventually settling down to a point where they help each other out because they're each other's only worthy competition because they're the only ones who can keep up with each other [emphasis mine]. So.... Dissaya's concern is nice and all, but she created this monster who not only can handle having so many responsibilities, but ENJOYS it. And Pat's help is always pushing him to do all of it, just have some help along the way so he's not doing it all alone. Wai helps, but he has to be manipulated into it. So the only person ACTIVELY helping Pran even when neither of them thinks he needs it is Pat ("I know you can do it, but I want to do it for you").

I was tremendously moved when @grapejuicegay shared her read with me on this, because not only did it land fully with me -- but it served to highlight the sadness and loneliness that existed in the gulf between Pran and Pat prior to their union. In other words, because they knew, so well, HOW to compete with each other -- if they needed help, they were the only ones who knew HOW to help each other. Pat showing up at the dilapidated bus station; Pran showing up at the empty auditorium. They could vibe when each other needed a little push. They knew WHEN and HOW to help each other, with the fluency they had ABOUT each other, even before their relationship began -- because they had been competing all their lives. As Pat said in Our Skyy 2: "we've been neighbors all our lives." They knew each other's ins and outs better than even their families did.

The competition that Pran and Pat engaged in had significant cultural roots. But the long-term impact of that competition? It rendered the guys on their own lonely island, a place where only the two of them could understand each other fully. It's a romantic conclusion -- to know your partner so well like that, it can fill your heart with nostalgic reckoning. But as Pat said above and to his father -- it was a bruising path, for the both of the guys.

There's a lot to enmeshed boundaries in Bad Buddy. The boundaries that SHOULD exist between two people that regularly get crossed. I definitely want to acknowledge, before I unwind on these boundaries, that Western vs. Asian viewers will have different expectations of exactly what enmeshment looks like and what it means. I'll have more on this in a bit.

When I think of enmeshed boundaries in Bad Buddy, I think of Dissaya having almost total control over Pran's physical placement. Of Ming knocking on Pat's dorm door, unannounced. Of Pat's expectation that Pa would do his laundry (which will speak to the sexism I'll talk about in a bit). @neuroticbookworm noted how hilariously Asian it was that Pat and Pa -- older brother and younger sister -- literally shared a dorm room. Pat could scuttle to Pran's solo room, to their love nest, to leave their shared room alone for Pa and Ink. But: what an Asian set-up, to have big bro sleeping on the floor, while little sister got the bed.

But besides what Western viewers might traditionally think of as "unhealthy" enmeshed boundaries, there's also a conversation about how Asian families engage -- or, don't engage -- with expectations of privacy. The biggest and most obvious example of a violation of personal privacy in BBS is that Pran's and Pat's parents forbid their children from having friendship with the kid next door. We know, in the end, that the parents cannot control that behavior of their kids, and yet, the parents try to do so anyway, with traumatic results.

@telomeke talked in our mini-village about the everyday functionality of Asian families crossing borders of assumed privacy. These are crossings that I fully relate to: for instance, I wasn't allowed to lock my bedroom door very often when I was growing up, to allow for complete access to my "private space," even and especially while I was in it.

I remember this as a thing growing up, that it's perfectly fine in [Asian countries] to drop in unannounced when it's family (though I think with widespread cellphone availability, people do check in beforehand now – however it could also be just to make sure there's someone in to receive them when they drop by!). It's a bit of a truism that the more traditional Asian parents will be in every part of your life and may not always know how to give you more distance when you grow older. ... For the more traditionally-minded, I think this phenomenon would be even more pronounced. And we definitely see this with Pat and Pa too.

The stories I heard about parents busting in on their Asian kids in compromising positions because the kids HAD to leave the doors unlocked? Stories about full-grown adults being interrupted in their intimacy because their parents came into the house? Countless stories. Us as Asians -- we might laugh about it, but there's also an unspoken and inherent sense of annoyance, of fear, of "how do I explain this now?" that's like a dull, permanent foreboding.

In thinking about how these boundary-crossings were inherited vis à vis Pat and Pran, into the next generation, of course -- all we have to think about are the many, many times we saw Pat crossing into Pran's threshold at Tinidee. That shot of Pat wrapped in his comforter as he shuffles to Pran's door.

However, @grapejuicegay flagged for me an utterly legendary Bad Buddy meta post written by @transpat now nearly two years ago, describing the Indian concept of haq, a concept I know very dearly well. To quote @transpat on the definition of haq:

in context of relationships, we use it to describe the entitlement ppl we keep close are allowed over us. in our culture, with every bond we form and built, we owe those ppl certain rights over us. like our filial duty to our parents, supporting our siblings and relatives emotionally and/or financially, the loyalty to our friends. lovers and spouses are ppl given all the rights of a family member by choice and obv other stuff like touching u in ways others can't, sharing worries and secrets you wouldn't indulge others w, the permission to carry and lighten ur burdens.

We know so well that Pat didn't just cross the hallway of Tinidee; he climbed through and over windows, over roofs, to get to Pran. And Pran... let him in. We know now what Pran's feelings were all that time, at least from 10th grade to university. Of course, Pran would let Pat in, because he had already let Pat into his heart. Maybe not into his psychological safety zone -- that had to take much longer. But in a much more primal sense, Pran had let Pat in, for so many reasons beautifully illustrated by @transpat in their piece, and for the examples up above, especially by way of the inadvertent closeness they achieved through their never-ending competing with each other.

I want to take a quick moment to highlight the two concepts I bolded above in @transpat's description of haq. I don't know if I have the words to describe this as well as @transpat, but to the point of entitlement and having rights over someone... there's a certain sense in Asian group dynamics, that one's business is everyone's business, if that makes sense. Think about cliques when you were growing up. Those cliques were formed on similar desires and interests -- being rich, beautiful, "cool," etc.

I feel like Asian group dynamics go a bit beyond this. Because you are in a group, it must go that any one single person's business is everyone's business. There is an entitlement to information about other people. In the States, we value individualism, and when these cliques are being formed in our youthful years, there's certainly a clash with people wanting to express themselves as individuals; very often, the group dynamics do not allow for individual expression. I would argue that that's even more strong in Asian circles.

If I could describe what I think was happening when Pat was climbing into Pran's window to, say, make that first deal about getting Wai to apologize -- I do very much believe that Pat felt it was his intimate right to go into Pran's room, as it had been established that they were, once more, schoolmates and neighbors, now that Pran was back in his family home. If Pran filled those roles -- schoolmate, neighbor -- it automatically clicked into Pat's social expectations that Pran was there to be talked to and engaged with, no matter if Pran would try to push him out. We know that Pran would give up on pushing Pat out, because Pran had feelings for Pat. BUT: what I love about @transpat's INCREDIBLE meditation is that Pat also clicked into unspoken social roles that allowed him to seek out a moment of friendly intimacy with Pran. (Besides the fact that it's more theorized now that Pat had unknown attraction for Pran during high school -- but I don't think attraction was what brought Pat into Pran's room to discuss that very first deal.)

I think this meditation on enmeshed boundaries, as I mentioned earlier, feeds nicely into the final points I want to make about the last cultural touchpoint for analysis, that of patriarchy and sexism in Asian families.

The BBS mini-village sliced and diced the incredibly overarching examples of patriarchy in this story, as emanating mostly from Ming: Ming's role as the head of the family and doling out roles; Ming ensuring that Pat would "not forget" Ming's reputation at university; Ming's parents doing nothing to interfere with Pa's role as serving Pat; Pat reinforcing that role to Pa in the family home.

Why Ming? As @telomeke broke it down for us: Ming is the head of the household of a Thai-Chinese family. It's not to say that patriarchy and sexism don't exist in ethnic Thai families -- but a patriarchal dynamic isn't shown in Pran's house, as Dissaya is the one who holds the emotional control over the Siridechawats. It's in the Jindapat household that we see old-fashioned roles of men and women doled out.

In traditional Chinese society (before the Communists came to power in China), sons had absolute pride of place in Chinese families, and we see Ming giving special treatment to Pat, while Pa was made to clean up after Mr. Jindapat Jr, doing his laundry, having the piece of chicken she wanted stolen by him in Ep.1, etc... Ming invited Pat home for a meal in Ep. 7, but didn't mention Pa, and Pat had to say he'd bring her along. But Pat and Pa, away from home didn't care for any of this, (e.g., when they were kids Pat let Pa win the bicycle race and skip washing up duties, in the Ep.1 flashback), and while Pa would begrudgingly do Pat's laundry, she would give as good as she got as well whenever they tussled (verbally). 

As @telomeke says above, we see Pat, within his generation, to Pa, in their own private space of bicycling outside or moving into his own dorm room, quietly dismantling that patriarchy and sexism of Ming's and Pat's mom -- letting Pa win the bicycle race; talking out of earshot of their parents about Pat protecting, instead of hurting, Pran. [Another great example, a little outside of the patriarchal example but still worth noting, is Wai's role, as a stand-in for Dissaya, sticking to the definitions of the role of Pran's best friend, but showing -- within the cohort of his own generation -- that he CAN change to accept Pat in Pran's life, as opposed to Dissaya's inability to do so (scroll down through the whole liveblog post for the commentary!).]

@telomeke mentioned in our conversation about patriarchy and sexism that he was surprised that he'd see a parent as young as Ming -- a parent to a student of Pat's age, much younger than myself and @telomeke -- keep up with these traditional, old-fashioned values. I think that's a great point, especially in the way that Ming ignores Pa only until the end of the series, when he's instead cut Pat mostly out of his caring reach for disobeying him. We know from the Soonvijarn analysis and reaction videos by Aof Noppharnach and his collegial community of filmmakers, that Aof took inspiration for Ming stealing the scholarship from Dissaya from a real-life occurrence of the same story. I think Aof intentionally had such strong patriarchal structures in Bad Buddy vis à vis the Jindapats in order to highlight what a stronghold old-fashioned notions of life have on generations -- and intended to have a conversation vis à vis Pat, Pran, Pa, and Wai, that the ways in which these old-fashioned notions are updated over time, is through the work of the subsequent generations of children growing up and learning and knowing better.

The coded Asianness of Bad Buddy... god. I could sit with my fellow Asians and talk about the coded Asianness of Bad Buddy for at least weeks, if not maybe even a year or two. We could laugh about the comedy of many of the experiences or traumas we have faced vis à vis the cultural touchpoints that I've listed and analyzed, and we could also share our shared pain, our shared joys, our shared ways in which we express emotion, love, our highs and lows, through our shared Asian cultures. Talking about this makes me tremendously glad that there's national and international fandoms watching Asian shows -- even if, say, Western viewers can't exactly pinpoint what's happening by way of a culturally contextual moment in Bad Buddy, at least there's a community of Asian bloggers out here that can unwind what might be confusing.

Once more, I want to thank @recentadultburnout, @grapejuicegay, @telomeke, @neuroticbookworm, and @lurkingshan for engaging me in such amazing and extensive conversation about the best show ever Bad Buddy. More than education -- the process was INCREDIBLY fun and rewarding.

(Tagging @dribs-and-drabbles, @solitaryandwandering, and @wen-kexing-apologist by request! If you'd like to be tagged in this series, please let me know!)

[WHEW! SEVENTH INNING STRETCH, FRIENDS, stand up and stretch yer arms as I crack my knuckles one more time for this fabulous show! My last post for the BBS OGMMTVC Series -- a breakdown of my theorized reasons and timing regarding Pran leaving for Singapore -- drops next week. Stay tuned!

And after this, I take the tiniest break from the OGMMTVC to review one of the most important shows of 2023: La Pluie. And then I'm back on my tip with Secret Crush On You and an end-of-the-year rewatch of KinnPorsche. So, much more to come!

Here's the status of the Old GMMTV Challenge watchlist. Tumblr's web editor loves to jack with this list, so please head to this link for the very latest updates!

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) (and notes on my UWMA rewatch 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 here) 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) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (The BBS OGMMTVC Meta Series is ongoing: preamble here, part 1 here, part 2 here, more reviews to come) 34) Secret Crush On You (2022) (on pause for La Pluie) 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) GAP (2022-2023) (Thailand’s first GL) 39) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 40) Moonlight Chicken (2023) (tag here) 41) Bed Friend (2023) (tag here) 42) Be My Favorite (2023) (tag here)  43) Wedding Plan (2023)  44) Only Friends (2023) (tag here)]

[femmefatalevibe]

hi.

tw: abuse.

don’t hesitate to delete this. i understand the sensitivity of the topic.

so,

i’m still a minor and i’m sorry i didn’t know where i could get advice from. my dad and i had a fight because i jokingly told him he should quit smoking (i could remember telling him this statement since i was five but he never did) because he’s old and we are having financial difficulties. we can’t afford risking his health and his destructive habits won’t help. he got mad and thought i’m being a b*tch just because he didn’t gave my full allowance that week but he can buy a pack for his cigs (which is tbh partly the case of my frustration but most of all, piled up resentment why our family struggle because he coped through gambling and smoking but most of all was the fact that he keeps me in a situation of why must loving him had to be this hard)

now, in an asian household culture, they really held respect in eldest highest regard even if they don’t make any sense anymore (to me at the very least). it didn’t get better that i’ve always been strong-headed with my opinions, i will argue my point to bits to my parents as attempts to be the adults i needed them to be and they didn’t like my approach because i have the tendency to be blunt, i present the faults as instincts in hopes to figure the solution. they didn’t like that very much, maybe because of my unfiltered delivery as well. as a result, i’ve been told i’m too arrogant and a know-it-all, selfish and uncaring. i’m afraid that what if they are right? i value fairness and i believe respect should go both ways. he wanted to raise his hand and i dared him to hit me like he used to. all just to prove him that my outburst was beyond materialistic stuff such as my allowance he could barely provide. he couldn’t but he was screaming at my face, telling me to talk. telling me how ungrateful i was, telling me to speak up and i said no. i begged that we do it once he calm down. and i can’t do this any longer. i was drained. but he was shouting and telling me to speak up. even my mom back him up and how did I become so heartless.

i love my dad. he loves us in ways he knew best. i wanted to apologize but i don’t know what i should apologise for, not at least in the way he would like to. because i don’t think i’m wrong. i want to apologise, perhaps because i could have approach it better, i’ve tried. but should i even apologise? i would leave this house if i could. basically, how can i resolve the conflict if he thinks i’m attacking him? how can i say sorry when i don’t think i’m wrong. he won’t even apologise for what he did to me. i’m their daughter, not just their daughter. i’m a human first, and their kid second.

Hi love! I'm so incredibly sorry that you have to deal with this!! Please know that you deserve better and are dealing with people who do not have the capacity to support you in the ways you deserve.

"i’m their daughter, not just their daughter. i’m a human first, and their kid second." NEVER forget this!! You're absolutely correct.

I'm not a therapist by any means but have dealt with similar dynamics, so I'm linking a few resources below and a direct link to a great book on the topic, Adult Children of Emotionally Immature Parents:

Hope some of this resonates and that you can leave this unhealthy environment soon, surround yourself with loving individuals, and get a therapist to help you build the fulfilling life you deserve.

Sending love xx

[fragileeden]

Journal #2

Everyone says that it'll get better, but feeling left out has really burnt me out. I recently was swiping through instagram (side note: try to be on social media less... or maybe just my phone overall.), and came across a picture of a tweet that said "not sure who needs this but it's okay if you feel left out. God may be protecting you from something you can't see." I felt comfort in someone else's random musings. How do I recover from something I wanted? Freedom, but at the price of a relationship with my own mom. It's definitely been conflicting for me. I never thought that asserting my own independence and boundaries would create such chaos, but that's enmeshment. And that's DEFINITELY generational asian culture mommy issues.

I've been fearful lately with starting this new semester. Even though I technically only have three classes, they each have a lab, which makes it six classes total. Crazy, right? I'm anxious and hesitant, but if this is something I really want then I really have to focus. I did well with my bachelor's, now it's time to tackle the harder biological stuff.

I'm attending a pre-PA meeting tomorrow. I've really been procrastinating on this stuff mostly because of anxiety. However, if I'm going to be applying soon and wanting a future (and a way out of here), I have to bite the bullet and get rid of the anxiety and social anxiety. I've become somewhat more of a homebody... well to be fair, I've always been a homebody, but the comfort in knowing what's in my room or my home keeps me at peace. I hate the unknown. It's never been kind to me.

Wedding planning is still on the back burner, but watching my best friend plan has been a great joy for me.

I'm just tired lol. But that's just been the last thirty something years.

I'm determined to make something of my life. I'd rather be 34/35 and a PA, then just 34/35. I'm gonna get there anyways, might as well chase my dream, right?

Three blessings: Good nap. A fiance I don't deserve but loves me despite my shortcomings. My blanket and chocolate milk tea.

[influmine]

The Results of Bad Parenting

Mom - not in touch with her feelings; resentful personality; feeling of powerlessness; proud

Dad - narcissist; didn’t get enough attention growing up; childish manipulator

Because they were raised in a poor and emotionally primitive environment, my parents are emotionally stunted. 

Neither gets their emotional needs met, but they’re enmeshed--> product of cultural and religious conditioning? 

It doesn’t help that their personalities are total opposites. 

Their way of coping with feelings is dismissing them. They’re eager for a quick fix, so they shove shit under the rug. 

LACK OF BOUNDARIES IN HOUSEHOLD: 

- critical mother---> verbally abusive

- permissive father ---> covered up mistakes; gave no sense of responsibility to the child = anxiety = no self-assurance or confidence in self (NOTE: this is due in part to Asian, collectivistic upbringing, in which families will sometimes overindulge members who seem more needy or weak, i.e. me. My parents were also trying to make up for the fact that they were poor by showering me and my brother with tangible luxuries)

- praised talent, not effort = anxiety 

- I was compared to my older brother 

- parents were placed on a pedestal---seen as always right

- didn’t acknowledge my negative feelings as valid --> GASLIGHTING

- religion ---> a crazy one, at that. ‘Nuff said.

- watching parents fight all the time ---> conflict avoidant

- treating me like a slave ---> creating invisible strings and guilt so that I always end up feeling bad and complying with their desires---> this leads to ENMESHMENT.

Biological factors

ENFP --> opposite of Mom, bad combination

desire for attention

intelligence---> overthinker

idealist --> always wanting more

As a result:

- I became conflict avoidant

- I would do things, such as allowing my boundaries to be crossed (or not having any boundaries) or making myself uncomfortable, so that others would like me and validate me

HOWEVER: - anyone who would insist you feel uncomfortable for their needs is in the wrong

- anyone who tries to stifle how you feel is being manipulative

- anyone who makes you feel indebted to them for getting your needs met is having a transactional relationship with you, not a real, loving one

- anyone who gets sensitive and butt hurt because you chose your needs over their desires is INSECURE and IN THE WRONG.

[commehither]

While art history in the West has been practiced as a grand Hegelian narrative of progress, a narrative that emerged with the Enlightenment and the industrial nation-states of the nineteenth century and evolved in tandem with museums to construct a model history of Western heritage, the newly independent postcolonial nations of the non-West assiduously cultivated a narrative framed by the nation, with their museums buttressing through their displays the idea of unique and incomparable achievements of ancient civilizations, now cast as the nation’s heritage. Both positions are mutually constitutive and rest on similar canonical premises. Both these variants of art historical writing are framed within discrete cultural units—be they national or civilizational—and subsume experiences of cultural braidedness under the taxonomic categories of “influence,” “borrowing,” or “transfer.” Here a notion of “global art history” conceptualized as transcultural can provide a way to rethink existing disciplinary frameworks. 

A transcultural history of art goes beyond the principle of additive extension and looks instead at the transformatory processes that constitute art practice through cultural encounters and relationships, whose traces can be followed back to the beginnings of history. Casting art history in a global/transcultural frame would involve questioning the taxonomies and values that have been built into the discipline since its inception and have been taken as universal. To begin with, this would necessitate a closer and more critical empirical examination of artworks labeled “Buddhist” or “Islamic” or “Renaissance” or “Modernist,” and require constituting new units of investigation that are more responsive to the logic of objects and artists on the move. In this and other senses a transcultural history of art rejects a principle of mere inclusion to argue instead for a change of paradigm. Rather than postulate stable units of investigation which exist next to each other and are connected through flows or transfers, the problem of how these units themselves are constituted needs to be systematically addressed. If we proceed on an understanding of culture that is in a condition of being made and remade, historical units and boundaries cannot be taken as given; rather, they have to be constituted as a subject of investigation, as products of spatial and cultural displacements. Units of investigation are constituted neither mechanically following the territorial-cum-political logic of modern nation-states nor according to civilizational categories drawn up by the universal histories of the nineteenth century, but are continually defined as participants in and as contingent upon the historical relationships in which they are implicated. This would further mean approaching time and space as non-linear and non-homogeneous, defined through the logic of circulatory practices.

Looking at the world through a transcultural lens would mean bringing back excluded materials and questions to center stage: in what ways did the presence of objects, not always categorized as “art” from the regions of Asia, Africa, or South America, within collections of European elites, artists, or museums and their modes of reception, reuse, sale, and display prove to be constitutive of cultural achievements associated with major art movements such as the Renaissance, Rococo, or Cubism? Such a view has the potential to destabilize many of the values that underpin the discipline of art history and as such have remained unquestioned for too long. The modernist elevation of “originality” to measure creativity and the ensuing dichotomy between the “original” and “copies” or “derivations,” for instance, continues to be a cardinal value that informs scholarship in the field. However, a view of historical processes over centuries brings out the centrality of imitation/emulation as a site of cultural practice across regions. Imitation can be a creative form of relating to migrant objects, forms, and practices, of dealing with difference, of acknowledging authority, or of dialogical practice.25 The conceptual category of modernism itself, for long viewed as a quintessential European phenomenon which then “spread” to the rest of the world, has undergone critical scrutiny in recent years. Studies of modernism “from the peripheries” have questioned its monolithic nature and argued for an expanded definition that would include the artistic experiments of modernist artists in Asia, Africa, and Latin America.26 The engagement with visual practices beyond the metropolitan centers of the West raises further questions: How is our understanding of modernist and avant-garde art practices reconfigured if viewed as emanating from networks of multiple centers across the globe, adding New Delhi, Bombay, Shanghai, Rio de Janeiro, Seoul, or Tokyo to Paris, Berlin, and New York? To what extent can we explore transcultural fields of artistic production as emerging from a multipolar and yet entangled modernism that was generated in Europe and beyond, often cutting across the colonizer–colony divide to connect with critical currents that were pan-Asian, too? 

Recasting modernism as a global process involves going beyond an “inclusive” move to question the foundations upon which the notion of the modern has been constructed and to undermine the narrative that hinges upon a dichotomy between the West and the non-West and makes the latter as necessarily derivative, or views it as a series of distant, “alternative” modernisms. Instead of coining a host of modernisms— Indian, Chinese, Japanese, Tibetan—all understood as parallel streams that never meet and bring in national or ethnic units through the back door, a global view of modernism regards these as enmeshed with the others, which allows us to begin asking to what extent such entanglement was constitutive for a Western avant-garde.

http://www.summeracademy.at/media/pdf/pdf789.pdf

[waitmyturtles]

Turtles Catches Up With Old GMMTV: The Bad Buddy Rewatch Edition, Part 3a -- BBS and Asian Cultural Touchpoints

[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 the first half of the third (ha!) of five posts on Bad Buddy. I'll look today at themes that myself and fellow Asian fans of Bad Buddy have caught and related to in this wonderful show.]

Links to the BBS OGMMTVC Meta Series are here: part 1, part 2, part 3a, part 3b, and part 4

As a lifelong viewer of Asian dramas, and as an Asian-American myself, I know why I'm drawn to Asian dramas. We all have our reasons for belonging to this widespread fandom, whether you're watching queer or het Asian dramas, consuming Asian music, all of it.

What are my reasons? The first and foremost one is relatability. Especially in Asian dramas, I relate to the spoken and unspoken communication of the dramatic characters as they navigate life's highs and lows. I relate to the way Asian dramatic characters engage with their families, their partners, their children, their colleagues, the world and societies around them. I relate to the ways in which societies are drawn and constructed, to the economic and emotional pressures that characters face. As an American -- I don't fully relate to the majority of experiences that white American characters face dramatically, because I'm not a part of the majority. As an Asian? I get almost all of what Asians are going through in dramatic art (save for, say, Korean or Japanese historicals, ha — but I do indeed get Asian patriarchy and sexism).

I'm not queer -- I am a cishet Asian woman -- but what I appreciate about queer Asian media is, very often, the media's tendency to not be shy about the various and intricate ways that discrimination, sexism, trauma (intergenerational, emotional, etc.), and many more social and emotional phenomena interplay in an individual's life.

When I first watched Bad Buddy, I had the strong sense that what I was watching was incredibly relatable to much of my upbringing and life as a young adult, working out issues vis à vis my family and my eventual partner. Bad Buddy, thematically, captured a tremendous amount of the realities of everyday Asian life for young people.

Bad Buddy exists in the GMMTV bubble of No Homophobia (cc @bengiyo and @lurkingshan, as we have spoken about the GMMTV bubble). However, what Bad Buddy didn't shy away from were explorations of many other social/emotional/cultural themes and frameworks of everyday life, from sexism, to youth bias, to boundaries and enmeshment, and many, many more.

I wrote in my first-ever Bad Buddy thesis that the framework of intergenerational trauma was the main theme I identified -- and identified with -- in the show. But, as I was contemplating writing this series of Bad Buddy meta posts, I wanted to know: what did my fellow Asians pick up in this show that they saw, and that they related to? In other words: what makes Bad Buddy particularly special to Asian fans of the show?

So, I did a thing. I gathered together a few BBS Asian stans, like myself, for a lengthy (and still ongoing!) discussion about what we related to in Bad Buddy. I want to thank, from the bottom of my heart, @telomeke, @grapejuicegay, @recentadultburnout, @neuroticbookworm, and @lurkingshan (who's not Asian, but has Asian relatives, and gets us!) for being up for creating a spontaneous mini-village together to talk Bad Buddy and its inherent Asianness.

It sounds redundant to identify Bad Buddy, a show made by Thais and set in Thailand, as an "Asian" or "Thai" show. It's definitely not a show that steps back to take a look at itself and say, "oh hey, this is really 'Thai,' what we're doing here." When I asked @recentadultburnout directly about what they might have identified as uniquely Thai about Bad Buddy, RAB thought about it and said -- maybe Pat's ranak ek (Thai xylophone). Other shows of Aof Noppharnach's, including He's Coming To Me, Moonlight Chicken, and even the start of Last Twilight, highlight many facets of Thai life, from the spiritual to the everyday-cultural (even Gay OK Bangkok does this a bit, too). But Bad Buddy doesn't really go there by way of overt symbolism and/or specifically Thai spiritual/cultural practice.

The Asianness of Bad Buddy is far more inherent. It is rooted and coded in the way people interact with each other.

An overt example occurs in episode 10, when Dissaya confronts Ming in the Jindapat home, and announces that she will reveal Ming's secret, dropping the effort she has made her entire life to "save face" -- her reputation AND Ming's reputation.

During my first Bad Buddy rewatch, I was so moved in fury by this scene that I had to blog about it as if I had never seen it before. There's so much encapsulated in this moment: the pressure that Dissaya has put on herself to keep the embarrassing secret that she lost a scholarship; the effort she made to keep Ming's theft of the scholarship a secret, to save his face, and the secrets she kept from Pran to save her face, and to keep up the façade of rivalry between the Jindapats and the Siridechawats. She was letting a whole hell of a lot loose in this moment, because the eternal pressure of saving face in Asian societies is, frankly, never-ending.

"Saving face" is an incredibly important notion in many Asian collectivist cultures. Saving face is about an individual or a family projecting an image of calm, cool collectedness and success, in order to not make waves within a collectivist society for any reason. If you are not working to seem like you are going with the flow of life, if you're not keeping up with the Joneses, the Kardashians, whoever -- you are not saving face. If you are in poverty, and are projecting an image of poverty, instead of pretending to be more wealthy than you are -- you are not saving your face or your family's face. If you allow yourself to get publicly defeated -- you are not saving face. Dissaya gave up a lot of her hard-earned reputation in the moment she confessed the truth in front of Pat and Pat's mother.

My Asian friends and I can click wordlessly into understanding the pressure of saving face; say that I didn't get good grades in school? I wouldn't be saving my parents' face. This kind of pressure to keep up with particular social dynamics within and external to family, within Asian societies, is a neverending drumbeat of pressure.

Besides saving face, there are many other Asian cultural touchpoints that were contained within Bad Buddy that my fellow Asian BBS stans and I noted. They include:

1) intergenerational/inherited trauma, 2) the unique nature of secret-keeping in Asian cultures/societies, 3) enmeshed family boundaries, 4) setting up children to compete against each other for the sake of familial pride, 5) patriarchy, sexism, and the reversal of sexism among next generations, 6) the inset/assumed roles of family members based on patriarchy and elder respect, 7) Assumed community within and external to one's family, usually based on where you live and where you go to school, 8) How one's identity is defined based on patriarchy and individualist vs. collectivist cultures, 9) How various cultures within an Asian nation live peacefully (or not) together (for example, what makes Pat and Pran different by way of Pat's Thai-Chinese heritage vs. Pran's ethnic Thai heritage),

and many, many more.

It'll be impossible, even over two posts, to analyze all of these cultural touchpoints, but a few of them engendered quite a bit of conversation among the BBS mini-village that I want to highlight. In this post, I'll focus on the continuation of my first BBS thesis on intergenerational/inherited trauma, the nature of secret-keeping in Asian societies, and will return briefly to the touchpoint of saving face.

One of the most devastating scenes for me in Bad Buddy is in my favorite episode, episode 10, when Pat (after he's learned, throughout the episode, of the extent of the lies that his and Pran's family have shared with their children) confronts his father about his father's demands to literally control Pat's emotions, the way in which Pat related to other people -- specifically Pran. Pat sums up a lifetime's worth of control in one sentence.

@telomeke noted in our ongoing group conversation that this notion of inherited trauma vis à vis Ming is particularly present in Asian societies, not just by way of familial expectation that we, as Asians, embody it and "take it" throughout our generations, as Pat realized up above -- but that ALL family members present are responsible for playing their roles within the framework of the inherited trauma. @telomeke noted in particular that exactly what Pat was doing to hate Pran, FOR his father? That was what Ming HAD to do for MING'S dad, when Ming schemed to get the scholarship from Dissaya. AND, Pat's mother, in consoling Pat, had to play the role of explainer -- which, as we know now, Pat ran away from to meet his beloved Pran on the rooftop before running away to the eco-village.

Pat running away from that moment? That was a huge symbol of the breaking of the inherited trauma that was given unto him by his parents both.

(@telomeke has actually written about their theory about how the Jindapats and Siridechawats ended up living next door to each other -- which seems SO STRANGE on the surface, consider Ming's and Dissaya's boiling hatred for each other -- and the theory links nicely within the framework of inherited trauma. Tel theorizes that Ming's father or grandfather may have actually gifted the house to Dissaya's family as a means of apologizing for Ming's deceit. In which case: the presence of the Siridechawats is a reminder, on an everyday basis, of Ming's folly to steal from Dissaya, which may explain why Ming in particular went so hard on Pat to triumph daily over Pran.)

We as a group unwound quite a bit on the nature of secret-keeping in Asian cultures. We know Bad Buddy relies on this cultural touchpoint at the end of the series: Pran and Pat have a full-fledged and committed relationship as a transparent secret, under the noses of Pat's and Pran's parents.

Secret-keeping....oh, man. I could not have lived a fully authentic life in America if I didn't keep a million secrets from my family while I was living out my own independent choices. I actually, literally, could not have gotten married, because the rule of my household was that I wouldn't date. I would just... get engaged. So I'd get engaged through, what, magic? Match-making? No: I'd have to find my partner through my own battle of social and familial conventions, literally against my family, to get to where I wanted to be in life, which was (gasp) married.

@neuroticbookworm illuminated more on this particularly from our shared Indian lens. She wrote,

Keeping your relationship secret from parents is sooooo ridiculously common in India (and I'm sure we can extrapolate to other Asian countries like Thailand). And the justification the children give themselves is always rooted in how they have a "duty" towards their parents, and that they will reveal their relationship after they have fulfilled their duties.

God, I LOVED that NBW brought up "duty" in this conversation. Because! Assumed within the coded language from Asian parents to children, and vice versa, is a sense that children MUST follow the dictates of their parents. 100%, full-stop.

The duties that NBW clarified in this particular conversation specified life demarcations such as "[w]hen I graduate, I'll tell my parents about my partner," and "[w]hen I graduate and get a job and can financially support myself in life, I'll tell my parents about my partner."

What's coded in these statements is a fear that the children will have to reveal to their parents that they were disobedient in the rules their parents set, that no dating shall occur until the time at which the parents rule it's okay. And at least within Indian frameworks, that period of it being "okay" is, more often than not, the period in which arranged matches are examined. Because, yes, that's still the rule in the high majority of Indian culture.

The revelation of that disobedience? That's bad-news bears. It indicates... everything: a lack of loyalty to the family; a lack of understanding the meaning of a child's role to listen to the parents as the parents are elders and therefore are the moral authority of the household; a lack of self-control (which is a huge deal -- that relates to saving face on behalf of the family); a lack of understanding the morals and ethics of saving oneself, in love and sex, before marriage, etc. Even if a family seems fully progressive on the outside, as an Asian, I'm conditioned to question that progressiveness -- as parents may hold different standards of acceptance for their children vs. other young people.

@telomeke expanded on disobedience for us -- connecting it back to the very important notion of "saving face."

I think there's something quite related to secret-keeping, but it's also to do with the ability of Asians, but also human beings in general, of being able to live with duality in life... and secret-keeping is part of it. This also ties in to the East and Southeast Asian preoccupation with the concept of "saving face" [as noted above]. A lot of families are able to live with the knowledge of dirty secrets, unsavory truths, as long as it's not brought into the light and confronted. I'm constantly reminded of this whenever I rewatch BBS Ep. 12 because it's clear both Ming and Dissaya KNOW their sons are in a relationship but it's not overtly admitted. In that way they (and more Ming I suppose) get to "save face" and not have to deal with the truth that their sons are being disobedient, consorting with the enemy, and because it's not in the open -- there is no dishonor brought to the family and to the elders.

God, I love the way Tel put this. That disobedience on the part of Pran and Pat would actually bring dishonor to their families -- because their families have put SO MUCH EFFORT into building their public AND private enmity their entire lives! It affected Chai's relationship with the families as an employee of both families. EVERYONE AT PAT'S AND PRAN'S SCHOOLS knew the guys were the "legendary rivals." And, of course, by being in rival faculties at the same university, the boys could continue this public enmity as well -- keeping up with the roles that were literally assigned to them by their parents.

If the boys disobeyed, they would bring dishonor to their families. Think about that -- and connect that with the heaviness that Pran walked away with after the rooftop kiss in episode 5, AND the weight of Pran's breakdown at the end of episode 10, when Pat assured him that they would run away together.

No matter what a Western viewer (and maybe even Asian viewers, wanting to see a dismantling of these paradigms) would want Pat and Pran to have by way of full openness of their relationships with everyone in their lives (because, in individualistic cultures, that self-driven openness is a given), Pran and Pat themselves knew that that couldn't be their reality vis à vis the social worlds they belonged to. So they kept their relationship a secret, in the end.

The secret that Pran and Pat keep about their relationship is strategic. It's certainly also a stress point: an older Pat asks an older Pran, at the end of episode 12, if he'll ever be able to walk through the front door of the Siridechawat house.

But this is the compromise -- within the larger-scale culture of secret-keeping in Asian societies, AND the private frameworks of the enmity that Dissaya and Ming established between themselves and their families years and years prior -- that will work best for Pat and Pran to preserve the sanctity of their relationship, which I talked about in part 2 of this meta series.

Pran and Pat do not have to publicly appear disobedient to the demands and pressures of their families. They do not have to make their families engage with each other. They do not have to make their families confront the mistakes that their parents made earlier in their lives. They can protect their families from their private and public follies. They can help their families keep and save face. And by doing all that? They can prevent their relationship from being threatened.

I feel this very deeply in my heart as an Asian-American. For the sake of my American spouse, I wanted to protect him from a lot of these pressures, and so I insisted on keeping a lot of our relationship secret from my folks. If I demanded full-blown, public acceptance from my parents? If I brought my "boyfriend" to parties, and introduced him as such with aunties and uncles -- especially if it wasn't indicated that we'd be permanent one day? Damn. No. I'd be embarrassing my folks, with the aunties and uncles saying to my folks, "dang, you can't control your daughter, huh? You let her do what she wants." That would mean my parents would lose face over their ability to control the lives of their children, and that's no bueno in our cultural terms. It would be on ME, as THEIR child, to uphold THEIR ability to save face, as much as its their own work.

Dissaya refers DIRECTLY to Pran doing this FOR HER when, in episode 10, she asks him, "did you forget to save my reputation?" It's brutal, daily work. And Pran goes BACK to keeping secrets in the end, because it would have been impossible, ultimately, for Dissaya to save face, AND for Pran to save Dissaya's reputation/face, if Pran were out with his relationship with Pat, thus proving his disobedience. It would be -- JUST -- better to keep the secret for all those involved.

As this post has gotten long, I'm going to continue talking more about these touchpoints in a second post. I'm driven to talk about this because I think much of the Western fandom might miss what us Asians are reading into shows like Bad Buddy through this coded language and engagement. I very much posit that Bad Buddy -- while it is first and foremost a queer show, made by queer Asians, about queer young men -- is so relatable to so many of us because we've faced similar struggles of survival, and we've faced threats to the sanctity of the love we have for other people by way of needed to fit into the roles set before us by previous generations.

So! With that, thank you for reading, and see you tomorrow, when I focus on competition, enmeshed family boundaries, patriarchy and sexism in Bad Buddy, and more if I can fit it in!

(Tagging @dribs-and-drabbles, @solitaryandwandering, and @wen-kexing-apologist by request! If you'd like to be tagged, please let me know!)

[Alright! Stay tuned for more, many more ruminations from the BBS Asian station tomorrow!

Here's the status of the Old GMMTV Challenge watchlist. Tumblr's web editor loves to jack with this list, so mosey on over to this link for the very latest version!

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) (and notes on my UWMA rewatch 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 here) 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) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (The BBS OGMMTVC Meta Series is ongoing: preamble here, part 1 here, part 2 here, more reviews to come) 34) Secret Crush On You (2022) (on pause for La Pluie) 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) GAP (2022-2023) (Thailand’s first GL) 39) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 40) Moonlight Chicken (2023) (tag here) 41) Bed Friend (2023) (tag here) 42) Be My Favorite (2023) (tag here)  43) Wedding Plan (2023)  44) Only Friends (2023) (tag here)]