TheGORJUSMARSH

"Hia..... Pa chorb(p) P̄hū̂h̄ỵing"

"Ching ba nia?"

"Uh"

I could have used those Kleenex boxes already if Korn didn't come knocking on the door to drag Pat at the pub to drink in EP09. LOL midnight filth

There's something so sweet about Pa saying hia (เฮีย meaning พี่ which is a Chinese word for brother). Oh and Pat, too calling P'Chai hia.

Probably because I stopped calling my older brother "Kuya" when I turned 18. I started calling all relatives older than me (except the first borns) by their first names then (but with utmost respect still).

So whenever there are scenes where Pa calls Pat hia, I sort of try to hide a smile. Sweet.

I would be happy to gather you all in a zoom video conference but my Basic account only allows very limited number and max 40 minutes per meeting. Given that there's an overflow of feeling we might share, we should be in session for at least two hours.

Abe, dear, we all in this together. Like Pat and Pran never giving up on each other despite the odds. We're with you.

the girl in Tonhon Chonlatee. surrogate mother. LOL

Miriam is probably number 1 in queue. Pleaaaaaaassssseeeeeee?!?

I did contemplate on replying to those nasty comments that this isn't Facebook or Twitter where they can bitch around. LOL But it would be a waste.

You can sit back and relax ,love. Let's extinguish the salt around here. LOL

I wanted to make a point when I put them together. That we can explain, reason with, defend the show we love, without having to be salty.

Or to put it bluntly, without bitching about it. LOL

pat dad's hair difference, the hair of pat, sometime longer sometimes short in one scene --- Ming's changing hairstyle has been explained. Some scenes were taken before Covid restrictions were in place in 2021 (around March to early August). Then when they were allowed to go out again some time in August, they resumed filming. Instead of ding reshoots for fluidity, they had to do what they can to avoid airing delay. If they did, we would have waited longer to see the series.

I would take it that Pat's changing hair length is due to the same reason.

The spoonfeeding scene I saw. But these minute details were no longer re-shot because there were much bigger details to showcase. But a keen viewer would not miss them.

NOW I sound like I worked with the BB crew. LOL

Unfortunately not. I took a degree in Communication Research (under the faculty of Mass Communications - which included film, broadcast, and journalism). I also unfortunately did not complete by bachelor's. But I have been taking online workshops and courses every now and then because the knowledge I have was archaic (1996-1997). I still dream to write my own screenplay someday.

Oh I forgot this >>> tone down the advertisement
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That's not up to the filming crew though. Almost every BL show I've seen depended on product placements because they needed sponsors. It may or may not be safe to say, but production companies may not have been willing to give these shows enough budget to have less adverts in scenes, so they need sponsors.

Unless someone fights for a huge budget to reduce these ads, we are going to see them.

Next thing we know I'll be accused of working at GMMTV. The same accusation thrown at mah boy Benedict.

either they fall down the cliff into the sea in that shouting scene and drown like Kwan + Riam.

or do that stupid 1996 Romeo + Juliet double suicide ending.

or get inspiration from the UWMA Korn + In double suicide, too.

If Nopparnach does any of those, we have a lot to talk about.

The whole parnets conflict needed more scenes.
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When Dissaya confronted Ming and blurted the whole story out in Pat's house, the audience now understands the backstory. Flashback scenes about this aren't necessary. It's implied.

And there's a risk to shift the story to the parents. The BL audience wouldn't like that. It's going to look like an hour of meeting that could have just been a 3-paragraph email.

But a spinoff may be possible - two or three special episodes to show how the family feud started. But it's no longer going to be BL-themed.

Put more effort into the plot.
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Matter of what we see where we are standing, too. The storyline was clear from the beginning - would be (lovers) needing to navigate the odds they are against for them to end up living happily every after (or dying if we're to refer to it's Romeo & Juliet/Kwan + Riam inspiration.

Some dialogues are a bit cryptic. You feel like you have missed something.
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On a screenwriting perspective, writers give its audience the opportunity to think and make inferences. It also puts a bit of re-watch value because we may want to watch it again to figure out what was said or what wasn't. We can't expect screenwriters to spoon-feed us with what the dialogues mean. Some lines are subject to interpretation.

But the camerawork really needs to get better.
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The audience sees things depends on where they are standing. We'll find that most people would applaud the cinematog (not 100%) because the camera pans where it's supposed to, capture wide shots when necessary.

But sometimes I feel like watching a stage play where they just change the background. Scene 1, setting 1, scene 2, setting 2, scene 3, setting 1 etc. I remember some of the earlier GMMTV series where they only had maybe four settings.
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I haven't seen much GMMTV shows pre-covid so I can't tell whether they shot on many or few locations.

But when Covid came, restrictions were placed everywhere. We'll notice that even the Freshy Day music contest did not have as much crowd, and it was mentioned by Nopparnach that he had to use his crew as the crowd in scenes where there has to be a crowd.

Also, it's a university-themed show, so it's not very likely to have as much locations - would usually be just campus, home, university, hangout places like pubs and restaurants. The out of town university trips, beaches, mountains - but limited to only one episode. We're now given a treat because there would be two beach trips in this show (EP06 and 11).

We can't expect Pat and Pran to be in other locations, because where else they would go, what are they going to do there, what are they going to tell each other there that they couldn't do or say in the more relevant and given locations?

Like when the mother walked in the house of Pat's parents. Show her running out of hers and going into the other's. Just one example. I guess it's a budget problem.
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On a TV and film production perspective, transition sequences (characters moving from one place to another) is not always necessary, especially when the scene established where the character needed to go. In traditional films, it would be a waste of roll if they show someone walking out of the house and goes to the other. So when Pran's mum mentioned "Ming" and rushes through the door out, it's implied where's she's going. It isn't necessary to see her journey, there's nothing to see there with tele/cinematic value, commercial or aesthetic.