sorry everyone, took a bit longer time to resync the subs for ep 3 and 4 bc youtube full ep trim down the really explicit scenes, they didnt cut any dialogues but mostly shortened the nc scenes so i had to resync the subs to fit it.
Let me just say as a Vietnamese, I'm annoyed that they used the spelling "Lhan" when it's clear to me that as a Vietnamese, her name would be written as Lan =)))))))))))))
Westernization PeriodDuring the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization.…
What is Lakhon? Terms similar to “lakhon” are found in many Southeast Asian cultures, each varying in spelling and slightly different in meaning. In Java, for example, the term ‘lakon’ refers to the plot of a story, while in Cambodia, ‘lakhon/ lakhol’ refers to theatrical drama. In Bali, the term “legong” refers to a type of dance with refined and intricate gestures. All of these terms point to a commonality involving performance art. In Thailand, “Lakhon” refers to the many types of classical dramatic theatre that depict narrative stories. This is in contrast with Ram and Rabam, which refer to dances with no storyline. Unlike modern theatre forms, which rely on realistic acting and dialogues, most forms of Lakhon rely heavily on dance and music to convey the story. Thus, choreography in Lakhon must be painstakingly executed to deliver the characters’ inner thoughts and emotions. This has led many to describe Lakhon as “dance dramas”. However, there are also forms of Lakhon that do not rely heavily on choreography, such as Lakhon Phud (Speaking Lakhon). Other important aspects of Lakhon include acting, costumes, stage design, script, as well as spiritual rituals.
Types of Lakhon There are types of Lakhon, which can be grouped into three categories: Lakhon Ram (ละครรำ), or “Dance Dramas”, focusses on telling the story through dance movements accompanied by vocal and instrumental music. Choreography is used to portray characters’ emotions and thoughts. Lakhon Rong (ละครร้อง), or “Musical Dramas”, focuses on using singing to tell the story. Lakhon Phud (ละครพูด), or “Spoken Drama”, focuses using spoken dialogue with true-to-life acting that allows audiences to connect with the characters.
Lakhon Ram is the genre that Mala pursues. Lakhon Rong is the genre that Soi currently pursues.
The show gets more and more fascinating with each episodes. I'm glad to see how the political elements are gradually…
Westernization Period During the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization. Western theatrical elements made their way into the Thai performance art scene, making Thai dance, theater, and music more diverse and popular. As such, the development of Lakhon was heavily influenced by Western ideals of theater.
King Chulalongkorn (Rama V), who reigned from 1853-1910, and his courtiers played an important role in creating new forms of theaters for both private and public entertainment. These included Lakhon Dukdamban, Lakhon Sepha, and Lakhon Phanthang. The creations could be seen as a response to the new lifestyle and the changing tastes of audiences. These modern Lakhons were inspired by Western opera while still retaining elements of traditional Thai theater. For instance, Lakhon Dukdamban still adheres to traditional verse narrative, but it might incorporate elements of realism from Western theaters, such as the use of scene design and realistic costumes. Adaptations of Western plays were also grown in popularity.
Golden Age of Theater King Vajiravudh (Rama VI), who reigned from 1910-1925, was a truly passionate dramatist. His reign was regarded as the Golden Age of Theater, with more rising forms of theaters in the court and the public. His great contribution to preserving theatrical art was the establishment of the Royal Entertainment Department responsible for all traditional performance activities under his close supervision. The department went on to establish the first official traditional performing art school: Rongrien Pran Luang. There was also a school for his scouts to learn music and drama with a built-in theater.
The king was a gifted writer. He wrote more than hundreds of plays and translated countless literary works from other languages, including William Shakespeare's English plays and Émilie Fabre's French plays. When translating Shakespeare's blank verse, the king localized it into the form of Thai octameter poem, while adding puns without making the meaning any different from the original work. Such was the literary mastery of King Rama VI.
Many of his works were featured in Lakhon Phud, a popular form of theater that is characterized by its exclusive use of dialogues, with no dance or singing interspersed. Lakhon Phud originated during the previous reign of his father, King Chulalongkor, but was later popularized with more diverse plays through Rama VI's contribution.
Studies from the Journal of Humanities by Surapone Virulrak suggest that dramatic literature in each era reflects not only the differences in the monarch's taste but also the policies and values he wants to promote. Rama VI's translated works reflected his promotion of the English language and foreign cultures. The works also promote patriotic sentiments. Huajai Nak Rob (A Warrior's Heart), for example, was a play performed to promote the chivalric role of soldiers, encouraging the Thai people to protect their country.
Revival Age of Thai Classical Theater Performing arts had always been under the royal patronage, however, they were passed into the hands of the civilian government when the country underwent threats from the Second World War. In response to the economic recession in the early 90s and the emergence of movies as a new source of entertainment, traditional performance arts of the royal court was financially limited and eventually declined in popularity.
The show gets more and more fascinating with each episodes. I'm glad to see how the political elements are gradually coming to the forefront and act a driving force for the actions of these characters and how they drastically affect the relationships of these characters (especially between Phrom & Mala and Soi & Mala)
I won't spoil for those who are not watching but it's a bit helpful to have this background on the historical setting of the story. --------------------------------------- During the reign of reformist rulers at the end of the 19th century, traditional Thai theatre came up against competition from spoken drama and even Western opera. Admiration of Western art introduced realism and naturalism, undermining even more the role of traditional stylised Thai theatre, especially as Western-type stages, illusionistic sets, and lighting effects were adopted.
During the reign of King Rama VI (1910–1925) Western influence increased further. The English-educated king was a real theatre aficionado and spent much of his energy, as well as of the state budget, on his passion. He translated Western dramas into Thai and wrote dozens of plays himself. He built several Western-type stages and, as a shock to many, also appeared publicly as an actor.
While busy with lakhon phud or the new Western-type spoken theatre, Rama VI also revived traditional forms of dance-theatre. As in many other Asian countries, Thai theatre at the turn of the 20th century became a platform for patriotism and nationalistic ideology. Western-influenced realistic theatre was seen as the most suitable medium for these aims but, at the same time, traditional forms were partly reshaped to fulfil their new task.
Under Rama VII (1925–1935), traditional Thai theatre found itself in a serious crisis. The main reason was an economic depression, which limited the court’s resources for maintaining expensive forms of theatre. Around this time, the cinema, the modern rival of traditional theatre, gained popularity, and the first commercial movie theatre was established in Bangkok.
A decisive turn of events occurred in 1932, when royal power was limited, and Thailand became a constitutional monarchy. This signified the final break between the court and traditional theatre, which was now under the authority of the government’s Fine Arts Department. The old traditions gradually came to be regarded as national art instead of the art of the court which they had been created and developed as.
Thank you for sharing but for some reason ep1 is out of sync 🥺
thanks for letting me know, i've resync-ed the subs for ep 1. i should have a look at ep 2 as well and update if theres unsync-ed subs https://nekocap.com/view/mynScPNC3F
Where are you watching this? I can only find it without eng sub T^T
Yeah, Uncut is really to distinguish what is shown on TV (blurring out drinks, explicit scenes, cutting things for airtime)
I realized this recently because I've been pirating english subs from OneD and nekocapping them to the youtube full version of the eps, and they sync up. Which must means that length wise nothing is "cut" from whats uploaded on youtube.
As times change, so must Grandpa… Somsak, a renowned 75-year-old author of rugged, wilderness-exploring novels, with an ego that soars and a deeply conservative spirit, is facing a major crisis as the bank is about to seize “Baan Saeng Karun,” the family’s orphanage!
Baan Saeng Karun was founded by Luang Prasit Phithaya, Somsak's grandfather. He was a compassionate man who wanted to give orphaned children a better life. Somsak is determined to carry on his grandfather's great ideals. In the past, he managed the foundation with money from writing adventure novels, but recently his novels have stopped being published because they aren't selling well. The only quickest way to make money is to write "BL (Boys' Love) novels," because younger generations are more interested in this genre than the novels he used to write.
Sar (Gen X), the eldest son, disagrees with his father forcing himself to write BL (Boys' Love) novels. He and his wife, Mas, try to earn income elsewhere by selling traditional Thai desserts using recipes his great-grandmother, Saengiam, learned in the palace. Meanwhile, San (Gen Y), the youngest son, suggests selling the house to avoid the financial burden. Snow (Gen Alpha), the youngest granddaughter, asks AI for help finding a solution because she doesn't want to lose her friends from the orphanage, amidst the opposition from different generations within the household.
His grandson, Safe (Gen Z), lends a helping hand. When this Baby Boomer grandfather and Gen Z grandson join forces, things get even more chaotic, because they come from different generations and have completely opposite personalities!
Somsak is struggling to adapt to the digital age daily, feeling like he's going crazy. Meanwhile, Safe is finding his own way out. He knows that you can't catch a tiger cub without entering the lion's den. Safe decides to try dating Guy, a male friend who confessed his love to him, in order to gather factual information about gay relationships to use as material for his grandfather's novel.
A chaotic adventure unfolds between a grandfather and his grandson, spanning two generations. This mission is immense. Will Somsak's adaptation to modern times allow him to successfully write a Boys' Love (BL) novel? And will the money from selling the novel help save the Saengkarun house?
The description on MDL here is a bit vague. I'll paste a translation of synopsis given on the local platform that I'm watching this show on.
Sroi and Mala were best friends and traditional dancers in a theater troupe. They were destined to reach the pinnacle of their careers together, but the appearance of a man fractured their friendship, forcing Mala to leave. Despite this, for many years afterward, Sroi and Mala's fates remained intertwined through the ups and downs, pain, and losses of life. More than just a story of love, hate, and revenge between two dancers, "The Bangkok Red Opera" also portrays the Golden Age of Traditional Thai dance and the historical factors that led to its decline.
Now that we're 4 episodes into the show, I can see a bit clearer of the narratives they've been trying to set up: how Thai theatre forms change through out the years, how the "new" form of musical theatre was looked down upon at its beginning, how traditional Thai dance was once at its golden era but gradually went in decline; using the complicate relationship between two female dancers to showcase all of this.
It's such a fascinating period show to watch. I can understand why this project won the Thai government support grant from THACCA.
Two lonely souls unite and choose to spend 10 years together. Their fates intertwine, spinning a tale of soulful love that takes them to Berlin, Seoul and Tokyo.
After inadvertently destroying the life of his best friend, Ryu Narutaki abandons everything and leaves Japan. He nearly dies at a church in a foreign land before he is saved by a Korean boxer named Hwang Johan.
Both men carry deep scars, and as their lonely souls come together, it soon becomes clear that they are soul mates. The threads of fate bind them with such suffocating tightness that they find themselves deciding to live together. They travel to Berlin, Seoul and Tokyo, experiencing unforgettable pain, suffering and, ultimately, joy. “Soul Mate” is a soulful romance between two young men that spans 10 years.
Statement from junior screenwriter (for the upcoming One31 series Dang and His Gangsters) /novelist BennieRule who wrote a time travel story novel also based on Mingyi Swa/Nares (Novel Plot: Mingyi Swa goes back in time after dying in the elephant duel to befriend Nares to save himself from dying). The novelist has and pitched it to One31 throughout December 2023 to August 2024 and they did not choose to follow through with the screenwriter/novelist's project despite showing initial interest in it. He posted a timeline of his story (https://www.facebook.com/BennieRule2558/posts/pfbid0oetbmUA2xv8L5MXzHFuEswd1LrmaKFDisNGMj3KCDEfy3b5FToKG7NmFJ9AEJ8qRl), causing many netizens believe One31 also stole his pitch deck ideas for The Last Duel. The writer and One31 have met up to clear their misunderstanding. This is his statement (https://www.facebook.com/share/p/1bkAPkrToK/). -------------------------------------- Hello, dear readers and followers.
I, BennieRule, would like to use this space to update and clarify the situation regarding my previous post about the timeline of my novel, "Aisurya Rajan," which was published earlier. The post contained content that could be interpreted as implying that the Pitch Deck of "Aisurya Rajan" was used in the production of the "Hongsawadi" series on Channel ONE.
After contacting Channel ONE and scheduling a meeting to discuss and verify the facts with all involved parties—including the relevant team, the representatives who presented the Pitch Deck, and Channel ONE itself—I have now clearly learned that the "Hongsawadi" series did not copy, adapt, or use any content from the novel "Aisurya Rajan" or any related Pitch Deck. Furthermore, I have learned that Ms. Sirilak, the scriptwriter, and the entire "Hongsawadi" series team never saw the "Aisurya Rajan" Pitch Deck, were unaware of the story content, and had no knowledge of or involvement in the presentation of my work. Therefore, it is impossible for my information to have appeared in the series production process.
Consequently, the content I previously communicated may have led to misinterpretations and misunderstandings among the public. This may have affected the reputation or feelings of those involved. The author sincerely apologizes and affirms that there was no intention to offend anyone; the sole intention was to clarify the timeline. The author accepts responsibility for the error in which the content may have been misinterpreted, altering the original intention. The author will be more careful in verifying information before communicating in the future.
Finally, the author would like to thank Channel ONE and all the related teams for their kind time to discuss and resolve this issue amicably. Thank you.
1 
EP 1: https://nekocap.com/view/AXEslxvUUm
EP 2: https://nekocap.com/view/j4oz4jgKo2
EP 3: https://nekocap.com/view/JfCzcxSUZm
EP 4: https://nekocap.com/view/lrOCe5NRF1
EP 5: https://nekocap.com/view/YboX3RFrJz
EP 6: https://nekocap.com/view/XZUbIewT7x
https://www.oned.net/video/6391441815112
sorry everyone, took a bit longer time to resync the subs for ep 3 and 4 bc youtube full ep trim down the really explicit scenes, they didnt cut any dialogues but mostly shortened the nc scenes so i had to resync the subs to fit it.
EP 1: https://nekocap.com/view/mynScPNC3F
EP 2: https://nekocap.com/view/oMEg7IgMHg
EP 3: https://nekocap.com/view/iiJLR1tn98
EP 4: https://nekocap.com/view/ABY1BGAsFQ
but i think youtube auto english subs are even more accurate.
for manual human subs, maybe will be released in a few months on viki after it finishes airing
Terms similar to “lakhon” are found in many Southeast Asian cultures, each varying in spelling and slightly different in meaning. In Java, for example, the term ‘lakon’ refers to the plot of a story, while in Cambodia, ‘lakhon/ lakhol’ refers to theatrical drama. In Bali, the term “legong” refers to a type of dance with refined and intricate gestures. All of these terms point to a commonality involving performance art.
In Thailand, “Lakhon” refers to the many types of classical dramatic theatre that depict narrative stories. This is in contrast with Ram and Rabam, which refer to dances with no storyline. Unlike modern theatre forms, which rely on realistic acting and dialogues, most forms of Lakhon rely heavily on dance and music to convey the story. Thus, choreography in Lakhon must be painstakingly executed to deliver the characters’ inner thoughts and emotions. This has led many to describe Lakhon as “dance dramas”. However, there are also forms of Lakhon that do not rely heavily on choreography, such as Lakhon Phud (Speaking Lakhon). Other important aspects of Lakhon include acting, costumes, stage design, script, as well as spiritual rituals.
Types of Lakhon
There are types of Lakhon, which can be grouped into three categories:
Lakhon Ram (ละครรำ), or “Dance Dramas”, focusses on telling the story through dance movements accompanied by vocal and instrumental music. Choreography is used to portray characters’ emotions and thoughts.
Lakhon Rong (ละครร้อง), or “Musical Dramas”, focuses on using singing to tell the story.
Lakhon Phud (ละครพูด), or “Spoken Drama”, focuses using spoken dialogue with true-to-life acting that allows audiences to connect with the characters.
Lakhon Ram is the genre that Mala pursues.
Lakhon Rong is the genre that Soi currently pursues.
During the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization. Western theatrical elements made their way into the Thai performance art scene, making Thai dance, theater, and music more diverse and popular. As such, the development of Lakhon was heavily influenced by Western ideals of theater.
King Chulalongkorn (Rama V), who reigned from 1853-1910, and his courtiers played an important role in creating new forms of theaters for both private and public entertainment. These included Lakhon Dukdamban, Lakhon Sepha, and Lakhon Phanthang. The creations could be seen as a response to the new lifestyle and the changing tastes of audiences. These modern Lakhons were inspired by Western opera while still retaining elements of traditional Thai theater. For instance, Lakhon Dukdamban still adheres to traditional verse narrative, but it might incorporate elements of realism from Western theaters, such as the use of scene design and realistic costumes. Adaptations of Western plays were also grown in popularity.
Golden Age of Theater
King Vajiravudh (Rama VI), who reigned from 1910-1925, was a truly passionate dramatist. His reign was regarded as the Golden Age of Theater, with more rising forms of theaters in the court and the public. His great contribution to preserving theatrical art was the establishment of the Royal Entertainment Department responsible for all traditional performance activities under his close supervision. The department went on to establish the first official traditional performing art school: Rongrien Pran Luang. There was also a school for his scouts to learn music and drama with a built-in theater.
The king was a gifted writer. He wrote more than hundreds of plays and translated countless literary works from other languages, including William Shakespeare's English plays and Émilie Fabre's French plays. When translating Shakespeare's blank verse, the king localized it into the form of Thai octameter poem, while adding puns without making the meaning any different from the original work. Such was the literary mastery of King Rama VI.
Many of his works were featured in Lakhon Phud, a popular form of theater that is characterized by its exclusive use of dialogues, with no dance or singing interspersed. Lakhon Phud originated during the previous reign of his father, King Chulalongkor, but was later popularized with more diverse plays through Rama VI's contribution.
Studies from the Journal of Humanities by Surapone Virulrak suggest that dramatic literature in each era reflects not only the differences in the monarch's taste but also the policies and values he wants to promote. Rama VI's translated works reflected his promotion of the English language and foreign cultures. The works also promote patriotic sentiments. Huajai Nak Rob (A Warrior's Heart), for example, was a play performed to promote the chivalric role of soldiers, encouraging the Thai people to protect their country.
Revival Age of Thai Classical Theater
Performing arts had always been under the royal patronage, however, they were passed into the hands of the civilian government when the country underwent threats from the Second World War. In response to the economic recession in the early 90s and the emergence of movies as a new source of entertainment, traditional performance arts of the royal court was financially limited and eventually declined in popularity.
Source: https://thailandfoundation.or.th/th/lakhon-thai-classical-dramatic-theater/
I won't spoil for those who are not watching but it's a bit helpful to have this background on the historical setting of the story.
---------------------------------------
During the reign of reformist rulers at the end of the 19th century, traditional Thai theatre came up against competition from spoken drama and even Western opera. Admiration of Western art introduced realism and naturalism, undermining even more the role of traditional stylised Thai theatre, especially as Western-type stages, illusionistic sets, and lighting effects were adopted.
During the reign of King Rama VI (1910–1925) Western influence increased further. The English-educated king was a real theatre aficionado and spent much of his energy, as well as of the state budget, on his passion. He translated Western dramas into Thai and wrote dozens of plays himself. He built several Western-type stages and, as a shock to many, also appeared publicly as an actor.
While busy with lakhon phud or the new Western-type spoken theatre, Rama VI also revived traditional forms of dance-theatre. As in many other Asian countries, Thai theatre at the turn of the 20th century became a platform for patriotism and nationalistic ideology. Western-influenced realistic theatre was seen as the most suitable medium for these aims but, at the same time, traditional forms were partly reshaped to fulfil their new task.
Under Rama VII (1925–1935), traditional Thai theatre found itself in a serious crisis. The main reason was an economic depression, which limited the court’s resources for maintaining expensive forms of theatre. Around this time, the cinema, the modern rival of traditional theatre, gained popularity, and the first commercial movie theatre was established in Bangkok.
A decisive turn of events occurred in 1932, when royal power was limited, and Thailand became a constitutional monarchy. This signified the final break between the court and traditional theatre, which was now under the authority of the government’s Fine Arts Department. The old traditions gradually came to be regarded as national art instead of the art of the court which they had been created and developed as.
Source: https://disco.teak.fi/asia/the-twentieth-century-thailand/
https://nekocap.com/view/mynScPNC3F
EP 1: https://nekocap.com/view/mynScPNC3F
EP 2: https://nekocap.com/view/oMEg7IgMHg
I realized this recently because I've been pirating english subs from OneD and nekocapping them to the youtube full version of the eps, and they sync up. Which must means that length wise nothing is "cut" from whats uploaded on youtube.
Baan Saeng Karun was founded by Luang Prasit Phithaya, Somsak's grandfather. He was a compassionate man who wanted to give orphaned children a better life. Somsak is determined to carry on his grandfather's great ideals. In the past, he managed the foundation with money from writing adventure novels, but recently his novels have stopped being published because they aren't selling well. The only quickest way to make money is to write "BL (Boys' Love) novels," because younger generations are more interested in this genre than the novels he used to write.
Sar (Gen X), the eldest son, disagrees with his father forcing himself to write BL (Boys' Love) novels. He and his wife, Mas, try to earn income elsewhere by selling traditional Thai desserts using recipes his great-grandmother, Saengiam, learned in the palace. Meanwhile, San (Gen Y), the youngest son, suggests selling the house to avoid the financial burden. Snow (Gen Alpha), the youngest granddaughter, asks AI for help finding a solution because she doesn't want to lose her friends from the orphanage, amidst the opposition from different generations within the household.
His grandson, Safe (Gen Z), lends a helping hand. When this Baby Boomer grandfather and Gen Z grandson join forces, things get even more chaotic, because they come from different generations and have completely opposite personalities!
Somsak is struggling to adapt to the digital age daily, feeling like he's going crazy. Meanwhile, Safe is finding his own way out. He knows that you can't catch a tiger cub without entering the lion's den. Safe decides to try dating Guy, a male friend who confessed his love to him, in order to gather factual information about gay relationships to use as material for his grandfather's novel.
A chaotic adventure unfolds between a grandfather and his grandson, spanning two generations. This mission is immense. Will Somsak's adaptation to modern times allow him to successfully write a Boys' Love (BL) novel? And will the money from selling the novel help save the Saengkarun house?
https://www.thaipbs.or.th/program/BLWriter
Sroi and Mala were best friends and traditional dancers in a theater troupe. They were destined to reach the pinnacle of their careers together, but the appearance of a man fractured their friendship, forcing Mala to leave. Despite this, for many years afterward, Sroi and Mala's fates remained intertwined through the ups and downs, pain, and losses of life. More than just a story of love, hate, and revenge between two dancers, "The Bangkok Red Opera" also portrays the Golden Age of Traditional Thai dance and the historical factors that led to its decline.
Now that we're 4 episodes into the show, I can see a bit clearer of the narratives they've been trying to set up: how Thai theatre forms change through out the years, how the "new" form of musical theatre was looked down upon at its beginning, how traditional Thai dance was once at its golden era but gradually went in decline; using the complicate relationship between two female dancers to showcase all of this.
It's such a fascinating period show to watch. I can understand why this project won the Thai government support grant from THACCA.
Their fates intertwine, spinning a tale of soulful love that takes them to Berlin, Seoul and Tokyo.
After inadvertently destroying the life of his best friend, Ryu Narutaki abandons everything and leaves Japan. He nearly dies at a church in a foreign land before he is saved by a Korean boxer named Hwang Johan.
Both men carry deep scars, and as their lonely souls come together, it soon becomes clear that they are soul mates. The threads of fate bind them with such suffocating tightness that they find themselves deciding to live together. They travel to Berlin, Seoul and Tokyo, experiencing unforgettable pain, suffering and, ultimately, joy. “Soul Mate” is a soulful romance between two young men that spans 10 years.
FYI Youtube Description for Soul Mate trailer
--------------------------------------
Hello, dear readers and followers.
I, BennieRule, would like to use this space to update and clarify the situation regarding my previous post about the timeline of my novel, "Aisurya Rajan," which was published earlier. The post contained content that could be interpreted as implying that the Pitch Deck of "Aisurya Rajan" was used in the production of the "Hongsawadi" series on Channel ONE.
After contacting Channel ONE and scheduling a meeting to discuss and verify the facts with all involved parties—including the relevant team, the representatives who presented the Pitch Deck, and Channel ONE itself—I have now clearly learned that the "Hongsawadi" series did not copy, adapt, or use any content from the novel "Aisurya Rajan" or any related Pitch Deck. Furthermore, I have learned that Ms. Sirilak, the scriptwriter, and the entire "Hongsawadi" series team never saw the "Aisurya Rajan" Pitch Deck, were unaware of the story content, and had no knowledge of or involvement in the presentation of my work. Therefore, it is impossible for my information to have appeared in the series production process.
Consequently, the content I previously communicated may have led to misinterpretations and misunderstandings among the public. This may have affected the reputation or feelings of those involved. The author sincerely apologizes and affirms that there was no intention to offend anyone; the sole intention was to clarify the timeline. The author accepts responsibility for the error in which the content may have been misinterpreted, altering the original intention. The author will be more careful in verifying information before communicating in the future.
Finally, the author would like to thank Channel ONE and all the related teams for their kind time to discuss and resolve this issue amicably. Thank you.
This is for your information. 🙂