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waitmyturtles · 2 years ago

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Turtles Catches Up With Old GMMTV: Until We Meet Again Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. In a LONG POST, I’m writing today about New Siwaj’s incomparable drama, Until We Meet Again.]

TW: suicide, suicidal ideation, psychological trauma

Gah. I am so psyched to be finally sitting down to write my thoughts on Until We Meet Again, but I’m actually at a bit of a loss on where to start. There is SO MUCH TO TALK ABOUT.

I think, where I can start, is to first say that this was, in my opinion, AN ABSOLUTELY SPECTACULAR SHOW. I did NOT expect this, at all. I’ve been around the way with New Siwaj, the UWMA screenwriter and director, a few times now for the OGMMTVC -- his writing on Love Sick, his work with Cheewin on Make It Right, and his work on MAME’s novel in Love By Chance have all been on the OGMMTVC list. I know that Between Us, the UMWA WinTeam continuation, was considered mostly a let-down for weak writing, and that New’s more recent shows, including A Boss and a Babe and Double Savage, were viewed quite critically (although I am a Double Savage apologist, for which I’ll explain my viewpoints later in this post).

So. What I did not expect from 2019′s UWMA was to experience so many layers in a drama à la the work of Aof Noppharnach. Yes, I cannot believe I’m going here, to compare a New Siwaj drama to Aof’s oeuvre, but damn if I will, because good lord, New took his magic hat of tricks, pulled out THE GOOD STUFF, and made it all work.

This is a list of themes that I saw in UWMA, that will help me structure this long write-up, but by no means should it be considered complete, as I’m sure I’m missing themes that you all likely caught in your watches and re-watches:

1) A new narrative structure for New -- balancing the impact of side couples by leveraging focus, equally, on two MAIN couples 2) The continuation and end of the 2019 trend of reincarnation and spiritual connections to love 3) Intergenerational queer trauma (micro-level) 4) Generational acceptance of queerness (macro-level) 5) Food and its Proustian effect on memory 6) Reflections on filial piety and the devastating effects of expectations -- and how children and parents seek redemption, particularly in New’s work

And before I even dive into THIS list, can I just say: MY GOD, FLUKE AND OHM. And Earth and Kao! But FLUKE AND OHM. Jesus, does New have an eye for talent -- from the Make It Right guys, to Perth and Saint, and then to Fluke and Ohm. I was seriously TAKEN with their chemistry. I did hear from a number of folks during my UWMA live-blogging that they can’t rewatch UWMA because of Fluke/Pharm’s rendition of the blushing maiden trope, but for my tastes -- I think the way he rendered the trope was really necessary to communicating Intouch’s story, history, and emotions, and just -- Fluke just ATE this role, my gawd. And Ohm/Dean responding in kind vis à vis Korn’s regret. YOW. It’s been a few days since I finished the show, in a total RUSH of drama hunger, and I’m still shaking my head and MARVELING at their performance.

Okay, back to the themes list. So, early in my Thai BL journey in the fall of 2022, after I had watched KinnPorsche and The Eclipse as my first two Thai BLs, I watched A Tale of Thousand Stars (way before the OGMMTVC was born), and noted that I appreciated the lack of side couples in the ATOTS storyline. I now realize, through the OGMMTVC, that side couples are both a BL trope and a byproduct of the drama styles from which BLs were born, the ensemble-based dramas like Love Sick, Senior Secret Love, and Kiss/Kiss Me Again.

New’s Make It Right -- while beloved in my heart, for the chaotic duos of TeeFuse and FrameBook -- WAS messy, with all the other couple stuff happening around it. That, along with Love By Chance, made me wonder -- why do BLs that center fabulous dyads with sizzling chemistry take away from that energy with all the side couple action? Even Together With Me, a non-New Siwaj and non-GMMTV drama, got sidelined in part with a VERY questionable side couple plot in BrightFarm.

Reflecting back on KP and The Eclipse, I had that question in mind as I started UWMA, and wondered where the Alex and WinTeam storylines were going to go. But, frankly, I ended up appreciating what NEEDED to happen with DeanPharm and KornIntouch, because -- the original novel storyline clearly demanded that these two couples, who were NOT side couples, but MAIN couples, needed a MAIN spotlight for their collective story to be told. @clairificusrex mentioned in a liveblog comment (THANK YOU, LOVELY HUMAN!) that New Siwaj benefitted in the screenplay from having a wonderful original novel to work with, and while I don’t read Y Series canon, I can only imagine that this was indeed the case.

So, New, in order to hew to the novel, had to perhaps hold back his usual instincts to muss up the main couple vibe, by centering DeanPharm and KornIntouch. With that control necessary to the story -- I think the narrative STRUCTURE of the drama just blew open. It was FASCINATING, it drew me in, and the structure allowed for another New predilection to be leveraged WELL, in his love for flashbacks. @lurkingshan, you mentioned that your taste wasn’t necessarily aligned with New’s fancy for flashbacks, which I totally understand -- I think flashbacks hurt the overall narrative structure of Double Savage earlier this year. But I think, here for UMWA, they were necessary, and I might very well be apologetic to that considering what I DID see in Double Savage by way of the story that New ended up screenwriting over there in regards to intergenerational family trauma (again, more on this later in the post).

This narrative structure lent itself handily to the next four themes on this list, all of which deal in memory, in spiritual roots, and/or in the generational passage and inheritance of trauma and emotion. 2019, as we know now, was a big year for shows themed around Thai spiritual culture and/or reincarnation. We have He’s Coming To Me, we have Dew the Movie -- we have art here, queer-centered art, that does not lend itself to happy endings, that depicts, through reincarnation or, in the case of HCTM, a ghostly purgatory, how DIFFICULT it had been to be comfortably queer and/or openly out in past and present Thailand.

And then UWMA comes along, telling TWO generational stories, intertwined by the red thread, but also, in the words of the WONDERFUL @bengiyo, connected by Korn and Intouch’s intergenerational queer trauma, the most PERFECT coinage of a theme for this show. In 1988, when Korn and Intouch die, they cannot be out. They cannot even be SECRETLY in love. Their bad dads use the foulest of language to describe their love (much like Phop’s dad in Dew). And Korn kills himself, and Intouch follows.

And what we learn, through Dean and Pharm, are the emotions, the regrets, the LEARNED BEHAVIOR that Korn and Intouch have picked up on in the afterlife, embedded in Dean and Pharm, that keeps Korn and Intouch’s love alive, with CORRECTIONS and ADJUSTMENTS made by Dean and Pharm that reflect on how not only Korn and Intouch’s love has changed and improved, but also how Dean and Pharm are learning how to love EACH OTHER, themselves, as they adjust to their OWN belonging to each other, in Pharm’s own words. GAH -- my aching heart. (Thank you to @lurkingshan for talking this through with me early on in my UWMA watch.)

I mean. THE DEPTH OF THIS. Intouch is a terrible cook, and Pharm is like, a restaurant-level chef?! Pharm is so resistant, and Dean is so FORWARD? (OHM THITIWAT, GAH!!!) (Listen. Pharm. P’Deeeean can grab MY butt, okay?) (See what I did there, @lurkingshan and @bengiyo? THANK YOOOOUU.)

And Pharm’s blushing maiden approach. Yes, I will also admit, that sometimes, it was a little cringey. But I think the blushing maiden trope was really necessary to the story -- ESPECIALLY IN THE CONTEXT of Intouch’s anger, ciphered through Pharm in the last episode. And I think that Fluke Natouch ultimately rendered the trope beautifully -- again, especially against the gorgeous ending of the show. Oh, THAT CONDO SCENE, PEOPLE. I LOST IT.

Of course, Intouch would want to hold back through Pharm in the present day. If Intouch DIDN’T hold back vis à vis Pharm -- he might lose Korn again, if Pharm missteps with Dean. Intouch may have felt that HIS forwardness lent to their troubles -- so Intouch holds back, through Pharm. And Intouch ultimately communicates his love for Korn differently in the afterlife, more hesitantly -- through a resistance to intimacy, and through food and cooking in Pharm, which itself was another amazing move in this show.

Listen. Even my pinned post says what I value in dramas, not just in BLs. You give me food in BL, and I give you my heart. But also, let’s talk about the meaning of food in Asian dramas for a second. It’s no coincidence that MANY Asian dramas and doramas center food, including my favorite BL of all time, Kinou Nani Tabeta/What Did You Eat Yesterday?. If you don’t know Asians, of any ilk -- let me make a BROAD continental and sub-continental judgement. ALL WE THINK ABOUT IS FOOD, lol. While I’m with my family, while I’m working, while I’m writing meta -- I’m thinking about food, I’m thinking about what I want to cook, what I want to order, how I can mix the cuisines I love (Thai-Indian curries, anyone? YUM). Malaysians literally boast about having multiple meals, way past three meals, a day. We Asians are proud of our cuisines, and we want y’all to be EATING, A LOT, and to try all our dishes. (ITSAY, your Hokkien mee is calling me...)

But, also: FOOD MEANS FAMILY. Let me say it again: FOOD MEANS FAMILY. You FEED the people you LOVE, with delicious food. Shiro and Kenji. Kurosawa and Adachi. The guys in Jack o’Frost. The guys in The Eighth Sense. Omg, even Kinn and Porsche. We’re seeing it in Tokyo In April Is... And Pharm, to Dean, Intouch to Korn.

And BESIDES Intouch/Pharm becoming a great cook, GOD, the story ALSO INCLUDED the Proustian reference of the madeleine and involuntary memory -- but in SUCH a stunning way, as to RECALL DEAN’S FAMILIAL MEMORY of eating his grandmother’s Thai desserts -- his grandmother, Intouch’s sister, and how Dean could get an indirect spotlight into Intouch and a depth of an understanding of Intouch’s happiness besides his love for Korn. And how Pharm EMBODIED that love for Thai desserts through Intouch’s family lineage. Oh, just get me MESSY, PEOPLE. FUCKING GENIUS SHIT.

Memory on memory on memory. Dream on dream, nightmare on nightmare, tears and red threads, inherited trauma, intergenerational trauma. The micro-level of what Dean and Pharm had to live with on a daily basis in their recollections of Korn and Intouch. The macro-level of what Pharm and Dean experienced when all of their parents accepted them for who they were as queer individuals, and their partners, as well. How Dean’s dad could ACTUALLY RELATE to Dean himself, because Dean’s dad had been rejected by Dean’s mother’s family. And how that ALLOWED Dean’s dad to accept Dean and his choice to be with Pharm. How that trauma was relieved, how Dean and Pharm DID NOT HAVE TO PHYSICALLY RELIVE what Korn and Intouch had gone through, and how those involuntary memories that Dean and Pharm carried vis à vis Korn and Intouch traumatized them until Dean and Pharm could RECEIVE their OWN familial acceptance.

The LAYERS OF THIS SHOW. Before I get to the last theme on my list, I really just need to metaphorically slam my palms on an allegorical table and give New Siwaj a huge hug, because THIS SHIT IS NOT EASY TO PROCESS ALL AT ONCE, and I can’t wait to do a UWMA rewatch to try to catch more (and I’ll likely need to write another meta, ha, when I do that). I mean, again, just to use food as an example of a kind of storytelling TOOL to INDICATE memory, especially in the context of lost and found love, of intergenerational trauma and relieving regret -- BRILLIANT. BRILLIANT.

And. The last theme on the list, the theme of filial piety, of Asian family systems and devotion and loyalty and expectations, and the devastating effects on the micro-individual level (and even the macro-social level as well) that those expectations can have.

So, I watched Double Savage, screenwritten by New Siwaj, out of order from UWMA. Very quickly, since many of you have likely NOT watched Double Savage because it’s not a BL (but it DID have Ohm Pawat and Perth Tanapon in a hose-off scene -- you can’t take the New Siwaj out of New Siwaj, amirite): Double Savage is about Korn (Ohm P.), a middle son who is branded a jinx by a HORRENDOUS Thai-Chinese father, and how the abuse leveled on Korn by his dad has intergenerational ripple effects across their family and community.

Let’s break this down. I now know that New Siwaj does bad dads from Thai-Chinese lineage very well. UWMA’s Korn is expected to take over a mafia business. His dad is disapproving that Korn doesn’t want to take over the business -- which is an UNQUESTIONABLE and EMBEDDED expectation in most Asian family lineages (hello, Jeng and Step By Step) -- AND Korn’s dad is ALSO disapproving in Korn’s love for Intouch and vice versa. Separately, Intouch’s dad is disapproving that Intouch is in love with Korn, a mafia scion.

Modern times are modern for a reason. 1988 was 31 years from 2019. I want to emphasize here the understanding that Korn and Intouch likely had -- that besides running away, there was no other existence for them to be together than to kill themselves and be together in the afterlife. And running away, and still living and existing, would have been a guilt-ridden and dangerous existence, for what Asian children are expected to do and live for vis à vis their parents. Korn likely HAD NO OTHER IMAGINATION for a life that he could live OTHER THAN to take over his father’s business and to be a heteronormative adult in the late 1980s. And, to top that all off, both of their dads were fucking assholes.

I really liked how this was juxtaposed to the relationship between Dean and his father. Dean was clearly set up to be as stubborn as his dad. Meaning, at least to me -- that Dean was FAR less likely to be told what to do by his dad, that Dean would and maybe COULD, stand up to his dad. We didn’t see it happen, but I could have imagined Dean not accepting “no” for an answer from his dad to accept Pharm. (Makes you think about Pat, Pran, and Ming, no?) Dean had Korn in him. Dean/Korn was NOT GOING TO TAKE THAT SHIT AGAIN, and that was CLEAR. I want to emphasize: THAT’S BIG. That was BIG on New Siwaj and the UWMA novel writer to include that in the story. That’s parental defiance. That needed to happen in order for Dean and Pharm to survive. As an Asian, that gives me a kick of welcome energy.

But I also really want to note what New Siwaj did at the end of the show, something so deft, it might have left non-Asian viewers wondering what was going on. In the condo scene, Dean and Pharm are ciphering Korn and Intouch -- and when Korn’s father shows up in the wheelchair, Korn’s father knows what’s happening.

And Korn apologizes to his dad. Korn had already apologized to Intouch, but Korn also apologizes to his dad, and to his brother, and to his nephew in Sin. This really gets me, y’all, I understand this as an Asian. Korn is APOLOGIZING for the PAIN he caused in his family AND in Intouch, because -- filial piety. He knows what he did to himself was devastating to the Asian family system he was born into, to the Asian society he was born into, and he apologized for the suicide he committed unto himself that caused that extra-social pain.

Like. As crazy as that sounds, it’s also an INCREDIBLY SOPHISTICATED way to ACKNOWLEDGE that Korn had broached a social boundary, and Intouch had followed him. THAT IS A HELL OF A LAYER TO ADD TO THIS STORY, ONE THAT I DID NOT EXPECT, and that SHOOK ME at the end of this series.

A similar situation happened in Double Savage. Despite the horrendous psychological abuse that Double Savage’s Korn received from his father -- an adult Korn ends up apologizing to his father for the trouble that HE may have caused. Now, what I appreciated about Double Savage was that THAT dad was like -- no, no, *I* should be the one apologizing. BUT, I want to indicate and emphasize here, that BOTH storylines acknowledge that Asian children NEED to know, SHOULD know, ARE BORN TO KNOW, that their actions have collective effects on a wider family system. We are born to understand and think like that. We are not dealing with an individualist Western perspective here. (I literally FLIPPED when I realized that New Siwaj has had MULTIPLE CHARACTERS NAMED KORN APOLOGIZING TO BAD DADS, and I’m an Asian over here UNDERSTANDING WHY, and I’m just like, pfffftt GGGAAAHHHH.)

Why am I harping on this? BECAUSE: vis à vis EVERYTHING ELSE that is lineage-based in this story -- from children being born, to intergenerational trauma, to reincarnation -- UWMA is structured around an über-macro theme of worlds being linked, by threads, by genes, by history, by spirit, by trauma. We are collectively linked. Babies are born -- we saw many babies in this show. Children belong to families. Lovers belong to lovers. Dean PHYSICALLY belongs to Intouch’s family, and Pharm to Korn’s family. A happy existence will be when a family accepts a child’s partner. Happiness is in a family growing, not a family shrinking. Warmth and growth and love happens when a happy family sits at a table and eats together.

As Pharm says at the end of the show -- oh, my HEART -- “I belong to Dean.” Yes, you do -- because you have become Dean’s family, and Dean has become Pharm’s family. Korn’s family BELONGS to Intouch’s family, and vice versa. They are destined, MEANT to be linked together, AND TO BE FAMILY, ALL TOGETHER.

Kurosawa and Adachi become family in the Cherry Magic movie. WDYEY’s Shiro and Kenji become family by way of living and eating together. Even if BBS’s Ming doesn’t acknowledge Pran -- Pran is Ming’s family. LOVE. MAKES. FAMILY.

What Korn apologized for was the impact his decision had on his family — WHILE HE WAS IN LOVE WITH INTOUCH, WHO KORN’S FAMILY WAS NOT ALLOWING KORN TO MAKE AS KORN’S NEW FAMILY in the 1980s. Korn was able to apologize in the afterlife — BECAUSE Dean and Pharm DID WHAT HE AND INTOUCH COULD NOT DO, by way of generations, by way of family acceptance, by way of inherited trauma and STOPPING that inherited trauma in its tracks -- very much like Pat and Pran banding together and doing the same for themselves. Dean and Pharm did the hard work of making the relationship a real one, in every aspect of their intimate, micro-level family lives, to a public, external existence in the world. Korn could FINALLY experience the release of GUILT he had towards Intouch and towards Korn’s family, now that Korn’s love for Intouch could FINALLY flourish outside the constraints of filial piety through Dean. THIS IS HUGE. I have no words to tell you what the BRILLIANCE of this means to me as an Asian. LOVE MAKES FAMILY, and LOVE THAT IS ALLOWED TO FLOURISH GIVES YOU THE RELEASE TO BE YOUR TRUE SELF.

Dean had learned from the inherited trauma that he got from Korn that he needed to stop the trauma train in his tracks, and he did, and he confronted his father, and his father blessed the union of Dean and Pharm. When Dean took the gun away from Pharm, and embraced Pharm, Korn and Intouch KNEW that they could finally be safe in the afterlife. Dean and Pharm were the ciphers that finally ALLOWED Korn and Intouch to exist happily together in spirit. Korn, especially, could exist freely, now that he was relieved of his guilt. Dean and Pharm were, LITERALLY, Korn and Intouch’s FAMILY -- the FAMILY that ALLOWED the FINAL RELEASE for Korn and Intouch to be together as their true selves and spirits.

And Dean and Pharm confirmed that in FRONT of the family member, in Korn’s father, that had originally caused all this pain. The intricate layers, communicated to a primarily Asian audience, of Korn apologizing to his father, and then of Dean embracing Pharm and confirming their love AND Korn and Intouch’s love, in front of that former barrier -- that is GROWTH and FLOURISHING in the face of generational defiance, and about as sophisticated and eloquent a communication of familial transcendence as I could possibly imagine seeing in Asian drama art. WHOA. I’m a little out of breath with this.

Wow. And speaking of being one’s true self: I deeply loved that Dean and Pharm took a three-month break. I loved that Pharm was smart and strong enough to demand a break to understand if DEAN and PHARM -- INDEPENDENT of ANYTHING they had INHERITED from ANYONE -- actually loved each other and belonged together. Fuck. Pharm was like, no -- this one’s on me. I need to see, outside of ANY INFLUENCES, FROM ANYONE, ANYWHERE -- if I love Dean, if Dean loves me, and if we belong together. Brave. Badass.

AND, I truly loved how Korn and Intouch -- DEAN AND PHARM’S FAMILY -- came BACK to Dean and Pharm’s dreams to offer thanks. I loved how, in the end, the past and his family came back to give Pharm that little contextual nudge to say to Pharm, it’s okay to love Dean for Dean, AND to love how you two came together, through Korn and Intouch. And Pharm could acknowledge, finally, that he belonged to Dean. God damn.

This story was so multilayered, SO complex, SO filled with a respect for love at its highest and most complicated levels. This story was filled with CRITICAL SCRUTINY towards Asian family systems and the trauma that those systems can render. This story was filled with an acknowledgement for the power of LOVE that those same family systems can offer unto children who NEED pillars of love and support (Pharm’s mom and brother, badasses!).

Y’ALL. I just, I DID NOT KNOW that New Siwaj could DO THIS! I know that UWMA is considered his best show, but like, this is his best show BY A LOT, A LOT. Double Savage, in contrast, had a lot of narrative and structural issues that detracted from the core stories of filial piety that were ultimately very important to tell.

UWMA did not fall into that trap. It was SMART, it MOVED (FOR SEVENTEEN EPISODES! I SLAMMED THIS SERIES! I could have watched MORE, I cannot believe I’m SAYING THAT!), it was. It was just BRILLIANT. It was an ode to romantic love, to family love, to the power of memory. In 2019, it joined He’s Coming To Me in a burgeoning echelon of cinema-influenced BLs in storytelling, soon to be joined by I Told Sunset About You, ATOTS, and others. It took the sad endings of He’s Coming To Me and Dew the Movie and said -- not today. Today, we will let love LIVE, let QUEER LOVE live, in REAL LIFE, in REAL TIME, and we will not let our lovers live in regret. We will take queer love, we will give queer love FAMILY, and we will give it the HONOR IT DESERVES.

Until We Meet Again is a must-watch of the highest order, and goes on the shortlist of shows that I will refer to as one that makes me proud to be an Asian. It was easily one of the most important shows I’ve watched in this project. All credit to New, Fluke, Ohm, Earth, and Kao for a PHENOMENAL experience -- my heart and mind have been bettered because of this show.

[FLUKE. AND. OHM. Fluke and Singto coming thru in Shadow the Series? Sign me the FUCK up. Actors on actors. WOW. Did UWMA ever introduce me to another crop of dudes who can fucking tear up a screen. I had SO much fun watching UWMA, whew!

And, yep. I had to follow this up with 2gether, ha. I’m going to spare myself a little pain, if y’all don’t mind, and combine my write-up of 2gether with Still 2gether. I know there’s a lot to be said about the lack of intimacy in 2G, which I can’t wait to dive into, but I can’t help but to also run into another wall of analysis with dear P’Aof’s work in S2G. I’ll make it all work!

After I get myself together with 2gether (HA) -- it’s ITSAY time. I will be planning on watching ITSAY TWICE before writing, as I’m preparing myself to catch EVERYTHING I can before I pen words. Stay tuned.

Status of the list below. As always -- if you have feedback, send it my way!

1) Love Sick and Love Sick 2 (2014 and 2015) (review here) 2) Make It Right (2016) (review here) 3) SOTUS (2016-2017) (review here) 4) Make It Right 2 (2017) (review here) 5) Together With Me (2017) (review here) 6) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 7) Love By Chance (2018) (review here) 8) Kiss Me Again: PeteKao cuts (2018) (no review) 9) He’s Coming To Me (2019) (review here) 10) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 11) TharnType (2019-2020) (review here) 12) Senior Secret Love: Puppy Honey (BL cuts) (2016 and 2017) (I’m watching this out of order just to get familiar with OffGun before Theory of Love -- will likely not review) 13) Theory of Love (2019) (review here) 14) 3 Will Be Free (2019) (not a BL or an official part of the OGMMTVC watchlist, but an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 15) Dew the Movie (2019) (review here) 16) Until We Meet Again (2019-2020) 17) 2gether (2020) and Still 2gether (2020) (watching) 18) I Told Sunset About You (2020) 19) YYY (2020, out of chronological order) 20) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) 21) A Tale of Thousand Stars (2021) (review here) 22) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS 23) Lovely Writer (2021) 24) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 25) I Promised You the Moon (2021) 26) Not Me (2021-2022) 27) Bad Buddy (2021-2022) (thesis here) 28) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 29) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 30) KinnPorsche (2022) (tag here) 31) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 32) The Eclipse (2022) (tag here) 33) GAP (2022-2023) (Thailand’s first GL) 34) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 35) Moonlight Chicken (2023) (tag here) 36) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults)]

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dandydemidoesfandoms · 2 years ago

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Between Us Continues to have no Chill.

End of Episode 7

After sweet little declarations of support and coming outs, we see most of the group together chatting at this very clearly NOT a Gay club?

Where are Dean and Pharm (UWMA)? Probably traumatizing some poor person in another library by staring longingly at each other.

And Pruek continues to defend his title as the #1 Support Boyfriend. (Between Us & UWMA)

The A & C are teasing B about his situationship with Prince.

Bee, who is ready to join the ranks with Pruek as a supporting boyfriend, perpetually understanding and deflecting because he is, in fact, dating/with/will be? a private person who is already in the industry.

And then the advice about not beating around the bush begins.

Hit dogs holler, huh boys?

Of course, Team, who runs away from his feelings, and Win, who silently broods and represses his, are not appreciating it.

Which leads us to ✨The Bathroom Scene™ ✨

They still aren't ready to talk about it, and even though the concern and feelings are filling the air so much its as thick as chowder. As usual, the boys decide to fuck about it instead of talk about it.

But, for real, even though this bathroom looks cleaner than any I have seen in a bar, club, or even a cafe, you have to be that horny, that in love, and that desperate for a connection to do this.

It's wild, a little gross, but painfully telling.

#between us uwma #uwma #between us #win x team #just talk about your damn feelings #another dean pharm in the background #the bathroom? really?#better wash your hands after #magpie rewatch

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bl-bam-beyond · 1 year ago

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Absolute Zero (2023, THAILAND)

Premiere Episode September 27th

From: STUDIO WABI SABI (UNTIL WE MEET AGAIN, MY ONLY 12%, BETWEEN US to name a few)

Episode 1 gave me MAKE OUR DAYS COUNT vibes. A young man dealt a bad hand at an early age. Hard working and lonely only to still lose in the end.

But I'm not giving up...not just yet.

Suansoon (WANUT SANGTIANPRAPAI aka MIX) is a high school boy living alone having lost his mother. At the cemetery he remembers her and mourns her.

But his loneliness is coming to an end as he goes to watch a movie and he meets a boy that immediately intrigued him. His name is Ongsa (SUPAKORN WUTTINANSURASIT aka TOR)

Ongsa is very interested in Suansoon. That's clear. But what is in store for these two? We know an accident is set to happen.

@pose4photoml @lutawolf @bengiyo

#BL-BAM-BEYOND FAMILY OF BLOGS #BL-BAM-BEYOND #BL PREMIERE: ABSOLUTE ZERO #STUDIO WABI SABI #THAI BL SERIES #SUANSOON & ONGSA #I'M SO IMPRESSED WITH MIX #AND HE'S A CUTIE #HE WAS DEAN'S BROTHER IN UWMA #THIS IS HIS FIRST MAIN ROLE #TOR'S FIRST MAIN ROLE AS WELL #THEY BOTH HAD SUPPORT ROLES IN (7 PROJECT)#My GIFS #MYGIFSET #MY-GIF-EDIT

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p-parapio · 2 years ago

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DOES ANYONE KNOW WHERE THE REST OF THIS THREAD IS OR FROM???? Please I beg I'm desperate I NEEEEDDDD it😭

#until we meet again #uwma #uwmaseries #Korn×In #kornin #inkorn #korn #intouch #dean×pharm #deanpharm #uwma the series #until we meet again the series #thaibl #thai series #bl series #winteam #between us the series #between us

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pose4photoml · 1 year ago

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Had a dream that Dean (UWMA) was giving me a hug 🤗 but then I woke up to being wrapped in my weighted blanket instead !

#dream was nice #hugging Dean #but instead it was just my weighted blanket #bummed #but now watching uwma

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ragsweas · 1 month ago

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You can pry them from my dead cold hands

#rags rants #until we meet again #until we meet again the series #uwma #uwmaseries #between us #between us the series #deanpharm #dean x pharm #inkorn #kornin #korn x in #in x korn #winteam #win x team

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farewellneverland2004 · 20 days ago

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Part Two of TBNW series similarities and differences with UWMA regarding their leads

Part 2: Cirrus vs Dean(I’m also specifically looking at TBNW series plot when compared Cir and Dean. Not the novel)

Similarities:

- Both very mature and intelligent. Appearing cold and closed off to most while being genuinely sweet and playful deep down.

- both are incurably whipped for their partners/soulmates. Being very protective and possessive over them.

- (to my knowledge) both are business faculty

- both are roughly 2-3 years older than their partners

-both have been obsessed with someone for years(in two very different ways)

-though being very popular at schools, both don’t have many people they consider close friends.

-both older brothers who were raised for the most part separately from their siblings(yet still are protective of them and love them in their own way)

-both have strained relationships with their fathers(even though their fathers still respect who they are as people support them and their relationships)

- both feel immense guilt and the reason for any kind of pain their partners go through.

- both burden themselves with the actions of others and blame themselves before anybody else

- both have a bestie since childhood who are kinda accidentally the best wingmen.

-both pride themselves on being chauffeur for their partners

-both secretly always planning for the future.

-Giving and receiving emotionally significant keepsakes

- both are BIG FANS of physical touch when it comes to who they love ❤️

Differences:(note that I love both these characters and I’m not judging one to be better… okay maybe in moral stance, but only in objectively moral stance!)

Cir is much more hesitant when it comes to pursuing Phu due to him fearing he’s putting Phu at risk if he’s near him. Sure when we first meet him he’s pulling out all the stops, but that was after like 4-5 years of… let’s say admiring from a far. While Dean sees Pharm from across a pool ONCE, and as soon as he learns his name, he is so keen on approaching him in public, getting to know him personally, stating flat out he’s single. You know, the things you normally do when you wanna date someone, but slightly more intense.

Cir is more dismissive and cold to others as a trauma response, feeling that shutting off emotions and not letting people in will be easier because he has little sense of self outside the tool his mom wants him to be and his feeling for Phu. While Dean does also come off as cold, he’s more strict (and grumpy according to Win) than flat out dismissive. He presents himself as serious and responsible as president of the swim club, but he mostly does this to mask his awkwardness around others and his social anxiety.

Cir has to somewhat prove himself more to Phu’s loved ones, because (I believe) they are aware of Phu’s abandonment issues and inferiority complex. While Pharm’s loved ones either immediately accept Dean or actively push for the two of them to be together.

Cir’s mother is a vindictive narcissist who views her son as less than human and more of a reminder of the man who refused to give her what she wanted. While Dean’s mother is a lovely compassionate person who loves her children, but who just couldn’t be there for him while growing up due to her being first too young and then Dean refusing to leave the woman who predominantly raised him all alone.

Cir is rather resentful towards his father for abandoning him and hardly standing up to his ex wife, even though he does understand that his dad still cares and he is great full for him taking good care of his younger brother. Dean however is just not close to his father due to not being raised by him and because his parents are usually away for work. But they also were both raised by Dean’s paternal grandmother and actually quite similar to each other. Which causes them to butt heads a lot when they’re together, yet he also appreciates his father for accepting him and his relationship.

Cir stays close to his younger brother despite being separated and justifies putting up with his mother’s abuse by believing he’s protecting him, which eventually leads to Zone desiring to sacrifice for his older brother and care more about his happiness than his own. Dean however takes awhile to genuinely form a close connection with his younger siblings and presents himself more as a authority figure because he still loves and cares for them yet feels as the older brother he has failed in some way. It’s not until Pharm meets his sister and points out he unintentionally avoids his siblings that he realizes how much his siblings admire him and want to be a part of his life as well. He later works to bond with his siblings and becomes a little more laid back and vulnerable around them.

Though Cir’s friends are supportive of him pursuing Phu and his relationship with him, they are more baffled and confused at Cir’s sudden ambition to be with someone. Yet they’re still very happy for him because Cir finally seems to have a reason to keep going and genuinely seems better with Phu. While Dean’s friends are supper supportive of his relationship with Pharm, they also are incredibly amused by the concept of someone as serious as Dean dating anyone(let alone a kind and bashful little cinnamon roll like Pharm). So they take any opportunity to mess with him and make him act all jealous and possessive. But they’re still very happy that he’s actually being less uptight and (according to Win) and seems to have found what he’s been looking for.

Cir seldom intentionally makes Phu flustered, and is more hesitant when it comes to engaging in very intimate actions with Phu, and when he does he more than not has to hold himself back from going too far too fast because never truly knows whether Phu wants it as well. While Dean LOVES teasing Pharm, and is not afraid to initiate physical touch. But (at least in the series) he aways makes sure that Pharm is comfortable with what they’re doing, reading his body language etc. and the one time he gets too handsy with Pharm before he’s ready, he immediately stops, apologizes and promises to not do it again.

Cir is terrible at being fully honest with Phu and fails to realize how keeping up his lie would emotionally affect Phu and how bad the future fallout would be the longer he waits. While Dean is for the most part entirely honest and sincere with Pharm about everything, but since he also knows that more Pharm finds out, the more likely it is that his condition comes to fruition, he makes sure Pharm genuinely wants to know the truth and decides for himself when and how much of the truth he wants to know.

Cir is more of a soft doting puppy when it comes to Phu’s condition at any given point. He gets more worried and protective about Phu’s health than even Phu does, and he’s much more likely to forget about taking care of himself than he is taking care of Phu. He basically becomes this when Phu is not feeling well 😥🥺. Meanwhile Dean become both this 😟 and this 😠 whenever Pharm isn’t doing okay. Dean is very keen and stubborn on making sure is completely okay and won’t let Pharm dismiss it like it’s nothing. But he also doesn’t just try to prevent Pharm from essential emotions, but instead stays with him through it all and makes him share the pain Pharm feels.

Cir seems let Phu do the planning when it comes to what they do when they’re together, he’s just happy to be with him. While Dean does seem to like activity based dates/romantic getaways(ex. Friend’s restaurant, aquarium, Christmas lights, temple, river rafts and waterfalls, eventually beach etc.)

Cir promises Phu that he would never leave him. While Dean promised he wouldn't stop searching until he found who he was looking for(Pharm)

#thai bl #the boy next world #the boy next world the series #lgbtq #cirrusphukan #cirrus tbnw #tbnw phukan #tbnw cir #cirphu #until we meet again #uwma #uwma dean #uwma pharm #uwma deanpharm #deanpharm #soulmates #similarities #differences #thai drama

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bl-bracket · 6 months ago

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Greenest Flag Prelims: Dean (Until We Meet Again)

Propaganda: none submitted

#bl bracket #bl drama #bl shows #dean #dean uwma #uwma #until we meet again #prelims #green 2

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twozerozerone · 6 months ago

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15 day bl challenge (part one)

day six: fave line from your favorite series

i spent YEARS on the process of getting this scene out of my head and still i cant trust myself next to uwma that's how attached i am to this show and it all started with this

like the build up to this??? the flashbacks nightmares and how connected they are to each other for so long without realizing then pharm after crying so much still feeling like In reminding dean/korn about his promise in their past life is just... Jesus Christ

#dean is so??? prince charming dreamlike husband one in a million #deanpharm #until we meet again #blchallenge2k24

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williamrikers · 2 years ago

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On the subject of consent in recent BLs

In this analysis, I will take a look at several love scenes in recent Thai BLs, how they frame consent and the sexual agency of the characters, and why those matter.

(KinnPorsche deserves its own post: I’m sure people have already written in detail about how much emphasis is placed on issues of consent/non-consent throughout the show and how fundamental consent is to the relationship arcs of both KinnPorsche and VegasPete, and I won’t belabor the point here. Also, special shout-out to The Warp Effect for what it brought to the conversation about gay sex, but TWE isn’t technically a BL so I decided not to include it in this analysis.)

I am going to take a closer look at the following shows in this essay: Not Me, The Eclipse, A Boss And A Babe, Step By Step, and La Pluie.

Not Me and The Eclipse predate the other shows by two years/one year respectively, but I feel it is valuable to include them here because both show very explicit negotiations of consent that I feel are spiritual successors to the wonderful scenes we’ve been getting in the other three shows.

Why am I even writing this? There used to be an unfortunate tendency in the genre to have a power imbalance between the “seme” and the “uke” character, which translated into the seme deciding when to have sex and what kind of sex to have—and even though recently, several shows have done good work in dismantling the seme/uke dynamic and questioning the associated stereotypes, it cannot be denied that the archetypes are still an important part of most BLs, and even in cases where the tropes are played with and questioned, understanding those subversions still requires a knowledge of and familiarity with the original tropes on the part of the audience.

However, gone are the days of Until We Meet Again and Dean’s “I’ve waited long enough, make sure you’re ready.” (I enjoyed UWMA a lot but that was. Yeah. Not Great.) Now, we see characters actually talking about and negotiating their limits, and doing what feels good to them.

Let’s start from the very beginning. Not Me was an absolute trailblazer in this regard, and not mentioning it here would be a gross oversight. The first time Sean and White have sex, it happens in their version of the beach episode. (Which, in Not Me, is the two characters briefly living in a tent inside an abandoned building. This show is the best.) Sean and White are removed from their usual environment and protected from the outside world by two barriers: the walls of the old house and the tent that’s literally enveloping them and giving them a space that is unequivocally theirs, shared, in which neither one of the characters has any sort of power over the other. And what happens in that space when they’re about to have sex is extremely interesting: the first thing Sean asks is whether White is afraid of him, which White denies. The following exchange goes like this: White: "So, what are we doing?" Sean: "What should I do to you?" White: "That’s up to you." (Watch the whole scene here.)

I find this exchange incredibly meaningful because this already turns the seme/uke dynamic that can be found in a lot of other shows on its head. OffGun as a branded pair can easily be stereotyped into the seme/uke dynamic just because of their physical appearances, and clearly spelling out that both characters have agency in this scene is incredibly important.

And then it gets better! Sean assumes that White is sexually inexperienced (which is not true but the fact that White was actually in a relationship with a woman back in Russia never comes up again after the pilot episode, so maybe the show expects us to assume this, too), and suggests they try different things and White can tell him what he likes and doesn’t like. Compared to the stuff we’re getting now, this scene isn’t very high heat at all, but it’s one of my favorite intimate scenes ever because them asking each other “Do you like this?” after every kiss, every touch, is so incredibly unique and transports a wonderful sense of figuring out sexual pleasure together, as a couple.

Sex in Not Me is not something one character does to another, it is something that is discovered and shared together, and we even get an afterglow scene in which they gently tease each other about their fast beating hearts. (And don’t get me started on the importance of White choosing to ask Sean whether Sean is okay with White not being like Black in that moment right before they have sex, because he doesn’t actually want to have sex with Sean as Black! He wants to discover and share intimacy with Sean as White, as himself, not as his brother! The layers!)

Anyway, I think that scene paved the way for a lot of the conversations around consent we’re now getting in BL, just because it is so explicitly, unashamedly putting forward a definition of sexuality that has nothing to do with one character actively giving and the other passively receiving, but frames intimacy as something that is built together. (More on giving and receiving later!)

Now, moving on to The Eclipse. I decided to include the first time Akk and Aye have sex for a different reason: while we don’t really see them actually talking about consent, we see them practicing non-verbal consent. Let me explain. Akk’s and Aye’s whole thing is teasing each other. At first, Aye is usually the one doing the teasing, but Akk gets the hang of it towards the end of the show and teases his boyfriend right back. When they’re in Akk’s childhood bedroom together, Aye clearly alludes to the fact that he thought they might use this opportunity to have sex for the first time, which Akk pretends not to understand, all while alluding to it himself. I love this guy. (Watch the whole scene here.) Anyway, Akk says he wants to sleep, lies down and once again, tells Aye jokingly he just wants to sleep, clearly expecting Aye to do what other BL protagonists do at that point and not take no for an answer (sidenote: I HATE the “saying no as foreplay” trope with a passion and as far as I’m concerned it should die already).

However, Aye is not like other BL love interests, and he backs off. He stops touching Akk, lies down with his back to Akk, showing Akk that he takes him by his word: if Akk says he wants to sleep, Aye is going to let him do just that. So now, it’s on Akk to say that, no, that’s not what he meant, can Aye please come back to cuddle. And then Akk is the one to escalate from cuddling to kissing, which is extremely important: we know that Aye has been ready to have sex with Akk since forever, it’s Akk who’s been having hangups about intimacy this whole time.

They don’t put consent into so many words on this show, but Aye shows Akk that he respects his limits and that Akk only has to tell him he doesn’t want to do something and Aye will take him at his word.

So, these are, to me, two foundational scenes of establishing consent: one that shows consent as something that is established verbally, as an ongoing conversation, and one that shows consent as something that is established physically, by showing your partner that you respect their choices and limits by way of simply acting accordingly.

Now, let’s get into the fun part: scenes we got so far in 2023. I’m writing this post on the 13th of June, and I’m sure this year still has some great things in store for us, especially because Step By Step and La Pluie are both ongoing and neither of the main couples are actually together yet at time of writing. However, they’ve both already given us AMAZING scenes on the topic of consent, so I feel it is worthwhile to write about those already.

I want to start off by talking about A Boss And A Babe.

Let me just preface this by saying that the intimate scenes in ABAAB are some of my all time favorites in BL ever, because in them, sex is something that is just so normal. When Gun and Cher have sex, we don’t see them very passionate, excited, reluctant or wide-eyed innocent (which are some of the emotions traditionally associated with sex in BL). On the contrary, in every single scene that shows them being intimate, both characters are incredibly calm. They’re certainly happy to be with each other, but in a subdued way. Someone described their second intimate scene as them seeming like they’ve been married for a few years. They’re both just… incredibly normal about having sex with each other. It’s simply something they like to do together. It’s a part of their romance but it’s not more or less important than any other aspects of their lives.

And consent is at the very heart of it.

When Gun and Cher have their first time, we see Gun explicitly asking for consent two times: first, “Can I kiss you?”, then, “Can I do more?” The second one even comes with the promise that if Cher says no, Gun will immediately go to sleep without mentioning it again. And then it is on Cher to say yes, to pull Gun close and kiss him to show him that he is comfortable with taking things further. (In the show, these two questions were shown apart from each other, I cut together a version of the whole First Time Scene in its entirety, watch it here.)

Now, things get more interesting: the second intimate scene shows Cher initiating the encounter (watch the whole scene here). Cher pretty consistently falls into the uke category, both physically and as far as characterization is concerned, but he’s certainly not shy in the bedroom. And this time, he’s the one who asks for consent from Gun: Gun asks “You’re starting it?” and Cher’s response is “Can I?” Despite him being framed physically lower than Gun, basically at Gun’s mercy, he still seeks confirmation that Gun is okay with the way things are going. Not to overstate it, but to me, this feels revolutionary. Once again, we’re being shown that sex is something two people do together, as a shared activity, and that the “seme” character isn’t expected to just be up for it. He, too, has the right to say no.

On this show, sexual agency is taken extremely seriously, and it is clear that both Gun and Cher give each other space to decide what they’re comfortable doing. This is shown in non-intimate scenes as well: there are so many moments on ABAAB in which the characters negotiate physical touch and closeness, asking each other for hugs before actually hugging each other, Cher leaning on Gun’s shoulder in the car but not allowing Gun to touch him because that’s not what he’s comfortable with in that moment, and so on. (The only exception to this otherwise pretty consistent rule is the kiss in the car scene, which I’m still extremely confused about because it seems to go completely against Gun’s character. Who knows what happened there.)

Of course, the fact that so much emphasis is placed on negotiation and consent isn’t surprising on a show that has such obvious kink undertones and whose Our Skyy 2 entry basically consisted entirely of Dom/sub roleplay at work—I’m just saying, I think someone on the writing team is way into BDSM and knows all about the importance of enthusiastic consent from all parties involved, and I would like to send them flowers.

Step By Step hasn’t really reached the point where we can analyse the dynamic between the main couple (although we can take some educated guesses based on the interactions we’ve seen so far). However, last week’s episode had an extremely important scene between Pat and Put: Pat wanting to have sex with Put, then changing his mind mid make-out (watch the whole scene here). I really like the way this scene was done. No matter how shitty Put treats Pat at times, in this instance, he immediately understood and respected Pat’s change of mind without Pat even saying or explaining anything—at the end of the episode, Put says to Pat that Pat should tell Put when he feels ready to have sex. (We already know this will never happen because of course, Pat and Put are not endgame, but I do appreciate the sentiment.)

BLs rarely include a whole storyline in which the protagonist is in an actual, serious romantic relationship with someone other than his endgame love interest (hi Moonlight Chicken!), or if they do then just to up the angst factor. In this case, however, I feel that this scene raises our expectations for Jeng even further: if the guy who is definitely not a romantic match for Pat treats Pat with this much respect in the bedroom, then Jeng has to do at least that and then some. I do feel confident that Jeng won’t disappoint in this regard, but it’s fascinating to see a show frame this kind of respect as the absolute baseline minimum, with the endgame love interest expected to do even better.

Now, the one you’ve all been waiting for. The one that made me write this whole essay in the first place: La Pluie.

Oh boy. Where to start.

A week ago, we got an incredible make-out scene on Saengtai’s floor, which ended in Patts stopping the encounter because he could tell Tai wasn’t really comfortable taking things further—@bengiyo talked about that scene in detail here. And then, three days ago, La Pluie gave us the most unique, trope-defying, timeline-changing blowjob scene of all time, and I want to talk about it.

Tai and Patts are making out on their bed, Tai is not ready to go “all the way” and stops Patts from undressing him. We see a very realistic frustrated reaction from Patts, who nevertheless immediately stops and accepts Tai’s wishes—it is clear that Patts does not expect things to go any further at this point, and that he won’t pressure Tai into anything.

And then, Tai offers to blow him.

(Unfortunately, this show is only on iQiyi so I can't link to it, but you can get a good impression of the scene here.)

I mentioned the concepts of giving and receiving earlier: other people have said this more eloquently than me, but there is a tendency not only in BL but also in wider society to view sex in terms of giving and receiving, with a lot of expectations and stereotypes attached to the roles during different sexual acts. On other shows, that blowjob might be framed as a consolidation or an apology, something that the giver does out of a sense of obligation without enjoying it much. Not so on La Pluie! Tai is shown incredibly happy and satisfied afterwards, both when they’re sleeping next to each other, as well as on the morning after (see also @ginnymoonbeam's post about that here). Tai offered to blow Patts because he simply wanted to, not motivated by guilt or anything of that sort. And he genuinely enjoyed it! In the post I linked above, @bengiyo points out that La Pluie consistently centers queer desire, or more specifically in this case, male desire for a male body; much in the same way that the camera fucking loves Force’s body on ABAAB: the sensuality of the skin, the hands, the abs, the flat chests, the broad backs and shoulders of these men is explicitly emphasized, and Tai’s desire for a dick in his mouth is made absolutely crystal-clear. Of course, since this is a TV show and not a porno, we only see Patts’s thumb in Tai’s mouth instead of his dick, but the imagery, the implications, are clear as day.

And it is such a gentle framing, too: Patts caresses Tai’s lip lovingly, Tai opens his mouth slowly, seductively, then faces Patts’s crotch with a soft look on his face. We do get a clear sense of this encounter as tender, and gentle, and most of all, desired. Tai’s queer desire is at the heart of this scene, and at the heart of the afterglow scene as well. He wanted this man’s dick in his mouth, openly suggested it, showed Patts he was sure about his decision after Patts asked him whether he was, and ended up clearly happy and satisfied with the sex they had. This post, also by @bengiyo, goes into more detail on that.

This, once again, shows us sex as a conversation rather than a series of predetermined acts, shows us sex as a shared activity, as something that can be wonderful and intimate and make people happy without following what society views as “the correct steps”. I think this is extremely important because one part of queer identity is figuring out one’s own relationship to sexuality, one’s own desires and needs, and BLs that ignore this aspect fall a little short in my opinion. Sure, those men are kissing, but do they experience queer desire? Do they experience joy in their queer desire?

For me personally, a show that does not shy away from these questions is a lot more meaningful than a show that does, and consent is at the heart of it all. By framing sex as a conversation, as something that is built and shared together, the shows I looked at here are actively positioning themselves against the idea that there should be predetermined roles for partners during sex, and instead suggest that queer joy can be found in communication and consent. Understanding sex and intimacy as something that is built together, with both partners as equals in conversation, is just as radically queer as a man waking up with a smile on his face after giving his soulmate a blowjob the previous night.

And quite honestly, a male character who clearly, passionately, unquestioningly communicates that he wants a dick inside of him—that is incredibly sexy. But maybe that’s just me.

#*mine #not me the series #the eclipse #the eclipse the series #a boss and a babe #step by step #step by step the series #la pluie #la pluie the series #i said ''is anyone going to write a 3k meta analysis on this topic'' then didn't wait for an answer

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