#great bl you may no know about

[absolutebl]

Top 10 Great BLs That Are REALLY hard to find (but worth tracking down)

You may want to go hunting anyway!

Seven Days

Seven Days: Monday-Thursday

Seven Days: Friday-Sunday

Japan 2015

Never doubt my ability to recommend this show. One of the best live action yaois ever made, with perfectly structured angst, fantastic characters and acting, and no problematic tropes (rare in Japanese BL). The leads have excellent chemistry although it’s low heat there’s still some really cute mutual kisses.

Cherry Magic AKA 30-sai made Dotei Da to Mahotsukai ni Nareru rashii

Japan 2020

The sweetest fluffiest magical realism BL, packaged as a pinning office romance, very low heat (practically chaste) but the cutest. It’s truly great.

Cherry Magic Thailand

Thai 2024

A soft charming warm hug of a show about crushes and mind reading and self worth, with no-fuss execution from a consummate team and an OG lead pair proving why they remain eternal and deserve to grow up. Look, here’s the thing, Cherry Magic is a great Thai BL in its own right not comparing it to any other iteration. But even when I do compare (and I've seen all the Cherries and read the manga) it still stands. I personally like it slightly better than the Japanese live action, but I think that’s because I just really like Thai BL and I LOVE TayNew. Also all the kissing was both present and better than any other iteration. As it should be from Thailand.

I Feel You Linger in the Air

Thai 2023

IFYLITA is an exquisite BL, from filming techniques to narrative framework (much like Until We Meet Again). Steeped in history and family drama it edges into lakorn (but no as much as To Sir With Love and with way less scenery chewing). This is an elegant and classy BL... from Thailand which normally doesn't even try for classy. The main couple (both as a pair and individuals) were excellent, particularly Bright (Yai) whose eye-work acting style is a personal favorite of mine. Pity about the ending. Oh it wasn’t that sad but it wasn’t good either. This show could easily have earned a 10/10 from me except that it fumbled the… erm… balls in the final quarter. Argh. Whatever.

All about the ecstasy and the agony here.

Restart After Come Back Home AKA Risutato wa tadaima no ato de

Japan 2020

Atmospheric study in rural Japan meets complex family dynamics built on a romance framework of city boy meets country boy, grumpy/sunshine. It’s beautiful and icy sweet. Slow moving in places but ultimately worth the patience, low heat, low angst, and stunning.

Given

Japan 2021

Boy joins band, falls in love with other boy. The singing is terrible, fast forward through that but with the possible exception of the hair styles, this BL could have been made in 2015 and no one would be surprised. As such, it wasn’t ground breaking, but it didn’t disappoint either.

Make a Wish

Thai 2023

A doctor who can see the dead strikes a bargain with a wish-granting irreverent tree angel - naturally they fall in love (from Sammon: Manner of Death & Triage). Stars Fluke Natouch opposite not-Ohm, but who tf cares because Fluke has chemistry with everybody. Once again the Thai afterlife is incredibly bureaucratic but I enjoyed the premise and the unfolding of the story (it’s not predictable but still satisfying and with nice little twist). I like that the doctor is just gay AF - fag hag bestie and all the swagger. The cast is excellent even if the comedic stylings are a bit overblown and tonally off. It had sad parts and did make me cry but is ultimately happy with a great sex scene, good smiley kisses, and all the agency. Definitely recommended.

2 Moons The Ambassador AKA 2 Moons 3

Thai 2022

A Thai pulp that felt like it came out 5 yrs prior, with many of the flaws inherent to that time and studio system, including manufactured angst and convoluted plot, but an ultimately sweet main couple that (as a pairing) feels a bit more modern and satisfying to watch than they started out. This will probably go down in history as one of the few BLs where I genuinely didn’t care about any of the side couples. All that said, I find this show oddly appealing and rewatchable and I have no excuses for that except, I enjoyed it probably more than it deserved. Nostalgia & d**k, it's what's for dinner.

I Want to See Only You AKA Kimi no Koto Dake Mite Itai

Japan 2022

This is a beautiful well acted piece of cinema, about two boys who are opposite personalities and grew up together. Gifted and serious Sakura pines after outgoing eccentric manic pixie dream boy, Yuma. It is very pretty and this is the kind of atmospheric elegantly performed BL that only really comes from Japan (complete with dead fish kisses - what you though Korea invented them? oh no). If you want something stylish, this is it.

Triage

Thai 2022

BL does Groundhog Day featuring a doctor stuck in a time loop who must save a poor little rich boy from death by seducing the stuffing out of him, then PLOT TWIST, poor little rich boy must do the same for the doctor! Unfortunately... stuffing keeps leaking. I thought the plot was engaging if a little redundant and occasionally exhausting. The pairs were all well done, low heat but with decent chemistry and the support characters were likable (or unlikable, as required). If anything, the romance arc detracted and distracted from the main plot, but that doesn't stop this from being a genuinely good show.

HONORABLE MENTION

Great Men Academy

Thai 2019

Bodyswap involving unicorns turning a teenage girl into a boy makes this questionable as a BL (because, ya know, gender). But the fact remains that James is killer in the lead, and I (who do not like bodyswap) loved this damn show. Look, there is actual plot, hotties at boarding school, "bully the one you love" trope, some weird VR shit, very bad CGI, and yes, the boys end up together... whether they boys or not, so to speak.

Some of these shows may appear on a smaller streaming service, like WeTV, or they may be on a legal platform in your territory. I hope it goes without saying you should check there first.

(source)

This list updated Spring 2024, not responsible for cool stuff that went missing (or was added to a platform) after that date.

It's it last in a series the rest of which are:

[fuckyeahgoodomens]

Neil talking about the responses to Good Omens Season 2 - from the Neil Gaiman interview with Brian Levine for The Gould Standard (x,x)

BL: The audience that you have built is a very passionately engaged audience. They, frankly, they love you. And one of the reasons they love you is that you fit into what I think of as one of two great divisions in art. There's, or in writing, um, there is: I'm entertained, I'm amused. I may be even enchanted; and then there's this hits me at a visceral level. You understand me as no one else does. You have touched something very central to my experience. And it seems to me that Much of your writing, maybe all of your writing, actually reaches your audience at that latter level. You know. I would say in the former category, sort of my quintessential and beloved example would be P. G. Woodhouse. He amuses me, but I don't feel like he's revealed my inner self at a very deep level. Um, were you aware that you were going to be able to achieve that? Um, that this is something... was it a startling thing when people began coming up to you, who'd read your work and said, this means so much to me?

Neil: Yeah. It was huge. And it wasn't expected. I... if I had a mountaintop I was heading towards, it was gonna be P. G. Woodhouse. Um, I wanted to be a proficient entertainer with a clear prose style who could tell stories. Um, it probably wasn't until Sandman that I found... I started to realize that in order for a story to work, I had to show too much. In order for a story to resonate, in order for a story to matter, I had to let it matter too much. And, and I remember the first people who would start coming up to me and saying, um, you, you know, your, your Sandman comics got me through the death of a loved one. Your death character got me through my child's death, through my parent's death, through my partner's death, through my friend's death. Um, and that left me kind of amazed. I'm like, well, I didn't write it to do that. I wrote it to feed my children. I wrote it to satisfy myself. I wrote it because nobody else had ever written it. And if I didn't write it, it wouldn't be written, but I don't think I wrote it to give you what you've taken from it. And I spent really about 20, 25 years feeling awkward about that. And then my father died, in March 2009, and never got to cry about it. Never... I, you know, I've, I've got on a plane and I went to the UK and dealt with the funeral stuff and organized all of that stuff and came back and go toff the plane and went and did Stephen Colbert's Colbert Report and wearing the funeral suit because and that was all I had with me and carried on. And then, somewhere in the middle of summer, I was reading a friend's script. They'd sent me a script and said, can you look this over? And I'm reading it, and on page 20, the lead character meets somebody, and on page 26 maybe, she's dead, and I burst into tears. And I'm bawling. I am sobbing. It is coming out of me in giant racking waves. And I realized that it's everything that I'd been, hadn't let myself feel, or hadn't been able, hadn't stopped enough to let myself feel, was suddenly being given permission to feel by the death of a fictional person who I'd met six pages earlier, ia script. And I thought that... and it was huge for me, and I thought, okay, that's that thing that people are talking about sometimes, when they come tome and they say, you, you did this. So right now, I'm in this weird, wonderful place where I think a lot of people in Good Omens Season 2 thought they were signing up for the P.G. Woodhouse, and didn't know that, no, no, no, you've, you've signed up for the whole thing. You've signed up for the feelings. You've signed up for the emotions. I... it is my job to make you care and to make you feel and to feel things you haven't felt before. And which meant that the first week or so after Good Omens came out, I was getting angry, furious, deeply upset messages on every possible social medium telling me that I had betrayed people, and it was awful, and they couldn't stop crying, and why would I do that to them, and did I hate them? And they hated me. And then a weird sort of phenomenon happened as people would watch the show again. And again. And now they started to know, okay, this is where it's gonna go, this is what's gonna happen, this is how it works. And they started realizing that they were actually feeling things, and that was good. And that they were caring about two people who don't exist. You know, I made them up, and then and Terry Pratchett made them up, and then, um, David Tennant and Michael Sheen gave them life, and then they get to walk around on a screen and you know they don't exist, but you can cry for them, you can love them, they can make you laugh, they can make you exult, and most important of all, they can make you care. And the number of people who are now writing to me, saying, 'This was so important to me. This has changed my life. This makes me feel like I belong. This makes me feel like I can cope. And it's let me sort of find myself. P. S. I hope you get to do Season Three.' is, is huge.

[babyangelsky]

My Favorite Expressions in Love Sea Ep. 9

Holy shit I don't think I have ever felt more relieved watching the penultimate episode of a Thai BL than I did this week. I was expecting doom, I was expecting gloom, and while both were absolutely present, we did not linger there.

This is just my opinion but to me that alone is proof of how much Mame has grown as a writer because for a second there I was fearing another Don't Say No situation.

BUT THIS AIN'T ABOUT THAT LET'S YAP ABOUT MICROEXPRESSIONS

I need to start with my baby because after the horrors last week, seeing her smile means everything to me. Gotta hold onto it as long as I can because we all know what's coming.

And speaking of smiles, this situation is TERRIBLE there are delinquents coming at my man with 2x4's but this feral smile from Mahasamut?

This one is purely for Meena's benefit, to comfort and reassure her but it is genuine, Fort's eyes are very sparkly. He switches gears very quickly when the getaway bike arrives for the thugs though so however chill he seems, he absolutely isn't. He just wants to keep the baby (and Vivi and her friend) calm.

It's very disconcerting to see Vivi this serious.

We're 2/2 on smiles for other people's benefit. My poor girly.

*stares at Viviana* You did this.

This look of pure murderous intent may be one of my favorite expressions Mut has had over this whole show, especially because it's paired with that clenched fist. And I'm going to give extra praise to Fort for it because he doesn't clench his fist until after Tongrak apologizes for what happened and he doesn't open his eyes until his hand is practically trembling from holding it so tightly.

This response doesn't come when Rak tries to blame himself for the beating; it happens when he apologizes for it. Mut isn't angry in the abstract and he isn't angry at Rak, he's angry for him.

I don't like this face, Khun Tongrak. I actually had a moment where I thought to myself, "why can't I read your face right now?" and of course it's deliberate on Peat's part. Even without knowing what we know from the preview, this face would have told us that Something was about to happen.

Or maybe that's just me, I don't know. I've been staring very hard at Peat's face for the past two months.

Watching Tongrak desperately try to steel his nerve after entering the snake pit that is his sperm donor's house is heartbreaking.

As much as I hate to subject you (and myself) to more of Jak's face, I'd like to point out that like last week, his face is in shadow while the face of the person he's speaking to, in this case Tongrak, is catching the light. Also worth noting that Rak's back is quite literally against the wall in this scene.

We see this play with light/shadow again when Rak has a flashback of him from his childhood. Jak has always been a vile, psychopathic snake and his true feelings and intentions have always been hidden behind shadow.

It's horrible to say because there's so much anguish behind it but this is such a beautiful expression. There's a split second where he tries to look angry but it just doesn't work.

I think there's a tiny part of Tongrak that truly believed that tearing up the contract would be what made Mahasamut leave and on the flip side of that, a part that was afraid that the contract was truly the only thing making Mut stay.

GODDAMN THIS IS THE SEXIEST THING MAHASAMUT HAS EVER SAID ARE YOU FUCKING KIDDING ME

For people like Tongrak and for people who can relate to Tongrak in the sense that one or more of the parents we pulled in the great gacha of life are horrible and shitty, there comes a moment where you realize that they aren't actually these huge indestructible monsters. They're human.

And when you realize that and look at them, it's like you're seeing for the first time. There's a weird sort of pity and whatever the opposite of awe is that you feel that's hard to describe. It's a feeling of "...Is that really it? Is that all there is to you?"

That is what Peat is portraying so incredibly in this scene.

BLINDING LIGHT OF LOVE LET'S GOOOOOOO

WILD HORSES, YA'LL! WILD FUCKING HORSES!

Pouty Tongrak face, as a treat.

Mook and Mahasamut were talking about Tongrak and what Mut would do if he got rejected when all was said and done, but Mook's face when Mut says he would accept the rejection tells me she's also thinking about herself and Vivi.

I actually really wish she would've talked to Mut about it directly because god knows girly pop needs to talk to someone about Vivi. Or better yet, Vivi herself.

As for the preview next week, do not even sweat it babes because you know what?

THERE ARE COLORFUL PATTERNS ON TONGRAK'S BODY!

I LOVE GETTING EVERYTHING I WANT!

[lurkingshan]

Japanese QL Corner

Counting my blessings this week as these current shows continue to absolutely kill it. These are all streaming on Gaga or provided via fansub (feel free to ask if you don’t know where to find them).

Our Youth

This week we were treated to a series of relationship negotiation conversations, several scenes so charged with tension and meaning that I am still not done processing, and a metaphor that just about knocked me out. Hirukawa can see through Minase's weak protests and just keeps putting himself near him, and now with Minase's parents likely divorcing and his impending departure abroad, he feels like he has nothing to lose, so he may as well give in to his desires. I am attuned to the pacing so I assume within the next two eps we will be wrapping up this high school backstory (brace yourselves for the horrors) and then going back to the present to see how they come back together as adults. I can't wait; this show is just killing it.

Love is Like a Poison

We begin this week's ep with the sweet smell of vindication, because as I thought, Haruto did not leave Shiba. He simply put his ring safely away and went out on a mission. Our Battle Couple continues to thrive! After another terrible encounter with his father (another strong contender for worst dad in BL), Haruto comes home and finally comes clean about the last of his secrets with encouragement from Shiba. His backstory is just as sad and horrifying as expected, and all the details of how he approached Shiba come together seamlessly now that we know he's been seeking help to avenge his mom this whole time. As a cherry on top, Shiba's bestie backs him up with the boss, and now the whole squad is geared up to take that man down.

Love in the Air Koi

CW: abuse, intimate partner violence, sexual assault

This week we transitioned from Arashi and Rei's happy coupledom to the beginning of Kai and Fuma's love story, with the flashback to their first encounter and an efficient presentation of Kai's harrowing backstory. I appreciate that this show did not flinch away from the ugliness of Kai's history, but also didn't dwell unnecessarily in the trauma. I am also noting the absence of the first kidnapping plot from the original drama--I assume this version will be combining Rei and Kai's abductions into one event toward the end of the show, which for me is an extremely welcome change. Nagatsuma Reo is really solid in portraying Kai's trauma and the intentional distance he keeps in his relationships and the fear and tension warring with his interest in Fuma was well done. Looking forward to their story.

The Fragrance You Inherit

In this episode Sakura and Mone got the chance to reconnect and Sakura finally told her story. It's sad as hell that her devastation over Mone led her to a dubious encounter with a man she doesn't know or like, but at the same time it gave her Toki, who is clearly her great joy in life. I'm happy that she got to raise him with the support of a good friend in Ryosuke, if not a partner. Speaking of Toki, it's now clear that he knows about his mom's feeling for Mone, and he is feeling her out to see what she might be willing to tell him. I'm sure he's having a lot of complex feelings, but I didn't get the sense that he's angry with his mother or concerned about his own relationship as much as he is sad that Sakura has kept this huge part of who she is a secret from him. Sakura wants to shield him from things he already understands, and she's too caught up in her own past trauma to recognize that the very fact of queer people existing will not come as a shock to her son. I love that the show seems poised to tackle that generational culture aspect of this conflict alongside the interpersonal dynamics. You can find the show here, with big thanks as always to @isaksbestpillow for providing English subs.

[baseballmomlesbiandad]

Random QL Superlatives/Favs 2k24

I've been shuffling around these QL streets for a few years now but I typically stay in the shadows and lurk on everyone else's wonderful meta, gifsets, and discussions. This year, I thought I should take a step into the light and reveal a little bit of my heart for y'all. Thanks for keeping me laughing and crying throughout 2024!

Top-tier cuddling award

OonMay, Pluto the Series

May’s neck is the perfect spot for Oon nuzzles. I get her, I wouldn’t ever want to move from that spot, either. For a series that has the first meeting between the leads start with a passionate kiss, it isn’t totally surprising to me that they can rock a cuddle but the sheer amount of time these women spend in May’s bedroom gives us many an opportunity to see them comfy in bed together. Namtan and Film seem so comfortable with each other and I’m really looking forward to seeing them in more GL’s in the future (give me Girl Rules NOW).

Runner up: At 25:00 in Akasaka

Hayama and Shirasaki didn’t have the opportunity to share a bed much in the show (well, as much as OonMay) but when they finally got together and cuddled in the afterglow, I was gobsmacked by this shot. I think ‘Tattoo it on my eyelids’ was my specific response.

The year of tattoos, the best and the worst

Best: Reverse 4 You/4 Minutes

I’ve gotta make this a tie because while Bible’s thigh tattoo in 4 Minutes is particularly popular throughout the community (and I agree!), I went weak in the knees when they showed Christine Gulastree’s tattoos during FourWa’s first hookup. That line all the way down her spine? Idk about y’all but I immediately started drooling. Wa you are so lucky. Christine, are you free this thursday

Worst: The Heart Killers

Oh Kant. Buddy. The tattoo near his wrist was literally smudged. Please, y'all. 

Honorable tattoo mention: Jack & Joker

Listen, most of Joke’s prison tatts are ridiculous but luckily for me, I’m into that shit. I will be getting at least two of Joke’s tattoos permanently placed on my body. No regerts. You’re welcome to guess which ones.

Best kiss

Hotae and Donghee, The Time of Fever bedroom kiss

A year filled with great kisses! But I know from other lists that I'm not alone with this pick. This show was my most anticipated of the year since Donghee and Hotae caught me hook, line, and sinker in Unintentional Love Story. The moment that show ended, I wanted more of them. And then they did give us more (and premiered it on my birthday, no less) and they didn’t disappoint!! Especially by giving us the bedroom make-out with that immediate change of tension in the air when Hotae fed Donghee the orange and touched his lips; Hotae fully shaking with desire and begging to be kissed again; a heater in between them!! the breathing sounds!!! Won Tae Min is such a delight to watch, a great actor in all of his projects and Do Woo is so pretty and holds his own against Tae Min. I love them. I still want more. Give us the sequel to ULS, cowards!!! 

Best almost kiss

X and Namping, Every You, Every Me

Though later in this list I continuously sing praises about Top Piyawat's beauty, the reason why I'm so hung up on this almost kiss really goes to Mick Monthon here. X wants it sooo bad. He is struck stupid by being this close and held this tender by Namping and if I were him, I would simply perish on the spot. I truly loved this show while it was on, had complete brainrot about it, and this storyline in particular fucking ended me (affectionate).

BL Characters that shove me back down the Kinsey scale a la Jin Guangyao at Carp Tower

Tharn from The Sign

via @guzhufuren

IRL I typically self-identify as a lesbian (but like *shrug*) however, every now and then I become infatuated with one of these BL boys and Tharn really did a number on me. I mean c’mon. Babe babygirl Thanatat playing this tiny, feisty, sad, gorgeous man. The mole(s). A snake princess of indiscriminate gender. She is everything to me. He was the moment. Remember when he was so horny that he tried to smother Phaya to death? Obsessed with everything about him. BillyBabe continue to torture me. I don’t think I need to explain further, many of y’all were right there on the crazy train with me.

Namping from Every You, Every Me

I thought no one could tempt me like this after Tharn but then Top Piyawat came in with the steel chair that was Namping in episodes 3 and 4 of Every You, Every Me. What I loved particularly about this show was the dominance swapping between storylines and there’s something so sexy about someone being able to lean into both his feminine and masculine qualities so masterfully (Mick does a good job with this, too). Namping was BEAUTIFUL, his shoulders and slutty tops made me absolutely weak to my knees. I have rewatched these eps multiple times even though they make me snotty cry bc I just can’t get enough of X and Namping. And in the next eps the way Top had me thirsting over him as a fuckboy musician who never wears sleeves? He should be in jail for that. Anyway, Top, will you be my wife.

Most Sensual Pasta Making

At 25:00 in Akasaka

This show had me by the throat while it was airing and I can’t fully explain why other than I tend to feel this way about certain Japanese BL’s with a blonde and brunette pairing (Candy Color Paradox was not a great show but I was obsessed and still don’t know why)—having two nickels, etc., etc. Anyway, the gnocchi making? It was hot, what the hell. As someone who moonlights as a fresh pasta vendor at a weekend farmer’s market, this scene was specifically made for me. As an aside, I didn’t watch My Love Doesn’t Have Long Beans so if they sensually make pasta in that and aren’t just violating OSHA regulations all over the kitchen then I’m sorry!

screenshot via @my-rose-tinted-glasses

Silliest character that had me in stitches of laughter

Shiba Ryoma in Love is Like a Poison

The amount of times this man had me laughing out loud is in the 100s. It’s the stark contrast of his straight-laced, deadpan, almost robotic personality with his silly quirks and impossible-to-hide reactions, especially as Haruto comes onto him more and more as the series progresses. Highlights include every time he has a ‘gay seizure’ as @guzhufuren coined, his knees buckling when Haruto starts sweet-talking his plants, throwing the napkin in ep 4, literally every single thought that crosses his mind eps 1-4, when he tries to make AI Clippy be his 101st partner, the PICTURES, and so much more. The actor who played him, Shogo Hama, gave me everything and Haruto and Ryoma as a couple had me crawling up the walls, particularly in the first few episodes.

Runners up: Ishida in Mr. Mitsuya’s Planned Feeding and Qian in Unknown (Chris Chiu!!)

GL woman I would follow around on my knees for the rest of my life if she asked

Pat, Unlock Your Love

Cake Nawanine. A beautiful brat who knows exactly what she wants, which is that hot soft butch tattoo artist, and will fight all of her evil ex-girlfriends to prove her love. Deane is truly wild for continuing to fumble this absolute goddess of a woman, but what can I say, Deane is basically the Thai equivalent of a ‘hey mamas’ lesbian. Even so, their make-out scenes together were scorching and Pat’s flirting game was top-tier. I had a lot of fun with this little show and will continue watching series with B Mine and Near if they keep making them. And Cake! Please come back to my screen, I love you, I WILL treat you right. 

Thank you @khaopybara for sustaining my lust and love by being one of the few people making beautiful gifsets of my girl.

Most surprising chemistry between an already beloved pair

JoongDunk in The Heart Killers

Hear me out!!! I enjoyed Joongdunk in Star in my Mind and Hidden Agenda and I even thought their intimate scenes and sex scenes in both were pretty good. I was not prepared for The Heart Killers though, like I am really blown away by them as Fadel and Style and they are quickly rising to be one of my favorite branded pairs. I’m sorry it took me so long to recognize real!! As someone (probably a few) mentioned on here, I came to The Heart Killers mainly for FirstKhao, my loves, but am sticking around to see JoongDunk and what else these absolute psychos have in store for us.

Most used show tag that automatically populates first whenever I make a new post on tumblr dot com

The Sign the series

This makes sense because I was unhinged about this show and Babe, in particular. Thank you Saint Suppapong for giving us feral idiots exactly what we want, which is total nonsense, hot hot hot chemistry, and beautiful men wearing dresses. I’m glad I spent the end of 2023 and the beginning of 2024 with this show and I feel very much the same way about The Heart Killers for this year.

Blorbo(s) from my show(s) i.e., characters I have imprinted on like a duckling

I already gushed about Namping, love of my life, will not elaborate more or we’ll be here all week.

Hayama from At 25:00 in Akasaka. I love a quiet yearner, that’s no surprise, but something about Hayama in particular really resonated with me. It’s the LWJ effect, I think, someone who seems to not emote at all on the surface but is really a storm of feelings underneath and Kiita plays it so quietly and intensely. His backstory episode was so good I watched it again immediately after finishing it the first time. Hayama’s friend telling him that Hayama has so many walls up that even he himself doesn’t know what he’s thinking or what he wants? Ooof that hit right where it hurts. 

Mole Goddess possessing the teacher in Caged Again. All of the actors that get to play the Mole Goddess look like they’re having so much fun but her in particular had me rolling with laughter when she was first introduced, looking at herself in the mirror and practicing scolding students to get into character. What a diva. Who is this actress?!

Way from Pit Babe. I know this show started in 2023 but I binge-watched the show a week leading up to the finale in February and was assaulted by the purest pathetic energy of anything I’ve ever seen radiating off of Way. My morning commutes were hell until i took on this endeavor and it was one of the best decisions I made this year. I could not control my laughter on those crowded train cars, I did not care how crazed I looked. Way, you are everything, RIP to the realest (bc allegedly only Way’s lookalike is coming back in season 2?!). Thank you, Nut <3 

Style from The Heart Killers. Again, this is another one that i don't need to explain. I am similar to Fadel in that I like his cockiness...and his lips. Also Style is named appropriately bc i want, nay NEED, his entire wardrobe (and dorito looking ass body).

Other shows this year that have left a mark on me:

Takara no vidro, Ayaka is in love with Hiroko, Fangs of Fortune (not a BL but queer as hell), Love for Love’s Sake, Love in the Big City, 23.5, Cherry Magic TH, Deep Night, Wandee Goodday, Monster Next Door, Let Free the Curse of TaeKwonDo, The On1y One, See Your Love, Dead Friend Forever, Twins the Series, Petrichor

Shows I didn’t watch/finish but have on my list

The Trainee, The Affair, The Loyal Pin, My Stand-In, and probably a lot more, there was so much this year and I'm still catching my breath. If you have any recs for me, i welcome them!

Special shout-out to those who probably see me pop up in their notifs always, particularly @absolutebl, @heretherebedork, @guzhufuren, @respectthepetty, @waitmyturtles, @negrowhat, @yinwaryuri, @lurkingshan, @bengiyo, @spicyvampire, @pharawee and many more. thank you for all you create for little ole fans like me!

Looking forward to what 2025 brings us!

[jadedbirch]

In response to this post about War of Faith

@isilaie said

Finally someone expresses what I was thinking 🙄 I've got a huge problem with propaganda (from any side) and despite the superb directing and acting this one is so blatant that in another context (or country) it almost could be considered as parody. I love Yibo to pieces but ...I think it started with "faith makes great" that there is a kind of red thread (pun intended) in his choice of roles. His success proves him right of course but ...😔🤷‍♀️

I really wanted to address your comment @isilaie because I think it's important we are all aware of the things that are going on "under the surface" so to speak when we engage with this kind of content. Again, speaking as someone who used to live under a totalitarian communist regime, I'm very aware that whatever "choices" and "freedoms" that people like Yibo enjoy are completely illusory. Especially if we assume from the preponderance of evidence that he's queer - and therefore have to assume that whatever lifestyle he may enjoy is sanctioned by the government - then these choices are even more impacted. We've all seen how quickly c-ent can make someone's career disappear (i.e. Zhang Zhehan) and how quickly the CCP can make PEOPLE disappear (i.e. Fan Bingbing) for not toeing the party line or not sending the right message. The more high profile you are (like Xiao Zhan and Wang Yibo), the more scrutinized you are for all your "choices." Plus, we also know that these days you can't get anything past the sensors w/o a healthy dose of Patriotism, and at the end of the day, the project that Yibo might sign up for can end up being something else entirely by the time it hits the screen.

So, the only thing I'm going to judge my beloved son on is making career moves that allow him to grow and develop as an artist - and War of Faith definitely gave him the opportunity to once again stretch his acting chops. And I think his success is due to his radiant talent that turns anything he touches into gold, and not so much due to his "patriotic" project choices, but shit, I'm only slightly biased because I gave birth to him LMAO.

As for War of Faith laying it on so thick that it's almost a parody - you're correct - and I actually said to a friend last night that it's ironic that as I watch the show, the Big Communist Heroes actually come off as fanatical terrorists to me. Hmmmm. Interesting.

(On a funnier note, people have pointed out how incredibly GAY this Comrade Drama is for such blatant propaganda, and that perhaps you needed a heavy dose of one to slip in the other. If that's the case even the tiniest bit, then kudos to Yibo for making another secret BL drama right in front of everyone's salad.)

[slasherstories123]

I was wondering if you could do Jason Voorhees, Thomas Hewitt, Bubba Sawyer, and Michael Myers with a s/o who always knows when and where someone is stalking them or around them, like they can pinpoint exactly where they are. sorry if that's weird but I kind of have the same thing and if you could I'd be very happy 😁

Slashers with a S/O who can predict who’s around them

Paring: Jason Voorhees, Thomas Hewitt, Bubba Sawyer, and Michael Myers x GN! Reader

Tagslist: Tagslist: @dootys @callmemeelah @fluffy-little-demon @mehidktbh @slash3rl0v3r @the-anxious-youth @beanbagbitch @mrs-heelshire @vincent-sinclair-deserved-better @oneofvincentscandles @sleepypersonblog @alexxavicry @vexeliers-breakroom @naxxsstuff @beel-mcburger @pink-apollo @charliedawn @emychan @bunnysenpai31 @sadskies @slasherscrybaby @bl-rrryface @l0sercat @cherry-lovr @emychan @anim3l0v3r

Jason Voorhees

At first he wondered how you could locate where he was at before you two met

Each time you looked in his direction he’d have to change into a new hiding spot since you can spot him quickly

But once you two got together he realized that it could be a good thing since he can’t catch all of the victims before they catch you

I mean he’ll try but since you can pinpoint where people are he knows that you can handle yourself if it came to danger.

Now if it came to someone stalking them he’s quick to hunt them down since stalking isn’t allowed in the forested

Whenever you tell him that someone’s in the camp he’s happy on the inside knowing that he dosen’t have to search the whole camp to see if there’s more than one person

Thomas Hewitt

The friends that you had didn’t believe the fact that you can know when someone’s close but they didn’t believe you, now look at them dead🧍🏾‍♀️

It would be a relief for the whole Hewitt family to know that you can pinpoint when someone’s in the house, especially an intruder. Now if it’s Hoyt secretly watching you all you gotta do is tell Thomas or Luda Mae and they’ll just put him straight 🤷🏾‍♀️

Thomas would question you more about it since he finds it interesting himself. He’s a curious guy, so he’ll ask questions here and there and would want to see it from your perspective

Once you tell him that someone’s close to the house or is hiding inside the house he’s going protective mode

Thomas won’t rest until any trespassers are out of the Hewitts house considering the fact that he practically has to do all the work

Besides Hoyt but he dosen’t count

Bubba Sawyer

Bubba’s more confused than ever, how can you pinpoint someone so fast?

Unlike the other victims, you knew that either him or his brothers were close.

Just like Thomas, he’d ask questions about it too out of curiosity.

This would be also good when his brothers are being loud, even though they’re so loud it’s still best to let him know that they’re nearby or are coming to where you two are

When it comes to victims sometimes they rely on you to tell them where they’re at if bubba accidentally let them escape since he does a lot of work too.

Michael Myers

Will be more shocked out of all of them but won’t show it, normally people wouldn’t know that he’s there, sure they may get the feeling that someone is stalking them but not actually pinpoint where they are.

This caused him to follow you more to see if it’s just him or you can really see that he’s following you.

It’s a great surprise to him, he’s not sued to people pointing him out since he’s practically the god at stealth and stalking

Didn’t really want to kill you anymore which was weird so he spared your life.

When it comes to someone else stalking you there’s no stopping him even though he stalks you himself

Only he gets to do that not some random dude or person that can get away with it.

[my-rose-tinted-glasses]

I'm watching too much stuff. And things are not slowing down with all the things coming in September. So I'm gonna try and keep this short. As much as that's possible given the amount of shows.

QL - Currently Watching

🇹🇭 4 Minutes [6/8] - Finally some answers. I haven't read all the theories floating around about this last episode and what it means, but I'm firmly on the side of, there is another alternative timeline, probably from when Tyme is dying at the start of the show, and also very much in agreement with everything @lurkingshan wrote here that these are just imagined do-overs and nothing will actually change in the real world. Which would be my preferred way.

🇹🇭 Addicted Heroin [2/10] - Haven't watched this weeks episode yet. My review for the first two is here.

🇹🇼 First Note of Love [4/12] - I like them a lot. And I like the pacing of this. I love the intro song. But with a second couple being introduced I think I'm gonna get frustrated having to wait a week for a 20 minute episode. I felt that way a lot during Kiseki.

🇯🇵 I Hear the Sunspot [10/12] - I am annoyed.

🇹🇭 I Saw You In My Dream [7/12] - May the boyfriend era commence. I am enjoying this one. I'm guessing we still have a bit of angst coming and I'm hoping for a good explanation for the dreams.

🇯🇵 Mitsuya Sensei no Keikakutekina Ezuke [6/7] - Just such an incredible show. This week brought the pain and I'm still unwell. As if Frito getting sick wasn't heart breaking enough, that ending left me in tears. I cannot believe we only have one episode left. I am not ready to say goodbye to the three of them.

🇹🇭 Monster Next Door [6/12] - My favourite thing about this is definitely Big. His presence on screen is great. But I'm not fully connecting yet for some reason.

🇹🇭 Peaceful Property [1/10] - It's a lot of fun. Yeah, I know it's not a bl. But it's bl adjacent so it goes here. Also in my head it's gonna be a bl no matter what. Possibly even with a gl side couple. The mind is a powerful thing.

🇯🇵Sugar Dog Life [4/10] - I love Isumi. I really liked that they didn't drag the girl storyline and it served it's purpose. Isumi is now very much aware of it's feelings. I'm looking forward to the date episode.

🇯🇵 Takara No Vidro [9/11] - Takara, my love. This boy has my whole heart. I can't believe I'll have to say goodbye to then tomorrow. I'm bracing for part pain, part happy. Please Japan don't let me down.

🇹🇭 The Loyal Pin [1/16] - I'm waiting to binge.

🇹🇼 The On1y One [4/10] - This show will hurt and I will love every second of it. I really like the look of this show and how we get those little insights into Jiang at the end of the episode. The actors are doing great and I specially love Benjamin Tsang facial expressions. I'm curious to see these two together and how their dynamic will work considering their circumstances. Also, always happy to see the revolving door of cameos Taiwan always grace us with.

🇯🇵Twilight Out of Focus - It's so beautiful. I'm enjoying that we get different couples even if sometimes it feels like we could have more time with them. I like Rei/Shion a lot, but I do miss Mao and Hisashi. 🇹🇭 The Trainee [10/12] - Just to get it out if the way, the Bamhee/Judy storyline was definitely the right call and @lurkingshan was right all along. Also the way the office came together was delightful and it's great to see Pah getting everyone together and once again being the best friend ever. Now. THE OFFICE FLIRTING!!! I was losing my mind giggling like an idiot. I love them. It's pretty obvious at this point that it's mutual and of course Ryan will need to actually be told that, but I still think Jane will wait until the internship is over before confessing or starting anything official. I can't wait to watch all the interns reaction next week. I love it here.

QL - Finished

🇯🇵 Ayaka is in Love with Hiroko! - I'm disappointed in this one. It started off so strong but by the end it lost me. I love Hiroko but I feel like they betrayed the character. And that ending with the kiss in the office was ridiculous. Actually most of the end was weird in the way that it seemed to contradict what came before. I like that they finally got together but it didn't feel as good as it could've.

🇹🇭 Century of Love - Started of great and imo fell apart by the end. I don't think it was consistent all the way through and the mythology was all over the place. Daou did an amazing job though. Also Ju is one of the greatest female characters of the year.

🇯🇵 Cosmetic Playlover - Pretty show. Final thoughts here.

🇹🇭 Knock Knock, Boys! - Probably the biggest surprise of the year for me. It's great. I like the development of both couples. Even if near the end I got a tiny bit annoyed with Peak, I really liked the conclusion of it all. Latte is a great character and the very rare slut unjudged by the narrative.

🇹🇭🇨🇳 Meet You At the Blossom - Look it's great that we got a chinese bl, but this was not it for me. Let's hope this one helps get others made though.

🇹🇭Love Sea - It was fine. I enjoyed Mut but in general I just never connected to this show. And Muk annoyed me to no end. I was so happy to see Aya again and now I just wanna forget that she was ever in this and simply remember her as Yiwa.

🇹🇭 SunsetxVibes - I don't even have words. I don't know if it was my lack of attention or if it never actually made sense but I never really got what the mythology was all about apart from inspiring a truly horrendous looking necklace. I was slogging though this one and I guess the finale was fine.

🇹🇭 This Love Doesn't Have Long Beans - The sides were great, their chemistry was on point. I really wanna see them again. The mains were my favourite thing about Pit Babe but I just didn't like them here.

🇹🇭 The Rebound - I just have to accept that MeenPing will always have bad scripts. They are pretty together but this was a mess.

Dropped

🇹🇭My Love Mix-Up!

Rose Watches OJBL

Pornographer: Spring Life | Playback | Continued Spring Life Finally finished the novelist. Final thoughts.

A LOT of stuff coming this month so if you haven't checked it out, here is the post with all announced upcoming qls for September with a couple of updates that I made today.

As usual my ask box is open. Have a wonderful week💜

[ecogirl2759]

So, I decided to take a few photos of the Danganronpa 4コマ KINGS series and compile a few of the findings I thought were funny.

I don't have everything fully translated yet, so there may be a few issues with my findings. If you find any mistakes or have anything to add, please lmk :) I'll also update this if I find things later.

---IMPORTANT NOTE---

All of these drawings are NOT mine. Everything comes from the 4コマ KINGS series published by Spike Chunsoft. I'm simply photographing them and sharing them with others who may not have seen them before (since the series is out of circulation). If there is any issue with my post, please inform me so that I can take appropriate action.

All photos are below the break here :) (Warning, it's long lol) ((And there are a few minor spoilers))

(EDIT: As a side note, I've posted more pictures in an update. Idrk how this site works, so I'm letting people know here so you can find it if you want.)

Fun things that you can learn from the Danganronpa 4コマ KINGS comics:

Hifumi has written, drawn, or thought of making content relating to Sayaka x Kiyoko, Aoi x Sakura (on two occasions), and Makoto x Byakuya

Toko thinks that… something… happened between Mondo and Kiyotaka in the sauna, wink wink.

Toko wrote some sort of fanfiction in relation to Byakuya, Chihiro and Mondo. Idk what it is, but the title is along the lines of "The Byakuya Family Household Sweep Away a Beautiful Girl". (Pretty sure it's a Mondo x Chihiro fic, but I could be wrong.)

^ pretty sure Syo is a heavy BL fan lol

Aoi's b00bs are so squishy, she can use them to launch herself off things.

Everyone really likes drawing pretty boy Byakuya. Like, he looks fabulous in some of these panels. Here is one of those pictures:

........Okay, fine, this is the right one:

Hifumi has drawn gender swaps of a few of the boys, being Makoto, Byakuya, Leon, Yasuhiro, Kiyotaka, and Mondo.

Leon really wants a harem lol

Kiyoko's secret picture (from the last trial in-game) was of Class 78 hosting a cat maid cafe

Yasuhiro's secret (the motive in Chapter 2) is that he's an idiot.

Mondo, Kiyotaka and Sayaka all get along really well! So do Mondo, Kiyotaka and Chihiro :)

Mondo knows how to sew!

Mondo doesn't wear eyeliner, he just has really long eye lashes.

Mondo's hair is fluffy and bouncy :)

Makoto thinks Mondo's hair looks like a corn chip. Aoi thinks it looks like a chocolate croissant :)

Chihiro once gave Mondo a game about dogs. He loved it lol

Chihiro and Mondo have actually trained together.

^ they actually make a great team :)

(I'm pretty sure that) Kiyotaka was found guilty in a trial relating to black underwear. Unclear if he was executed or not. (This point is subject to change once I fully translate the comic.)

Kiyotaka was brainwashed by the Mono-Rangers (parody on Power Rangers) in a different comic. He became Commander Ishimaru and enforced rules and dress code in a dictator-like fashion. (Full translation is still in the works.) This is what his outfit looked like:

Daiya dies in 4K

Komaru's here :D

Mukuro shows up a lot as herself! She's so cute lol

Kiyoko's kinda socially awkward lol, it's really cute.

Makoto has wanted to see up Kiyoko's skirt on multiple occasions.

Makoto has tried a couple of times to cheer Kiyotaka up. It does not work.

And now, here are some funny out-of-context panels to cap off this post! These were too hilarious not to include, I just couldn't make a bullet point out of them lol.

Thank you for coming to my ted talk :)

[yunhogosailing]

So…you want to know more about Korean shipping terminology (and how does this apply to Ateez?)

Luckily, I have spent the better part of six years of my life learning Korean! Which fortunately(?) means that I have learned plenty about the lingo Korean BL fans use re: shipping dynamics. Actually, this makes it SO MUCH easier to navigate websites like Twitter, where NSFW posting is censored for security reasonable. The difference is that English speakers do not have an organized method of referring to the members in their ships (for example, one user might write seongjoong as secngjccng where one might instead write sxxngjxxng, and where another one might even write sngjng, etc etc). But how do Korean speakers handle this situation? What is the context behind all of this? I will provide with you with a fun and easy chart at the end, but first….Let me explain:

Taking you back to the early 2000s

Our setting: the early Korean BL online forums. The terminology originating from these spaces were unsurprisingly heavily influenced by the original sources from which BL manga was derived: the Japanese language. Japanese has a system of Chinese characters used to simplify the writing process known as Kanji. Korean has a similar concept, known as Hanja. Where as Kanji is still heavily utilized to this day for a variety of reasons (my Japanese teacher would always say its main purpose is to minimize the amount of script needed to convey an idea), Hanja has largely fallen out of fashion—used primarily to clarify homophones in text, in literature such as novels and older writings, and as a stylistic choice to depict words such as Death and God, etc.

First, I’m going to give you some terms that are familiar to quite possibly all of you.

Seme (攻め) - the dominant figure in the relationship. Most often, this person will also be depicted as the top.

Uke (受け) - the submissive figure in the relationship. Most often, this person will also be depicted as the bottom.

Are you following so far? Great! In the most stereotypical depiction of homosexual relationships in Manhwa, these roles—the dom top and the sub bottom—reigned supreme so much so that eventually the community fell into the pitfall of believing these four terms to be interchangeable. While simplifying the process of understanding each person’s role in sexual intimacy, it also didn’t lend much of an allowance to explore ideas that defined this view of sexuality. This lack of nuance and flexibility has very little to do with why I’m writing today, but I do want to give some more context as to why these terms became such reliable shorthand.

Anyway…

In Korean BL spaces, these Kanji symbols (攻/受) were directly translated into 공 and 수, respectively. 공 literally means “Ball” but in the context of the Hanja, it means “attack” or “strong”, basically dominant top. 수—“Number”—“to submit” or “to receive”—submissive bottom. Don’t worry, this is the absolute last time I will be explaining these ideas.

How does this work in Korean BL spaces?

Now this may also be familiar to many of you: the placement of each figure in the ship name MATTERS! In SFW spaces, you can get away with referring to Yunho and Mingi as Yungi because….well….platonic friendships aren’t normally referred to by dominance dynamics. In NSFW spaces, specifically dealing with fictional depictions of gay sex, referring to Yunho and Mingi as YunGi will have most people assuming that you mean fanfictions in which Yunho is the top and Mingi is the bottom. Oh, you didn’t? Well, obviously you meant to say MinYun (or MingYun or MingHo, I’ve seen this written all kinds of ways tbh). See what I mean? Now this isn’t always the case—familiarity is everything, so it’s not uncommon to see Wooyoung and San referenced as WooSan, no matter who is intended to be the top.

In Korean, ship names are almost always written in order of placement. For example, 윤낫 (we will get into why the Hangul in San’s name is reversed later) would refer to a Yunho x San pairing where Yunho is the top and San is the bottom. Likewise, 낫윤 would imply the exact opposite. Anyone want to take a stab at what 밍웡 means? How about 섷쫑?

2010-2024, A minor shift in focus

As the spaces for these conversations grow and change with time, as did the terminology used to describe shipping dynamics and pairings.

If you are a fourth and fifth gen K-pop stan, you know what a coupling, or chemi, name is. Korean fans who did either did not want to discuss their idols in a romantic/sexual manner, or otherwise wanted some way to differentiate a typical shipping name from a platonic pairing name, developed the concept of using a chemi name instead. For Ateez, these would be:

E-Kang-Mo (에강모) / Yunho and Yeosang - the shortened version of 에이티즈 강아지 모임, literally translating into the Gathering of Ateez Puppies.

Matz (맏즈) / Seonghwa and Hongjoong - TWO MEN WE’RE ON FIRE 위험해‼️‼️‼️ Shortened version of 맏형 which literally translates into Oldest brothers. This quite obviously refers to our two oldest members within the group.

Elsewhere, you may come across 삼복즈, Jiwoong and Yujin from ZEROBASEONE. Or 채채즈, Chaewon and Eunchae from LE SSERAFIM. Usually this name is derived from some personality aspect or moment the two idols share, and can be given organically by fans or by the idols themselves. They are used strictly by both Korean and international fans as a means of referring to these idols and their friendships. It’s still possible that you find a fan who skips the whole “having to learn a completely different unit name” thing and just uses the traditional pairing name (I know, because I’m one of them), and in this case you can likely tell exactly when they first got into K-pop.

During this decade, shippers developed two more terms to further break down sexual dynamics, this time focusing on top/bottom. 왼 is the Korean directional word for “left”, and in the context of BL, means top. For bottom, Koreans use a shortened version of the directional word for “right”—른. I am not entirely sure whether the general consensus seems to be that these terms are still strictly tied to the idea of a dominant top and a submissive bottom, as most of the resources I used to search for these terms waffled on the subject.

In practice, 웡왼 will refer to shippings in which Wooyoung is a top (I searched for this on Twitter and came up unsurprisingly short….) and 쫑른 is in reference to shippings where Jongho is a bottom!

Enough Already!! Just give us the tags!!

Loud and clear, boss. However, I just need a bit more contextual information out there before I finally get into the list:

Variations - there are few variations that exist within the Korean shipping fandom, save for instances in which another pairing could possibly exist within a different group.

Censorship - Korean fans are also heavy on making sure these posts do not make it into the hands of Ateez themselves (see: the chaos that happened when San stumbled across self-insert fiction written by K-Atiny). Member names are not written properly, and will always be altered in some way as a means of masking it from normal search results. Please pay attention to this!

Pronunciation - some letters are altered in the pairing names as a means to aid with pronunciation. This is sort of an intuitive thing with Korean, so I’m not sure how to explain this in a better way.

And now…the list!

Here’s how to follow the chart:

Reading from the top down, you will find the 른—or pairings where the member is the bottom. For example, Seonghwa’s column reads:

홍섷 - Hongjoong x Seonghwa

윤섷 - Yunho x Seonghwa

솽섷 - Yeosang x Seonghwa

낫섷 - San x Seonghwa

밍섷 - Mingi x Seonghwa

웡섷 - Wooyoung x Seonghwa

쫑섷 - Jongho x Seonghwa

Likewise, reading the chart horizontally will provide you with the 왼—or pairings where the member is the top. For example, Mingi’s row reads:

밍섷 - Mingi x Seonghwa

솜몽 - Mingi x Hongjoong

밍윦 - Mingi x Yunho

솜여 - Mingi x Yeosang

밍낫 - Mingi x San

밍웡 - Mingi x Wooyoung

솜쫑 - Mingi x Jongho

Additionally, adding (Member name)른/왼 will provide you more general posts where Korean fans are discussing the idol as a top or a bottom in general without referring to a specific ship.

Hongjoong: 홍왼 + 홍른

Seonghwa: 섷왼 + 섷른

Yunho: 윦왼/윤왼 + 윦른/윤른

Yeosang: 솽왼 + 솽른

San: 낫왼 + 낫른

Mingi: 밍왼 + 밍른

Wooyoung: 웡왼 + 웡른

Jongho: 쫑왼 + 쫑른

Thank you for reading! I hope this was as useful for you as it was for me! Of course, I knew a lot of history regarding this topic due to the ample time I spent reading BL, but I will admit that I did not have much time to research this topic specifically. However, if you have any corrections to make, let me know!! This was so much fun for write, and maybe I can do something similar to this in the future as well.

Bye!

[absolutebl]

Best 23 of BL 2023 - Quirky Awards

SHOCK & AWE AWARDS

1. Biggest BL surprise of 2023:

The last 3 months of 2023 in general got my biggest WTF award.

GMMTV fielding OffGun AND TayNew in the same quarter while also airing Last Twilight

That they ALSO optioned 3 JBLs

That there's a high heat omegaverse BL staring Pavel

That there were 20 BLs airing and none of them Korean.

With 5 VAMPIRE BLs announced for next year

But my prize in this category goes to My Dear Gangster Oppa.

It's just crazy:

Thai talent, Korean money + IP (this is adapted from a manwha) airing on a Chinese channel (iQIYI). Plus it was FUN and made smart reuse of a pair who richly deserved it. I'm delighted by the eclectic insanity of this production. And wonder if any other film genre could even do anything like this.

2. The “that country did WHAT?” award:

The 8th Sense from Korea?!

I mean, seriously?! Dealing with mental health, suicide, darkness, therapy, (tiny) age gap, & first time love BUT FROM KOREA? And then openness and casual boyfriend physical affection? What's next? An actual hard fought coming out narrative with an HEA? Gay domesticity and families?

Careful Korea, you'll strain something. Possibly your own culture and film industry.

I should stop having expectations of Korea, they keep surprising me.

Runners up: Korea letting OnlyOneOf do Bump Up Business not to mention that OmegaX thing. AND Korea adapting Why R U? What are you up to, Korea? Qua? Is this a coded message? Should we send help? Do you need snacks?

3. Biggest casting whoa! where did you come from? award:

GeminiFourth in My School President.

Seriously? Babies what? How did GMMTV find you? How do you exist? How is BL this lucky?

4. That studio did WHAT now? award:

GMMTV putting EarthMix into Moonlight Chicken.

And then doubling down with G4 as the damn sides.

Fucking genius.

5. I’m sad you were ignored award:

Destiny Seeker.

It's just a really fun little Thai pulp, the pairs were good, silly dialogue, plus consent and other good sex rep. I enjoyed it. No one talked about it AT ALL.

6. 2023 BL That Actually Made Me Lose My Mind Award?

Laws of Attraction. -The casting, the crazy story, the soapy drama! But specifically: Film playing Charn - the range of his smiles alone. GLORIOUS

I mean I Feel You Linger in the Air also sparked something in me, but LoA drove me actually nuts.

NARRATIVE AWARDS

7. Best story 2023:

La Pluie

I know, you're surprised, right? At the time I didn't chat much about it but I really enjoyed the discourse others were having. I love anything that really examines the fated mates (soulmates) trope and the idea of "the one". What a clever way to do that. (This is one reason UWMA is my favorite Thai BL.)

This one reminded me of the way Color Rush approached allegory and that's no bad thing. Such an impressive little piece.

8. Best narrative structure 2023 award:

Unintentional Love Story.

I know this may seem a simplistic pick. But I love the tidiness of this no frills contemporary romance, how the culture of work and personal ethics and corruption fight against the main character's affection and integrity. Poor baby boy is driven into a corner and then punished for it. But it is punishment he feels he deserves, and so it is up to his (now) ex to figure out what went wrong and why.

It's just great. I love it when no one is stupid or wrong, it's just impossible circumstances and unintentional love deeply felt.

9. Best 2023 dialogue (script) award:

Jun & Jun

Never before has Korea laced a BL with that much perfectly executed innuendo. It was a master class. I didn't know you could be that lascivious in Korean, quite frankly. Plus the way the 2 Juns constantly seamlessly transition between formal register (work, public - where they are boss/employee) to informal register (when they are alone and age mates + childhood sweethearts).

Beautiful to hear and watch.

10. Favorite scene 2023:

The dub con scene in I Cannot Reach You because I AM TRASH for an out of control seme. I'm sorry I just AM.

I have said it before, I will say it again, NO ONE DOES THIRST like Japan. And when that thirst bubbles over, it is heart-clenching and very hot.

11. The most rewatchable BL of 2023 award:

Our Dating Sim

That scene where they lie on the floor + the stolen kiss + giggle? Come on, it should be on comfort repeat in war rooms. It could bring world peace.

ACTORS & CHARACTERS AWARDS

12. Best performance of a queer actor in a leading role, 2023:

Fluke in Make a Wish.

It was fun to see him as an irreverent immortal and while I love OhmFluke I also really enjoyed this new pairing. It was a genuine pleasure to watch.

13. Best pining 2023:

The moot pining in Tokyo in April is...

Boys, seriously? Japan must you destroy us like this? Hurts so good.

14. Best wingman 2023 (The Namgoong Award)

Tiw from My School President

I mean, come on, of course it's him!

(Also can you believe Mark went on from this to do fricking Only Friends!? To Last Twilight! Come on GMMTV GIVE HIM A LEAD!)

15. Biggest OMG I LOVE you boys together, YAY!

Dimpled McMafia & Feral Bunny Foo Foo from Kiseki Dear to Me.

They were feral for each other.

We were feral for them

It was a whole delightful THING.

16. Most unexpected return of a BL pair? award:

The Private Lessons pair showing up in Love Class 2.

I know it was only a cameo, but SERIOUSLY? Thank you SO MUCH Korea! A big studio picking up a Strongberry pairing? I love you.

Seriously tho, Taiwan & Korea tried for ALL THE CAMEOS this year.

17. Well aren't you two just the prettiest? award:

NetJames in Bed Friend.

Need I say more?

18. LIFETIME ACHIEVEMENT AWARD

Bah Vinh in Vian & Mr Cinderella 2. I didn't like either show but I loved him in them. Especially the make outs.

Yes you have chemistry with all the boys in Vietnam and you kiss beautifully. But it's okay now honey, you have the crown. Relax, you're stressing us out.

RANDOM PICKS

19. Favorite Linguistic Moment of 2023:

Our Dating Sim

Caught in the act by the elevator scene. OMG it's so funny. They're being such boyfriend shits to each other, and to be caught in the act by THAT character, and try to manifest formal language whole cloth? Hilarious.

Honorable mention to War Peanuts in Destiny Seeker.

20. Biggest disappointment of 2023:

You Are Mine

Seriously Taiwan, AGAIN you disappoint me with an Office BL? You're Taiwan, land of offices and suits. This should be YOUR SETTING TO WIN. And yet... argh. I mean it wasn't bad. But it wasn't good either. Stop it Taiwan, do better.

Runners up? Between Us, Chains of Heart, Dangerous Romance - this was a HOTLY contested category.

+ 2 Winners in the sub-category of FUCK YOU FOR THAT ENDING award:

The Director who Buys Me Dinner - I mean this nicely but: you have your lane now Korea, stop hurting us, that's Japan's responsibility and they do it better.

I Feel You Linger In the Air - I'm just hugely disappointed. Thailand ALMOST got its second 10/10 from me, but that damn ending.

Argh.

21. Best Wardrobe/Prop Use 2023

The shower of packaged bedsheets in My Personal Weatherman

Amazing. Brilliant. No notes.

22. Best Queer Rep 2023

Chot in Step By Step

In fact, all the queer characters in this show were treated with great integrity.

AND props to this cast for refusing to do fan service. GOOD FOR YOU! Fuck those sasang wankers.

Runners up? The found family cast of Love in Translation and the Rainbow Rice Cakes in The New Employee.

23. Best Meta Trope call out

Tin Tem Jai

Come on, what a zinger, but at themselves (and Taiwan)

Final question: which of the 23 was the hardest for me to pick?

Honestly? Question #1 this year. But also question #20.

(Last year: 2022's Version) 

Remember I only pull from shows that were completely finished by the end of 2023. Or The Sign probably would have taken multiple categories. But it will fall into 2024 offerings.

(source)

[bengiyo]

We are headed into our final Drama Shower show of the season. How do you rank the shows we got this season and how are you feeling about the direction of the project?

What is Drama Shower and Why Does It Matter?

Before we get into rating these shows, I want to do a breakdown of what this is. To give you a sense of how big a deal Drama Shower is, fans are regularly updating a Wikipedia page for it with relevant links to follow the project. Also, there is a dedicated MDL page for it.

Drama Shower is a dedicated half-hour programming block on MBS, a Japanese broadcaster that is over 70 years old, in conjunction with Kadokawa, a Japanese publisher and holding group, that plays BL content at 1:30 am on Fridays. The project's main producer is Kaoru Azuma, who is a self-described long-time BL fan. He wants to show that BL can do a variety of stories in genre, and has recently stated that he wants to produce original content through the project as well.

We originally had six shows air through year one: Mr. Unlucky Has No Choice But to Kiss!, Senpai, This Can't Be Love!, Takara-kun to Amagi-kun, Eternal Yesterday, Candy Color Paradox, and Jack o' Frost.

I originally reviewed these shows as overall a mixed bag, but showing great promise. I liked that they got more comfortable with depictions of m/m intimacy over time. I thought Mr. Unlucky was legitimately funny (9), Senpai never found its footing (6), Takara and Amagi mildly squandered their premise (8), Eternal Yesterday was extremely poignant (10), Candy Color Paradox had ambitions that exceeded its talent pool (7), and Jack o' Frost was a really strong finish (9.5).

MBS seemed to enjoy the performance of this project enough to continue it for another year.

For me, I think it's very significant to give BL itself a time slot to see how audiences are responding to BL as a concept compared to the pitch of individual shows. I'm really encouraged by MBS doing this. Even if you don't care about the name MBS, you have interacted with their content, because they are also behind Full Metal Alchemist and Haikyuu! anime adaptations.

Rating Year 2

I actually liked the way year 2 started, even if I'm a bit mixed on the end. I really loved opening with Tokyo in April is... I liked that they had BL trying to be topical. I think the show unfortunately conflates some things it shouldn't, but I loved TIAI and I loved Ren and Ryunosuke's experience being gay men. I liked the changes they made to the source material. This show was dark in a way that it owned, and I really like that. I gave it a 9.

We then moved to My Personal Weatherman, and that went over well for the people who like to see really hot people go at it with each other. I actually enjoyed how much Yoh and Segasaki actively misunderstood each other even as they were speaking to each other. I don't know that they exactly completed their story, and I suspect that there may be a future outing for this show. Despite enjoying it, I think it didn't get all of its pieces together fully and gave it an 8.5.

We then crossed over into uncertain territory with One Room Angel. Despite enjoying a lot of what was going on in this show, I don't actually think it's a romance. It's my understanding that the angel character is a lot younger in the source material, and so they may have been a little shy about how much they did with these characters on screen. I also don't think the storytelling was balanced between the leads. However, because I am susceptible to complex stories about grief, I gave this show an 8.

Now, we have Sahara-sensei to Toki-kun. I hated this show so much. I think it makes the unfortunate mistake of asking me to care about how homophobia and public perceptions impacts people through its flashback drama, but then does nothing with that in the front. It sucked so hard, and I'm really disappointed because I thought this show had some of the most potential, and I thought Toki was one of the most watchable characters Drama Shower had produced. I ended up giving it a 4.

Our next and final show (I think) for this outing is called My Strawberry Film. This one will also be in a high school, but I know little about it, other than we may have a GL plot in it.

So, overall I'd give Drama Shower an 8. I think fans of BL, and especially Japanese BL, should continue to show up and support it. The fact that we have a dedicated programming block is important. The fact that none of these shows has felt like a retread so far is super important. Drama Shower is varied. There is something in here for almost everyone. Drama Shower is the biggest commitment to BL we've had from a distributor other than GMMTV's ongoing BL slate. Taiwan has Vidol doing is four projects, but Drama Shower is the first time I know of that a Japanese distributor has focused on BL in a meaningful, ongoing way. We should stick with it.

[dickgraysonsptsd]

Also, pleaseeee expand on incestuous teen titans!! Like the original 5 or all of them? :oo

ALL OF THEMMM and by all of them i primarily mean the original fab five and the ntt/tntt gang! based on who appears in titans 99/08 i would say my like core mental group of "Oh My God, That IS Incestuous" Titans is: dick, roy, donna, wally, garth, raven, gar, vic, kory. maybe i'm forgetting someone. if i am don't worry about it.

the "incestuous" comment specifically is from titans (1999) #13 when jesse quick calls the titans out for being "like a family... in all the worst ways":

Jesse: When you told me the Titans were like a family--I guess I thought you just meant in the nice way--closeness, you know. Loyalty. But you're also a family in all the worst ways. You may all be great heroes in your own right--I know, I've studied some of you--but together you're disorganized, reactionary, and incestuous.

we're using incestuous in both the "you're a family who has romantic/sexual relationships with each other" way + the less literal secondary definitions (which is what jesse primarily means in context):

"designating or characterized by a relationship of exceptional closeness or interrelation, often one regarded as unproductive, unseemly, etc." (collins english dictionary)

"being so close or intimate as to prevent proper functioning" (dictionary.com)

"excessively or improperly intimate or exclusive" (merriam-webster dictionary)

it's obviously not literally incest for the titans to sleep together, but i loooove jesse using "incestuous" because of that overlap between "you guys are a so-close-you-literally-see-each-other-as-family friend group AND YOU KEEP FUCKING EACH OTHER" and "you guys are sooooo goddamn strange about each other and it makes it weird as fuck for everyone not in your... THING."

like they are suchhh messy weird enmeshed bitches! they are not reasonable or normal about each other! and the core titans are fine with that. all my saved panels re: this are about dick because i have literally 1 personality trait (liking dick grayson) but this is true of the other titans as well and their intensity about each other is present in all post-crisis titans runs that i know of.

for dick-based evidence, see titans (1999) #13, when vic vents to gar about dick keeping secrets from him:

Garfield: Nightwing manipulates people all the time, man. It's a Bat thing.

and later, titans (1999) #43:

Dick: Jesse hates me, Argent's scared of me, Donna hung up on me, and Wally thinks I'm nuts... and I just committed you all to fight a war in another dimension without so much as asking. Roy: Is that what's bothering you? Man, that's why we love you! You've been that way since day one!

for more direct "hey, are those guys a polycule?" implications, we get titans (2008) #2, when toni is talking to the elder titans and she asks "are you guys back together?":

Toni: Are you guys back together? Dick: No, not exactly. Donna: Well, in a sense. Roy: It's complicated. Well, not complicated-- Garfield: Geeeez, people. It's not like we're sending out invites and picking out china patterns. Relax.

going back in time to jla/titans (1998) #2, we get a thesis statement for the titans as a whole:

Dick: Unlike the JLA, the Titans aren't just about a promise to the world--it's also about a promise to each other... to ourselves. We swore on our childhood nightmares that we'd be there for one another. If I don't honor that I don't honor who I am.

and then the excellent "til death do us part" scene from jla/titans #3:

Dick: Did you give up, Vic? Is that what happened? Because if you did, even for a minute, I've got a secret to tell you. You can't give up. And I don't just mean because it isn't a good idea. I mean your friends. Your family. This fighting the good fight thing we're all in together until death--whether you realize it or not. It's under your skin, Vic.

they. are. so. SOOOO. SOOO resembling incest as by excessive intimacy HOLY COW. ITS UNDER YOUR SKIN ITS IN YOUR BLOOD... TITANS TOGETHER FOREVER BABEYYYY

[chaos0pikachu]

Two Flavors of Japanese (BL) Cinema

Recently I came across a post that proposited that Japanese cinema hadn't changed since the 1950's and came in, essentially, two types. 

Let's discuss that. 

I can’t go into the history of all Japanese cinema in a singular blog post like that’s just not possible, there’s literal books and classes you can take on this subject, and I will be linking further reading down at the bottom of the post so you can do just that. 

This fact alone, should already disprove the point that Japanese cinema hasn’t changed since the 1950’s. Other than the fact that like, Japan isn’t a static society that is forever unchanging because human beings do not work like that. 

Which is why I’m writing this essay at all. 

I love cinema, I love storytelling and filmmaking. And, frankly, I may not be an expert but I am annoying. I own that. 

Japanese cinema has held influence over many directors, writers, animators, and so forth. 

Just watch this playlist of Sailor Moon references across various cartoons. Or how Satoshi Kon influenced the work of Darren Aronofsky and Christopher Nolan. Or how James Cameron and the Wachowskis were both influenced by Mamoru Oshii’s 1995 Ghost in the Shell. And then there’s Akira Kurosawa who’s been cited as a major influence for directors like: Steven Spielberg, George Lucas, and Martin Scorsese and a slew of others.

I want folks to know there’s a slew of amazing films from Japan and that distilling the industry - the blood, sweat and tears of its creators - to a strict dichotomy of this or that, either/or is disrespectful at best and xenophobic at worst. 

It’s also just a shame because, like, guys there’s so many great films from Japan! There’s also probably a lot of great live action shows from Japan but I’m not super knowledgeable about them - I mainly watch anime so that’s not a great metric in terms of Japanese television - so I’m just talking about films in this post. 

Ok so main points I’m gonna address: 

Japanese Cinema hasn’t changed since the 1950s 

Japanese film style falls under an extreme dichotomy of cinematic/sweeping (described as “atmospheric”) or cartoonish/slapstick (described as “live action manga”)

Baby does any of this have to do with BL? (no, but it IS more gay than you think)

With these four films: The Hidden Fortress (1958), Lady Snowblood (1973), Gohatto (1999), and Kubi (2023). 

I picked these four because they’re all “period pieces” taking place feudal Japan - or with the aesthetics of feudal Japan, The Hidden Fortress nor Lady Snowblood aren’t based on actual historical events, like Gohatto and Kubi are, however loosely, but take place in an amorphous 15th to 18th century Japan - and I think they strongly show the development of this singular genre in Japanese cinema. 

Plus the latter two films, Gohatto and Kubi, are gay as fuck and I know my people. 

[you can also read this post on this blog post which includes additional links as tumblr has a limit and for easier readability as this is a long post]

The Hidden Fortress 

Released in 1958, directed by Akira Kurosawa it’s probably the most well-known film on the list. It’s a film that exists within the “Golden Age” of Japanese cinema alongside films like Kurosawa’s own Seven Samurai (1954), Yasujirō Ozu’s Tokyo Story (1953) and Kenji Mizoguchi’s Ugetsu (1953). 

It was also the era where, after the American Occupation post-WWII a boom of movie distribution took place with new film studios such as: Toho (y’all know them from any Godzilla movie ever made), Toei (if you know One Piece you know Toei but they’ve done a ton of films both animated and live action) and others. 

The story is straight forward, two peasants, Matashichi and Tahei who bicker their asses off like an old married couple the entire film, happen upon a Very Hot Man with the Only Thighs Out (Toshiro Mifune was a BABE) named Rokurota and his companion a icy young woman named Yuki. 

Matashichi and Tahei have just escaped like, a ton of ~circumstances that include failing to become samurai, being broke as fuck, getting captured and forced into servitude - don’t worry that lasted like 6 hours tops - and then find gold hidden in a stick on a mountain. 

Turns out Rokurota has all the stick gold they could want! So they team up neither realizing Rokurota and Yuki are actually part of a clan that’s been recently wiped out and they’re on the run from a rival clan who has wiped theirs out. Yuki is the princess of said clan and it’s only survivor, while Rokurota is her samurai general and retainer. 

Tahei and Matashichi, living in ignorance of these facts, try to steal the gold away from them because they live that hustle life until the end when all is revealed and Yuki grants them both with a gold piece to share (this is a really big piece of stick gold). 

There’s other things that happen, like a fight scene between Rokurota and rival clan member, Yuki owning every single scene she in - I fucking love her - but that’s the gist. 

The story is, again, pretty uncomplicated, it balances the comedy of Tahei & Matashichi with the stoicism of Rokurota and Yuki well, and all the acting is strong. In terms of its film style, by modern day standards it’s not especially “cinematic” Kurosawa doesn’t favor fanetic camera movements, his camera is often very still and the movement he employs is often in individual character ticks, and/or background set pieces. This film has a lot of great set pieces. 

Kurosawa didn’t employ camera techniques like panning, he doesn’t really do extreme close ups, there's no swooping shots or fancy tricks, I’d say a majority of the camera shots in The Hidden Fortress are a combination of mid, and wide, with a few mid-close ups. One thing to notice is Kurosawa’s use of scene cuts; instead of a cut he used pan sweeps to change scenes. If you’ve ever watched a Star Wars film you know exactly what I mean. 

The Hidden Fortress, first and foremost, is an action adventure film. It has more in common tonally with Top Gun Maverick or Star Wars A New Hope, in that it's straight forward, sincere, and grand in scale, grounded by a very honest set of characters who are strongly motivated. 

I feel like in modern day discussions we association “action/adventure” films in a sorta of negative way; this is probably due, in part, to the oversaturation of the high budget blockbusters of the last ten years - oh MCU, how you’ve fallen - that are overly bombastic, overly complicated, overly connected, and the root of what audiences connect with - the characters - tends to be lost. 

Scott Lang's motivations in Ant-Man and the Wasp: Quantumania are to protect his teenager daughter and the family he's built, which are simple, strong, and relatable character motivations. However, they got lost in the conventions of the plot, the frantic energy of the film, the simple amount going on around Scott that his motivations become less a central focus and thus he becomes small within his own film. We, the audience, become distant and it grows more difficult to connect with what's happening. This can still work on some level, the Fast and Furious franchise isn't successful because it's sophisticated, but the Fast-chise has embraced it's cheesier conventions and spectacle, while blockbusters like the MCU's output, simple juggle to much all at once. It also helps that while the cast keeps growing in the Fast and Furious films, there's still less than ten characters you have to actually know and care about. To fully understand and connect with the characters of The Marvels, you have to watch Ms. Marvel and WandaVision on Disney+ and the task becomes more akin to homework than simply the enjoyment of watching a movie. 

The epic scale grows so large it feels daunting, rather than exhilarating. 

I think this is why a film like Winter Soldier, more so than most MCU films of the last decade, has continued to be a fan favorite of the universe and of blockbuster lovers whether you are a fan of the MCU or not. At its root, Winter Soldier is character driven, with deeply motivated characters,  which is what makes the action and adventure aspects stick. 

The Hidden Fortress is similarly character driven with a simple and straightforward story that is about honor, loyalty, a princess, a loyal samurai/knight, rebuilding a decimated clan, and two “normal” characters to keep everything grounded and relatable. Which in turn, helps make it timeless. While the filmmaking itself isn't grandiose as what modern audiences may be used to, Kurosawa knows how to direct a scene and more than that, direct his actors. Mifune is commanding as always, but for me, it's really actress Misa Uehara as Princess Yuki that steals the movie. 

Lady Snowblood

Released in 1973 and based on a manga of the same name by Kazou Koike and Kazuo Kaminura, directed by Toshiya Fujita, Lady Snowblood and its sequel Lady Snowblood: Love Song of Vengeance are considered cult classics. Lady Snowblood, famously, is Quentin Tarantino’s inspiration for his Kill Bill saga (like, a freaking lot). 

Lady Snowblood is a part of the era of “new wave” and “pink films” that were emerging in Japan and elsewhere. Stateside I think a close equivalent to both the style and content of Lady Snowblood and other films like it are exploitation films. In fact while watching Lady Snowblood I couldn’t help but get exploitation film vibes just off the aesthetics and thematics of the film itself. 

To break down Lady Snowblood’s plot it goes like this: Yuki is tasked with getting revenge on four people who had a hand in her father, and older brother’s murder, and her mother’s rape (which is seen on screen so warning for y’all this is def a Does the Dog Die movie). 

Yuki’s mother kills one of her rapists, but is imprisoned before she can kill the others and while in prison she purposely gets pregnant so her child can carry on her revenge after she dies. Yuki is born, and raised by one of the fellow inmates and a priest who trains her in martial arts. She’s raised as a “demon”, whose only purpose is revenge for her mother, father, and brother. And boy does she get revenge the film is violent and graphic (even if by modern day standards the blood looks fake as fuck the emotions are there). 

Like The Hidden Fortress this film is very character driven, with a highly motivated protagonist but it’s also revels far more in it's violence and the spectacle of that violence. Yuki, in comparison to her earlier counterpart Princess Yuki, is the driver of the action in the story. She's an active participant in the plot, and the story centers around her. Princess Yuki is commendable, she's compassionate, and she makes decisions, but the story is more about what she represents - a fallen princess - than what she does. She's symbolic, the embodiment of a leader, a samurai spirit of nobility who becomes a leader worth following. Yuki, on the other hand, needs no protection from others, she's a much more direct and active part of the story since the story is hers - and her mothers - she's more elegant than regal, and there's nothing necessarily 'noble' about her.  She's not seeking to rebuild her clan as a leader, her motivations are singularly about her revenge quest to fulfill her mother's dying wish. 

In some ways, they're very similar - Yuki also feels compassion for another woman who's been used by the men around her as Princess Yuki does - and in others they are very different and speak to the changing expectations and idealizations of women from the 1950s to 1970s. 

Lady Snowblood is also way more violent than any Kurosawa film I’ve watched including The Hidden Fortress. While there is action in The Hidden Fortress, it’s all employed with specific purpose. Which is one of Kurosawa’s strengths as a director. It’s calculated and singular. Yes blood spurts up in Yojimbo but it's limited; quick and efficient, with more in common with John Wick or Collateral than the more fantastical and aesthetic Tarantino or Robert Rodriguez fare. 

Lady Snowblood revels in the aesthetic violence, there’s no “purpose” for Yuki to cut an already dead person in half, she does it out of pure frustration and for the glory of showing the audience that internal rage. Of a body hanging, dripping blood and gore onto the clean floor as the curtain draws to a close. 

The film also features on screen rape, sex, and nudity which The Hidden Fortress does not. There’s an implication that characters in the film would assault Princess Yuki if they could, but nothing ever goes beyond brief implication (still gross tho guys come on). Whilst in Lady Snowblood, the rape is brutal, the violence is brutal, and the emotions are far more intense because of it all. 

The allowance - for lack of a better term - of this kind of material showcases a cultural shift overall in the terms of visual storytelling filmmaking began experimenting with in telling, and in what audiences were responding too. Lady Snowblood was a beloved success for its overall low budget. In comparison to the two, The Hidden Fortress is filmed better, with more technique and focus, Lady Snowblood almost seems rustic in comparison, but it's a sort of rustic that speaks to experimentation. 

Low angles from a characters pov staring high above her, extreme zooms on Yuki's burning eyes, the oversaturated colors of red-orange blood or green walls or white clothes, the starless pitch black sky as powdery snow falls. The images are arresting even if at times they're choppy, and while the film opts for non-linear chapter breaks to create a story flow in comparison to Kurosawa's iconic screen swipes and straight forward narrative, yet, both work. 

Gohatto

Behold, the promised gay cinema I promised. 

Gohatto is a 1999 film directed by Nagisa Oshima based on the short story, Shinsengumi Keppuroku by Ryotaro Shiba. 

Gohatto is a pretty late entry in the new wave/pink films of its heyday but those films were Oshima’s bread and butter. Often dubbed as one of Japan’s cinema outlaws for his anti-establishment films, one of his films, Night and Fog in Japan (1960) was pulled from theaters all together. Most people in the west will probably know him even tangentially for his queer film Merry Christmas Mr. Lawrence starring David Bowie and Beat Takeshi or for this absolutely banger quote from the New York Times article, A Japanese Film Master Returns to his Cinema: 

(If you’re a BTS fan, the composer Suga and RM like, Ryuichi Sakamoto, both starred and composed the main theme of Merry Christmas Mr. Lawrence Forbidden Colors, he plays the guy in love with David Bowie’s character)

Gohatto combines the setting of a Kurosawa film, with the more experimental storytelling of Lady Snowblood, whilst imbuing the film with more surrealistic elements and more complexity. And making it gay like - for real for real. 

Gohatto goes like this: it’s the late 18th century in Japan, everything politically is on shaky ground, and the shinsengumi are looking for newbies to join ranks. Welp, they find two promising newbies and wouldn’t ya know it one newbie, Kano, is like, hella pretty. He’s got bangs. 

He’s so pretty in fact that all these other dudes in the shinsengumi crew wanna smash, I mean down bad like the Taylor Swift song or whatever I don’t listen to Taylor Swift. 

This is all treated with a lackadaisical normality; there’s teasing about “I never considered sleeping with a man before, but damn that Kano kinda…” but there’s never a moment of “omg they’re GAY?”

Beat Takeshi’s - who’s also in this film, he’s been in a lot fo queer films I'm noticing - character Vice-Commander Hijikata Toshizo often asks other characters not if they’re attracted to Kano - the implication being that they are - but rather if they are in love with Kano. Because lust is fleeting, but love is dangerous to your duty. 

Kano also might be a spy, or a murderer, it’s all very ambiguous and the ending isn’t a “happy” one. This isn’t a film about a love story of any sort, it has more in common with erotic thrillers than the action adventure of The Hidden Fortress, or the rape revenge fantasy of Lady Snowblood. Where as the former films have definitive endings, Gohatto ends ambiguously. 

What actually happened? And why did it happen? What did it all mean, in the end? The film offers no strict answers to these questions, asking instead, that its audience to come to their own conclusions. It’s also much more historical than the previous two films, taking real life historical figures like: Hijikata Toshizo, Okita Soji, and Kondo Isami and asking the question, “hm, what if they all maybe fell in love with this super pretty man before being overthrown and what does that mean metaphorically?” 

The Hidden Fortress doesn’t ask its audience to interrogate society in any meaningful way and that’s not a knock against it, it’s just an observation. Lady Snowblood specifically presents the plight of women, and a slight take on classism within the system, through the lens of violence and destruction. Gohatto is much more metaphorical, it’s not providing the audience with a direct message like the former two films, but presenting it’s thematics in a much more abstract way. The Hidden Fortress is an action adventure, with heroes who achieve their goals and overcome their obstacles. Lady Snowblood is a rape revenge with an understandable protagonist who succeeds in her bloody revenge. Gohatto has no heroes, and offers no straightforward catharsis at the end of its story story. 

Its film style is also far more atmospheric compared to the epic scale and straightforwardness of The Hidden Fortress, or the lower budget charming violence of Lady Snowblood. 

There’s lots of mood lighting, overhead shots of characters dimly lit, camera cuts to rain after two characters have sex, extreme close ups of one character observing Kano’s eyes and lips. It’s not a black and white film like The Hidden Fortress, but it’s not nearly as saturated in color and brightness as Lady Snowblood. 

Lady Snowblood drips with color, and light, even at night there always almost seems to be a spotlight on Yuki with an empty starless sky in the background. Gohatto is much more grounded in realism than high visual aesthetics, opting to create more of a lingering dreamlike trance or fog to the cinematography when the story’s final act begins to unfold. 

Yet, one thing Gohatto has in common with both The Hidden Fortress and Lady Snowblood is its violence; operating somewhere between the two. Like The Hidden Fortress the violence is quick, purposely, and specific, and like Lady Snowblood blood spurts, gushes, and heads are displayed proudly and grotesquely.

Kubi

Kubi is a 2023 film directed by Takeshi Kitano aka Beat Takeshi - this is the third time his name has been dropped in relation to a queer film in this post go Beat Takeshi - based on a novel of the same name that Kitano also wrote. 

Kubi is like Beat Takeshi’s sengoku period slash RPF fanfic come to gruesome bloody (literal, not British) life. A period piece epic; Kubi is both about samurai warlords and a historical event known as the honno-ji incident, which took place in 1582. It features various historical figures like Oba Nobunage - if you’ve watched some anime or played some JRPGs you’ve probably at least heard of this name before - and other prominent historical figures of the time. 

The basic gist of the movie is Oba Nobunage is both really good at his job, so he’s super powerful politically, but he’s also a grade-a asshole whom all the other important samurai lords fucking hate. However, they also all fucking hate each other and all want to take Nobunage’s place and get all that sweet, sweet power for themselves. The honno-ji incident involved one of these guys doing a coup for reasons still unknown today and then pretty much almost immediately dying swiftly after leaving another samurai lord to take over. 

Kubi takes these historical events, and is like “okay but what if we added some gay innuendo and gay sex to this drama?” with more beheadings than a French revolution. 

Out of all the films on this list Kubi is, admittedly, the one I enjoyed the least, however, it’s an interesting retrospective on the growth of both the Japanese film industry and this specific genre in and of itself. 

Kubi’s film style is very modern, it’s beautiful, it’s sleek, it’s expensive looking. And yet there’s specific scenes that feel like callbacks to the Kurosawa era, like the black and white flashback between Nobunage and his fellow samurai lords. One of Kurosawa’s top films was Kitano’s Hana-Bi (1997), and Kitano has worked with Kurosawa’s daughter on costume design on four other films as well, so these references feel not only purposely because of general influence but also referential in a way. 

In terms of story and tone, Kurosawa’s The Hidden Fortress is sincere and straightforward, Lady Snowblood is experimental and fearless, Gohatto is introspective and suspenseful, whilst Kubi is unrelenting and even feels mocking at times. There is no break in Kubi's violence, there's almost no tenderness or softness, characters are selfish, and self-centered. The selfish, but joyful peasants in The Hidden Fortress don't exist here, and are replaced with a peasant character who murders his own friend and then rejoices over being relived of his family once he discovers they were murdered too. At times, Kubi feels like a subversion of the more glamourous depictions of the samurai in film. Which feels as though following similar footsteps established in Gohatto which also explored, subtextually, the faults within the samurai media persona. 

At times the film feels almost like a dark comedy, it doesn’t glamorize these samurai warlords, nor their clans, nor their ideals in the way The Hidden Fortress does, nor does it interrogate them in the way Gahotto does. Instead the story at hand is presented with a brutal realism, objective if a bit mocking with a side order of gay sex. Which isn’t presented in a mocking way so much as just an everyday aspect of life. 

When Mitsuhide and Murashige are caught by spies sleeping together there’s no shock or awe about it, just a calm report and the bigger issue is Mitsuhide hiding a fugitive more so than him sleeping with a man.

Similarly, when Nobunage is literally fucking one of his vassals in front of Mitsuhide, it’s not to disgust the other man, but rather a powerplay of sorts to make the latter jealous - at one point Nobunage promises if Mitsuhide accomplishes a mission for him, he’ll sleep with him - and it seemingly works to some degree. There’s subtext throughout the film that Mitsuhide might be, if not in love with Nobunage, want him in an obsessive way all the same (including being down to bone). 

Like with Gohatto the queerness is inherent, just a part of the culture. It’s not “romance” by any means, but it is simply a part of life and the culture itself. 

In terms of characters, Kubi's characters couldn't be more different from the characters in the previous mentioned films. The Hidden Fortress characters like Princess Yuki and Rokurota are easy to like, honorable, quiet, steadfast; while Matashichi and Tahei are less outright likable they offer a grounding and relatable to the big presence that are the former two. In Lady Snowblood, Yuki is quiet, calculating and menacing in her own right, truly embodying the idea of cold vengeance which makes her intriguing. In Gohatto Kano is elusive, which adds to his sensual allure, Okita is playful yet clearly hiding a more sinister air about him, and you just feel bad for Tashiro who’s pushy but seemingly sincere in his affections for Kano. 

Kubi has no by-the-by “likable” characters, every character is out for themselves in some way shape or form. So much so that the brief tenderness between Mitsuhide and Murashige is like a balm to a burn. Though I did absolutely enjoy the scene-chewing of Ryo Kase who played Nobunage. While Nobunage isn't a "likable" character by any means, he was so fun and engaging to watch he became a highlight of the film. 

Stylistically, this is a very modern epic film; it’s the type of film in terms of scale I imagine Kurosawa could have made if he had access to the same technology, but also wouldn’t because there’s no stillness or sincerity to it. The violence is also more in line with Lady Snowblood, but with a budget. Heads are lopped off with ease and at times with glee, dead bodies, headless bodies with crabs crawling out of the necks, a literal pile of heads for trophies it’s all here. It’s beautifully and dynamically filmed, it has a similar scale of a Lord of the Rings, or a Creation of the Gods I: Kingdom of Storms. 

Big set pieces, big costumes, big landscapes, big battles, and bigger body counts. It also has the largest cast of any film on the list - kinda neat that Kitano and Asano Tadanobu were both in Kubi and Gohatto together - and the best costumes of the bunch. 

It also, in my opinion, has the most complicated plot of all the films because of the heavy political intrigue - though this, admittedly, could be because of the culture gap as I’m not overly familiar with Japanese history. 

Okay so like, where does all this leave us in terms of those original bullet points? 

The Original Bullet Points

Japanese Cinema hasn’t changed since the 1950s 

If there's one thing - well okay many things cause I'm greedy but overall - I hope I've been able to outline here with these four films is that obviously Japanese cinema has changed since the 1950s. And thoroughly at that. Not just in terms of style, but in terms of character presentation, tone, stories technology, experimentation, and a growing reflection of the shifting and developing culture. 

It’s not simply that all four of these films are different stories, but that all four of these films are addressing different aspects of their modern culture via these period pieces, as well as, viewing this time period in ways that reflect the filmmakers own experiences and how they feel or felt about the world. 

Kurosawa was born in 1910 to Kitano’s 1947, Fujita and Oshima’s 1932. Kurosawa’s father was a member of an actual samurai family, his worldview would be thoroughly different from someone like Oshima, or Kitano, or Fujita’s. Some overlap, sure, but also still thoroughly different. 

And I feel that you can see that in their films; Kurosawa’s samurai films are almost referential at times, not always, but his work with Toshiro Mifune often leans that way; in The Hidden Fortress Mifune’s Rokurota is deeply loyal to his lord, the Princess Yuki, to the point that he won’t shed tears over his own sister being executed in her place. He spares the life of a rival because he respects him even though they stand on opposing sides. 

The samurai in Gohatto and Kubi aren’t nearly so idealized nor idolized, there’s very little “honor” in Kubi and even less loyalty. Whilst in Gohatto there’s a deep and subtle interrogation of the strict and oppressive bylaws of the shinsengumi. In one such scene, Kano is having drinks with a man who is interested in him, Yuzawa, who’s passionately talking about how the shensengumi uphold oppressive ideals including classism. 

[And then he jumps Kano’s bones I guess politics got the dude going lmao]

The Hidden Fortress’ Princess Yuki is at first, masculine - in story she was raised as a man rather than a princess - from the way she walks to the way she talks. She’s fierce, and upstanding, while also being compassionate to other members of her clan; even saving a young woman who’s a member of her clan that had been sold. There’s a regal quality to Princess Yuki. 

In comparison, Yuki in Lady Snowblood is elegant, and feminine, before striking out violently. Princess Yuki never has an “action scene” and in fact for a chunk of the film has to pose as a deaf woman to hide her identity. While not a passive participant in the plot, nor does she directly drive the action herself. While Yuki, well the entire movie is driven by her actions and the actions of her mother. The story is first and foremost, hers. 

Meanwhile women just like, they don’t exist in Gohatto or Kubi they’re like, in the ether~~~ they’re drifting, keeping out - or kept out? - of the drama. 

Given the vast differences in both style, tone, story and execution, how can you say wholeheartedly that Japanese cinema hasn’t changed since the 1950s? 

Japanese film style falls under an extreme dichotomy of cinematic/sweeping (described as “atmospheric”) or cartoonish/slapstick (described as “live action manga”)

I’m just…not gonna get into the overall history of Japan's adaptation of manga into live action films cause it would derail this conclusion and I ain’t got the time for that. I would like to note, Lady Snowblood is a live action film based on a manga of the same name - and it is not slapstick. It doesn’t even have comedic elements, it is a violent rape revenge story; I don’t think there’s a single moment where I chuckled. The Hidden Fortress is far lighter in tone, while Gohatto has more in common with Lady Snowblood - deeply and sincerely serious - and Kubi goes for a darker sort of comedy. 

This is just incorrect information. Personally I’m of the mind that “cinematic/sweeping is too broad a spectrum to even quantify as a film genre they are descriptors. 

That said, I don’t think Lady Snowblood is cinematic or sweeping. Gohatto is the only one on the list that’s even close to “atmospheric” though all four films have atmosphere - because atmosphere is a film technique it’s not a genre of film - The Hidden Fortress and Kubi are the only two I could qualify as “cinematic/sweeping” because they’re going for a larger bombastic scale. Though I feel folks watching The Hidden Fortress in the modern day might not find it cinematic because of how static and slow the film can be at times - the first act is long and drags quite a bit. 

To place such a strict dichotomy on an entire industry of filmmaking is simply bad film critique at best and xenophobic at worst given the context here. I’ve only talked about four films in one singular genre, I didn’t mention the countless other new wave films, or the birth of the kaiju genre with Godzilla, the expansion into horror and grindhouse - where does a film like Tag (2015) fit into such a strict dichotomy? -  nor the long, long history of animated works from various insanely highly influential and/or successful directors like Satoshi Kon, Makoto Shinkai, Hideaki Anno, Rintaro, Mamoru Hosoda, Mamoru Oshii, Isao Takahata, I mean the list goes on and on. 

If you expand your horizons you’ll find so many amazing films that do not flatly sit in this one or the other imposed categorization. Think about what queer cinema you may be missing out on by adhering to this imposed binary. 

Baby does any of this have to do with BL? (no, but it IS more gay than you think)

So, in the end, what does this have to do with BL? I would say it has both little and a lot to do with BL/GL which are genres all their own in Japan and other neighboring countries; as such their subject to the same waves, exploration and expansion as the four aforementioned films. 

It’s easy, if intellectually dishonest and academically lazy, to look at The Novelist and What Did You Eat Yesterday and say “BL only comes in two shapes and sizes”. 

There’s chocolate or vanilla and that’s it. When in reality there’s lots of ice cream flavors available, even if chocolate and vanilla are the best sellers it doesn’t mean strawberry or mint chocolate chip don’t exist. 

Where does animated BL fall into this western imposed binary? How does capitalism affect the output of what gets made for the screen and how? How does the political climate affect what’s being financed? Are BL and GL works that are being made somehow unaffected, existing in a stasis state, by the works across the film industry? Even from other queer works of film? What are we, as outsiders, not considering when we engage with this media? 

If we’re only looking at BL/GL for “queer representation” what films and/or television are we missing out on from these countries? What BL/GL are we missing by only engaging with what's put in front of us, and not diving deeper into learning more, expanding our individual knowledge, and experiencing stories that might take some work towards seeing? Stories that might be outside of our direct comfort zones because they don't fall into those strict if seemingly comforting boxes. What exploration into queer identity are we denying or ignoring the existence of because of these imposed binaries? 

I know some folks who are more well versed in BL history that would and do consider Gohatto and Kubi BL or BL adjacent, but I also know most western, especially American, audiences would consider neither of these films BL. 

So where does that leave them?

Further Reading: 

Cinematic History: Defining Moments in Japanese Cinema, 1926-1953

A Brief But Essential Introduction to Japanese Cinema

Filmmaking from Japan: The Golden Age of Japanese Cinema

Nagisa Oshima: Banishing Green

JAPANESE SOFTCORE: THE LAST OF TOKYO'S PINK EIGA THEATERS

The Last Samurai: A Conversation with Takeshi Kitano

The Evolution of the Japanese Anime Industry

Check out other related 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? | Trends in BL (Sorta): Genre Trends

[lurkingshan]

10 Things I Love About Only Boo!

*kicks down the door* I'm a few weeks late but I have arrived and I am here to yell about this fucking adorable show. Have you heard that it's the cutest shit you've ever seen in a fresh new package of all your favorite silly old romance tropes? Besties, this is truly the Sunday Serotonin we need. Here are the top 10 things I love about it:

The main romance is between a confident sunshine protagonist and a kind older boy working through his grief and an artistic block. Mok (Moo) and Kang are such nice boys, two cinnamon rolls too sweet and pure for this world, and I loved them instantly. They have a nice crackly chemistry between them and really solid communication right from the start.

The setting is rural and refreshing. Moo moves to Nakhom Pathom to attend school for a semester because his mom wants him to focus on his studies before she will allow him to pursue a career as an idol. Little did she know she was delivering him to a cute boy who would become the new distraction.

The crushing and flirting starts immediately, and it's mutual. They just like each other, man. Kang is (slightly) older and trying to be responsible about keeping Moo focused on his studies so he's putting up some token resistance, but it's very very token. They both find excuses to keep seeing each other after they meet.

There's a side couple with a long-term pining friends to lovers arc. The way I squealed when they revealed that photo wall. I support you, Payos, you will get your boo. These two also have a lovely, easy chemistry and seem so comfortable around each other. Their characterization also gets a fun twist in the beginning of the story.

The writing is strong and assured. This was written by the same screenwriting team as Cooking Crush, aka the best written original Thai bl of last season. These folks know their way around a smart romcom. They know how to deploy classic tropes so they feel fresh, build authentic character arcs, and make all the beats of the story feel confident. We are in good hands and don't need to worry about any out of left field conflicts or weird plot turns with this one.

A fresh new cast brings a ton of energy. I really love all four of the main actors for this show. They're young and bright and breathing some new life into an old formula. And both pairs have solid chemistry and seem comfortable in their scenes together.

Some of our old favorites are here too. They've made the smart decision to bolster the young main cast by surrounding them with more experienced seniors like our lady Milk, here playing Kang's friend and neighbor who is all up in his crush on Moo. Louis and Book are also going to show up at some point.

The show incorporates music and dancing in such a charming way. Moo is one of those kids who just has to dance, and the show mines a lot of comedy around his efforts to stifle the impulse as his mom ordered. I don't think he'll hold out for long, though, because Payos and Tae are on him to train with them. And of course the music supervisor is having a great time working in some classic GMMTV music gags (yes, Love Score and Too Cute To Handle both make memorable appearances).

It's a high school story brimming with youthful energy without being mired in immaturity. The tone of this show reminds me of My School President in the best way, in that it has all the sweetness and innocence of a high school romance without making the characters so immature and bad at communication that it's annoying to watch. As expected from the CC writers, these characters may be inexperienced but they are going to talk to each other and honesty will prevail every time.

We are only three episodes in and the romance is already well underway. This is the kind of show where we will see the main pair flirt and date and face obstacles together. The swoony moments started immediately and Moo is already throwing around the faen title. We know from the synopsis that the core conflict will come when Moo is forced to choose between his relationship with Kang and his dream of being an idol, and I expect he will be finding a way around that choice. I'll be strapped in for the ride because I already believe in these two.

[telomeke]

WANDEE GOODDAY EPISODE 2

WDGD Ep.2 was a pleasant enough watch, continuing the lightness of Ep.1 and laying the groundwork for the episodes to come.

It's too early to be sure in what direction they're going to be taking this series, so I'm not looking too closely at things just yet.

And I've never gotten a sense that Director Golf has quite the same penchant for intellectual gamery that other directors (like Khun Aof Noppharnach) have, so WDGD might turn out to be not much more than a straight-up recounting of a romance (and that would be fine too). Nonetheless we are getting glimpses (little sparks really) of details tucked in here and there that suggest the series may yet narrate other messages on a deeper level in future episodes.

Director Golf is known for their political awareness (having spent time as the first trans politician in the Thai Parliament's House of Representatives), and this leaning was abjectly manifest when they directed The Eclipse. I'm not seeing the same heavy-handedness in WDGD though (and I think that's a good thing).

Part of me is wondering if the highly unusual method of determining who gets the orthopedic scholarship (patients and staff will get to vote on this, really? 👀) will re-surface later as a comment on the Thai political situation (always a rollicking ride). No guarantees, but odds are pretty good on this one.

Just a reminder that Khun Golf was ejected from Parliament through the application of a controversial law (banning lawmakers from having shares in any media companies), the same one I think that was also used to help obstruct Pita Limjaroenrat from becoming PM even though his Move Forward Party won the most votes in last year's election (it's also Khun Golf's political party). So any time the democratic electoral process gets referenced in a Thai BL (see this example linked here), the chances are high that the canvas is being primed for a political painting of some sort.

Anyway, just some light-hearted observations for now:

The novel that WDGD the series is based on is (by most accounts) quite trashy and throwaway, but you wouldn't know it watching Episodes 1 and 2 so far. The set-up out the starting gate was so squarely and comically blue-collar v. white collar, brawn v. brains, half-naked sweaty men v. lavender-scrubsuited physicians that I wasn't expecting to get much more than a shallow good time with a lot of tittering at man tits and macho tushies. But they've elevated the source material, imbuing it with a gentle sentimentality and treating the sexual element with humor and good sense (e.g., the condom and lube talk in Ep.1, and the discussion between YY and Dee establishing the ground rules for their Friends with Benefits arrangement). Quite impressively done, especially considering the lightness of its touch.

(above) Wandee Goodday Ep.2 [4/4] 6.28 – YY and Dee discuss the ground rules for their Friends With Benefits arrangement, against the backdrop of a neon sign that loudly proclaims "Less Expectations More Satisfaction" (which is, of course, the most basic ground rule for any FWB liaison)

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About that sentimentality: WDGD's glowing emotional core continues to take the unlikely form of Yoryak, and Great seals the deal with his performance in Wandee Goodday's quieter moments.

(above) Wandee Goodday Ep.2 [3‌/4] 2.23 and the return of the wet towel trope – Yoryak and the neon sign above the bed demonstrate together how love in action speaks louder than words

The tough kickboxer has fallen hard for Dee, and you can really read the tender pining behind his muay thai bravado. (I think he does lovelorn yearning better than outright lust though.)

(above) Wandee Goodday Ep.2 [3‌/4] 3.53 – Yoryak plants a little sniff-kiss as he embraces a barely-conscious Dee in bed; he's fully-clothed, yet far more naked and vulnerable than when they were actually having full-on sex before

There's surely going to be emotional devastation in store for Yak because a Friends With Benefits arrangement soon becomes a wrecking ball to the heart if you're unlucky enough to have caught feelings. And things can only get worse for our dear boy once he and Dee enter into their fake dating phase. Can you imagine coping with all that physical intimacy and also having to display emotional intimacy in public, but then being forced to deny it in private where you want it the most? Only pain looms on the foreseeable horizon for our macho fighter (su su na!), but it should make for some mightily delicious and pleasurably guilty viewing as he journeys through it all (if only for the payoff at the end; Golf please don't fail us! 😬).

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There have been cameos and callbacks galore in just these two episodes. The hospital is named Tanwarin, which is also Director Golf's formal first name and this may mean they've cast themselves in the role of a healer here, with this series.

There are also the clips of The Eclipse that our boys watch onscreen (possibly foreshadowing some more political commentary to come).

And screenwriter Yokee Apirak Chaipanha (who also did The Eclipse with Director Golf) guests as Dr. Apichart, the head of the Orthopedic Department.

Of course Ep.2's Café for All is also a callback to The Eclipse (it was prominently featured in there as well, with Director Golf in a cameo as the black-and-white clad proprietor/server).

(top) The Eclipse – Ep.4 [3‌/4] 4.31; (bottom) WDGD Ep.2 [3‌/4] 7.28

And my read then was that The Eclipse, just like the café with Khun Golf at the helm, was meant as a welcoming, non-judgemental space for reflection on LGBTQ+ issues. Possibly the same is being said for WDGD here, though its general unseriousness doesn't seem quite the same or even an appropriate forum for any discussion of weight. Perhaps like in the second appearance of Café for All, what's being served up here in WDGD seems to be less heavy drama and more fluffy confection. Not that there's anything wrong with that! 🍰👍

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Another possible cameo that's caught my eye – the oft-referenced, once heard but never seen Dr. Nop.

(above) Wandee Goodday Ep.2 [2/4] 0.50 – Yoryak looks disappointed when the nurses tell him they've switched his physician from Wandee back to Dr. Nop (while his t-shirt proclaims "Heart Melt")

I can't help thinking that this is a reference to Aof Noppharnach Chaiyahwimhon, who's on hiatus from GMMTV directorial duties for the time being. He's cameo'd as a Nop before (see these write-ups linked here and here) and this may be a reference to his being unseen, but still acknowledged and not unheard during his present time off (I've written about possible reasons for his time away, in this write-up linked here).

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Others have pointed out before I could do it, but yes cleaning the refrigerator does refer to rimming in Thai slang. 😂

(above) Wandee Goodday Ep.2 [4/4] 9.33 – YY turns up at Dee's unit 609 (possibly a reference to 609 Bedtime Story, that was also created by Director Golf and screenwriter Yokee Apirak) appropriately togged out with a gas mask, goggles and bodysuit, all ready to give Wandee's "fridge" a thorough scrub and rub

This thread on the Pantip forum (linked here) explains the term. And the same thread also explains that washing the dishes can mean either sloppy seconds or oral, which lends weight to Li Ming's laang jaan comeback to Jim as payback for infantilizing him during the market scene in Moonlight Chicken:

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OK, so I didn't find anything truly earth-shaking about WDGD Ep.2, but that's typically the case for second and third episodes in any series while they set things up for plot developments to come.

Still, Wandee Goodday is already glowing with a comforting warmth, peppered with light comedic turns even as it foreshadows darker shifts in the future. I hope they build on the solid foundations of Episodes 1 and 2, and serve up the remaining ten episodes ripened to their fullest potential (because there's lots in there they can play with). Here's to hoping! 🥰

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