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ppeonppeonhan · 1 year ago

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The Sexiest 2023 BL Scenes

I think we can all agree that there is an art to executing a sex scene -- and not everybody's an artist. This year, we (and, by that, I mean you) gif'd a couple of masterpieces that range from romantic to...educational. Here are the ones that live in my head rent free, in order of PG-13 to NC-17:

BEST ROLE-PLAY SEX: Bed Friend

If you had told me last year that incorporating cat ears into foreplay would result in one of the hottest scenes in BL, I would've given you bombastic side-eye. But James, the actor who plays Uea, pulled it off, and is probably responsible for a lot of Amazon orders till this day. (Episode 6)

BEST BEACH-SIDE SEX: The Eighth Sense

This entire sequence was so beautifully lit in golden tones, with soft touches, and romantic moments. It almost made you forget about the depression plot. Almost. (Episode 6)

LONG-AWAITED SEX: Hidden Agenda

Joke yearned for Zo in a way that was borderline comical. From the moment Zo kissed Joke like he was trying to give him CPR and then promptly shoved him out of his apartment, I knew every kiss after that would have to come with a parental warning. I'm surprised Joke didn't move in. (Episode 8)

DO-OVER SEX: Love Class 2

The music for this sex scene was so perfectly matched with the caressing and hand closeups. And the fact that it happened after the initially-ghosted Joo Hyuk got Sung Min to reconsider made it even sweeter. (Episode 9)

BEST WET SEX SCENE: Kiseki: Dear to Me

I may have enjoyed Ai Di and Chen Yi's love story more, but Fan Ze Rui and Bai Zong Yi were helping us all live out our tall boy fantasies. When he mounted him with a soft bounce, I knew the gif Gods would giveth. (Episode 7)

BEST EUPHORIC SEX: Only Friends

Ray looked like he reached nirvana when he made love to Sand in that sardine can of trailer, so of all their sex scenes, this was my fave. (Episode 9)

BEST INSECURITY-INDUCED SEX: Only Friends

Say what you will about Boston -- and the fandom has said a lot lol -- but if you had to choose a cast member to get you off, you'd choose him in a heartbeat. And yes, this scene was grimey. He f*cked his friend's potential boyfriend in the backseat of his car after manipulating him into believing he was cheated on, but can you blame him? He was probably tired of always having to give and never receive. Plus, Top did this vibrating move that made me wonder who told Force to do that... (Episode 3)

GIF by wanderlust-in-my-soul

BEST CENSORED SEX: Wedding Plan

I'm still mad that this scene wasn't in the Youtube cut. It paints an entirely different picture of their dynamic and their personalities. But thank God for the gif'ers, otherwise I would've missed how ravenous they were when they weren't...wedding planning. 😳 (Episode 6)

BEST WHIPLASH SEX: Be Mine Superstar

To be clear, WE were the ones getting whiplash. One minute, we were watching a sweet love story between an innocent college kid and his idol crush, and the next minute we were watching a masterclass on how to bang your one-night stand (consensually) until he agrees to date you. It's like...Sir, I'm on the train. Could you give a bitch a heads up? (Episode 8)

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While I am generally envious of every single one of these experiences, I'm even more envious of everyone's knee strength and flexibility. I could never. Rollerblading has ruined me. If I tried half of these positions, I'd have to get physical therapy. 🙃

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ineffable-opinions · 7 months ago

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MAME & BL Literacy Part 1

Another MAME show is airing and I thought it was good time to discuss what makes that author controversial.

As usual, critiques and corrections are welcome.

For those who don’t know MAME is a unique Thai BL creator. I have discussed in a previous post (that can be found here and here) how Thai BL is lacking in BL literacies. MAME is one of the exceptions. This is because:

she is a BL author & hence, one of the creators of BL literacies

she studied BL and its production academically [you can find her research output by searching her name: อรวรรณ วิชญวรรณกุล]

then she started producing live action BL.

In an industry which is lacking in BL literacies, what she brings to the table is fu-culture (BL fan culture) in all its glory. Unfortunately, the live action audience who are fans of sweet BL, have a hard time adjusting.

This is an exploration of response to her works, starting with the review of Love by Chance @waitmyturtles discussing all the ships in that series: AePete, TinCan, TarTum and KengklaTechno. This pretty much ties up what I identify as the first issue with BL literacies deficiency and MAME’s knowledge.

Here are some typical narrative progressions for a (Japanese) BL:

あまあま – sweet

ユニーク – unique

シリアス – serious

邪道 – evil road (Jadō)

王道 - royal road (odo)

Any theme/one-line plot can choose to take any of these narrative progressions. Moreover, Thai BL usually originates online which allows for innovation in narrative progression.

AePete

In Love by Chance AePete follows the typical sweet BL narrative progression. Sweet BL is characterised by an overall sweet flavor (characters, mainly the pairing, would be sweet in behaviour and motivation) and relationship progression is pretty smooth. This is the narrative progression that GMMTV sticks to. I have discussed their reasons as well as why it might not be a good thing in the long run here.

KengklaTechno

Their story follows jado narrative progression.

Quick note about Jado BL & Kengkla as a kichiku seme

One or more characters in a ship being emotional aggressors, physical abusers, sexual predators or outright villains is a very common trope in BL genre. These are popular sub-types (most notable: brute kichiku 鬼畜) of seme/uke/riba with these specific attributes and they have dedicated fans who thoroughly enjoy such characterizations. But these are clearly not everyone’s cup of tea. Some BL fans find these themes unbearable. That is why GMMTV and other BL live-action producers who don’t want to upset any of their audience members usually:

avoid such characterizations all together especially with sweet narrative progression

tries to soften such characters into more universally palatable forms

tries to redeem those characters by getting rid of those with odo – this is what currently airing My Stand-In would do.

make them villains – never making them the protagonists who gets any kind of happy ending

This is done not to trouble the average audience’s worldview (世界観) and is clearly a low effort and low skill (in terms of BL literacies) approach. But since a lot of audience don’t appreciate villain-like characterization, it is clearly low risk, no chance of a backlash from angry audience and the best method for assured money making.

Occasionally BL live-action producers venture into the risky terrains, especially with jado. The Japanese does it a lot, usually in movie format. China and Taiwan also delve into jado fairly regularly. But live action Thai BL seldom does anything commercially dangerous.

In a jado BL, a character might do terrible things and manipulate the other character(s) in the ship. But won’t feel remorse, apologize and improve for better. This is a violation of the expectation placed on characters on sweet narrative progression. Sweet BL audience do not expect characters in a ship to be anything but good to each other, especially after they have become a couple. While audience don’t mind characters making mistakes, in this narrative progression audience also expect characters to learn from their mistakes and to grow closer by earning and giving forgiveness.

In jado BL that focuses on characters being villains, there are no such expectations. These BL work within the confines of their own worldview which don’t necessarily match with our IRL worldview. Characters are allowed to act in ways that goes against our everyday perception of what is right and what is wrong. Neither the characters nor the audience expect the characters to right their wrong, to apologize or to get punished, through judicial procedure or otherwise. Happy endings are not after reparations and resolution of issues, it would be in spite of those. Bad endings aren’t necessarily punishments for bad actions committed throughout the narrative, that’s just the ending of that story. Unlike with the BL with sweet narrative progression, these BL are not necessarily stories of two or more guys falling in love. Neither is their love (if at all there is love) expected to be healthy and wholesome. (It can be wholesome but it is just as well if it is not.) There are expectations from such narrative progressions too and resolution to most issues aren’t among those expectations. Clearly not everyone’s cup of tea, especially if they expect BL to be didactic like fables.

Problem getting papered over is the expected approach in jado. When characters get together/get back together with “problems” never really dealt with, it is proper meriba (merry bad ending). Plain bad ending where there is no resolution is also typical in jado BL.

Moreover, it is difficult to sell BL with jado and other narrative progressions. It becomes even more difficult to sell branded pairings when the characters they play are not impeccable. It is unlikely that actors playing bad guys can sell products for advertisers. (Imagine the characters from The Effect being in ads together!) It is even more unlikely that fans would go broke behind wicked characters and would want to attend fan-meetings and concerts featuring them in some way.

Kengkla is two-faced and an excellent yandere. He appears to be a cute and innocent junior in front of Techno. Audience also gets to see him in Machiavellian mode. This is something that Techno doesn’t have access to, at least in Love by Chance. Techno’s brother is his facilitator in the narrative, which in turn makes him two-faced too. Techno is not omniscient and Kengkla manages to trap him. And that’s where Love by Chance ends.

TarTum

There pairing is an excellent example of MAME’s skilled employment of BL literacies. TarTum is a sweet BL, complicated by them being step-brothers. While their pairing is barely odo, Tum as a character has a complicated odo progression. Horrors from his past haunts him. The journey is going to be complicated. It won’t be linear. There would be slip up on his part and that of others. But there’s light at the end of the tunnel. Those who love odo do so because of the pleasurable pay off, much more than sweet BL. It is a rollercoaster, and that’s why fans like it.

TinCan

This is another pairing with sweet narrative progression but with a rare dynamic: weak seme x weak uke, i.e., neither of them is strong in their pursuit. This is a notoriously tough dynamic to write, so much so that there are relatively few BL with this dynamic.

Multiple Pairings in a Piece

This is something I personally appreciate a lot. It is not often that we get a piece with different pairing with different types of narrative progressions. Authors choose this method and build universes so that they can reach the biggest audience.

A lot of people enjoyed Love by Chance because they could enjoy AePete. While I understand, I don’t relate to that. AePete was my least favourite pairing among them all. I enjoy dangerous characterizations over subdued ones and prefer a meriba over a happy ending. While there are plenty of BL media with those, they are rare in live action. In my first watch, I was constantly tempted to find fan-edits of every couple other than AePete. So, what is time wasted for some is actually really enjoyable moments for another. MAME gets that and I appreciate her for that.

Queerness, heterosexism and ‘Asian’ culture

@waitmyturtles also discusses “a kind of macro cishet perspective on AePete relationship” in relation to “Ae’s randiness and jealous tendencies” and Pete’s response or lack thereof as well as “Ae not being able to take Pete’s help, and Ae’s tendency towards stereotypically masculine POVs and behaviors” tied to “MAME’s story structure here is based in Asian cultural homophobia, in stereotypes of how the queer community should act by way of societal expectations in Asia.”

To unravel that:

I don’t know what “cishet perspective” means in relation to AePete, a pairing consisting of two androphilic male characters. I also don’t know what were the expectations on Ae and Pete in terms of randiness and jealousy.

More interesting I think is the question underlying the statement about Ae’s performance of “stereotypically masculine POVs and behaviors”. Now, what does that mean? In order to understand that it is important to figure out which type(s) of masculinity Ae would subscribe to based on his class, ethnicity and where he comes from (Thai masculinities show considerable variation with location). It will be meaningful to evaluate Ae’s behaviour with respect to: a) what he thinks is the “manly” thing to do b) what Pete does

Take “Ae not being able to take Pete’s help” for example. In their 2021 paper ภาพแทนชายรักชายในนวนิยายยาโออิ เรื่อง รักนี้บังเอิญคือคุณ [The Representation of Homosexual Men in the Yaoi Novel: My Accidental Love Is You] Phuwadech Doungmanee, Panunda Lerlertyuttitham & Natthanai Prasannam goes deep into this:

MAME employs four typical prejudices against male homosexuality perpetuated within the Thai society to create conflicts within the plot: 1) male homosexuality unacceptably deviates from the social norms 2) male homosexuality must not be “out” 3) male homosexuality brings disappointment and shame to the family, and 4) male homosexuality cannot earn true love; love must be purchased instead.

Pete trying to purchase Ae’s love is implied when he is offering ‘help’. This is a stereotypically masculine behaviour and an elitist one at that. As with other stereotypes listed above, this one too gets treated well (with Ae’s refusal to accept) even thought it might not seem so from a Western heterosexist lens.

Along with discursive clashes challenging earlier beliefs, those who hold the prejudices tend to be judged by poetic justice. The author thus educates the society and reading public on alternatives views in relation to male homosexuality. (source: The Representation of Homosexual Men in the Yaoi Novel: My Accidental Love Is You)

There is no one Asian culture. Here are the three popular types of masculinities in Thailand (these are very different from Malayali and Tamil masculinities I am personally familiar with):

Monk

secular male - chaai chatri (ชายชาตรี): embodies typical masculine features such as ‘authority, courage, self-assurance, physical and emotional strength, and sexual prowess’ as well as someone who ‘would under normal circumstances control his sexuality as much as possible and be loyal to his family.’

lower-middle-class - nak leng (นักเลง): ‘a man who is brave, daring, risk-taking but also fair.’ In more recent decade: ‘a man who is tough, loyal to allies and a playboy with numerous sexual affairs.’

Both Ae and Pete are very masculine in very different forms. MAME is not only familiar with different forms of masculinities and femininities, and their region-specific variations, but also plays around with it a lot. The male femininity is also achieved in both the characters in a similar manner. All of this might easily escape the audience members who have limited understanding of Thai masculinities and femininities.

Pete isn’t shown to be unsettled by Ae’s randiness because it is an interplay of two different masculinities done with grace. Pete not only plays the polished, prince-role to a kunlasatree (กุลสต กุ รี; a stereotypical good woman, defined as ‘proficient and sophisticated in household duties; graceful, pleasant, yet unassuming in her appearance and social manners; and conservative in her sexuality’), he is also an out-and-out chaai chatri.

Physical Relationships and Explicit Content

One of MAME’s contributions to BL is in the toppling of certain beliefs, guided by sexism, BL live action creators were operating under prior to her.

Sathaporn Panichraksapong, an MD of GMMTV, a major producer of BL series, claimed that audience members who are mainly heterosexual women look for romantic relationships among the characters rather than sexual relationships.

We know that our audience are [sic] women. Women want to see only two boys having romantic moments together. They don’t want to see sex. Sexual relationships in BL are for a gay audience. That’s why in SOTUS the Series we have only two kissing scenes. With only these, audiences were already screaming. This is enough for them. (Interview with Sathaporn, GMMTV, 10 Aug. 2017)

Jirattikorn, Amporn. “Heterosexual Reading vs. Queering Thai Boys’ Love Dramas among Chinese and Filipino Audiences.” (2023).

As Jirattikorn goes on to highlight, this [wrong] perception about the audience (“women”) have changed ever since.

While early BL series tend to portray pure love without showing many sexual relationships, later BL series started to show more sex scenes between the two male lead characters.

Jirattikorn (2023)

Trauma & Porn

Itai Itai Itai (if you know, you know)

To claim that it is Asian cultural homophobia that MAME leveraged in Love by Chance through the inclusion of gang rape, incest, and unhappy ending is doing a disservice to BL and other queer genres including gei comi, all of which are well known for both trauma and porn. Aof Noppharnach and Cheewin’s lack of BL literacies is evident in their works. The way Aof Noppharnach shamed the use of the term เมีย ‘wife’ in Bad Buddy in spite of its usage by queer people, especially the little people among them, is evidence enough of the contempt and disregard he can bring in through his positionality as an “auteur”. To compare him to MAME is a little callous, especially when MAME constantly questions positionality and power through the stories she tells.

MAME’s trauma or lack thereof is none of anyone’s concern. So is what she does with it.

But the assumption that trauma in BL is a product of an author who themselves went through it is ludicrous and ignorant because BL from the days of tanbi (and its predecessors) have been engaging with it. There is already half a century’s history of BL with trauma and taboo themes.

you can find the review discussed in this post here:

This is Part 1

Part 2

Part 3

Part 4

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