John Master

Having mentioned "Double" (2022) above, I am adding the link to my review of that series. It is very underappreciated as a series. Perhaps because it does not have a strong enough BL element to draw in that fandom. But it is a very well-written and well-acted series. And just like the two seasons on Akasaka, it explores the dynamic between actors trying to navigate their personal relationship against their career aspirations. Thematically, these series fit well together.

https://mydramalist.com/profile/8984637/review/224739

That thought occurred to me while writing my own review. The depth and fury in the current mood is startling. Not so much that it exists. But that what had been a quiet undercurrent is out in the open.

I think the long-term legal implications of al three siblings dying never dawned on the writers at all, which is why that permutation never came up. Because they didnt think through their own plot. Oh wait. Younsaid they were lazy. We pretty much agree here.

There is so much here to complain about, I am afraid if I start it will never end. I do want to point out a further absurdity from the finale. Namely, Pheem's goal to have nothing further to do with Thanavej. Near as I can figure, Than now owns it. We presume both siblings died without a will or heirs, which means their shares fall to Pheem. As the spouse of Pheem, Than inherits. Out of all the things that bugged me, that is the one i wanted to point out.

Philosophical Question: Does it count as a triangle when one person occupies two sides of the geometry?

My problem is that i read so much sci-fi as a kid that my brain associates the word with outer space aliens--the context where i learned it. I forget that it applies to earthbound species also. Likely the reason i missed the chance to use it here. And, really, how often do we get a chance to discuss xenophobia? Damn!

I wish i had remembered the word "xenophobia" exists when i wrote my review. My review nibbled all around the conceptual edges of xenophobia but without naming it. Oh well.

It is certainly valid to point out that "the pride era" is still in the process of catching on in many places. So that the "mid-20th century" timetable i reference applies most clearly to North America and western Europe. Those conditions may still aplly in many places in the present (including specifics pockets of North America and western Eurpe).

Three years later, one wonders if you ever followed up with these series? My money is on "Lynn got distracted by shiny new baubles instead."

I think this review advises the most sensible way to approach this series. Don't take it too seriously. Embrace the silliness. And appreciate the overt inclusion of an out and proud portrayal of a femme gay male.

Excellent review. I enjoyed reading it.

One minor quibble, of the "your mileage may vary" variety. While assessing Peem and Khem as exemplars of the "stern paladin" and "imperiled ingenue" archetypes is entirely fair--and kudos on the word choice of paladin and ingeneue, btw--I actually thought the character of a shaman provided the rare instance which actually warrants a "stern paladin" mien. In most BLs, that archetype is icy because...that accords with tropes and expectations. No better reason usually offered. Here, I felt Peem had "professional" reasons for his implacability. He lives partially in the world of the dead as well as the world of the living. For one so young, his accummulated life experience has made him wary of human motivations and interpersonal connections. In other words, his demeanor has plausible roots in plot and character grounds rather than merely according with genre stereotype.

I also had the sense Peem knew he was whipped for Khem but feared that attachment would diminish his capacity to fight the spiritual battle a shaman needed to fight. Hence, he tried to keep Khem at arm's length even as glimmers of his true feelings leaked out. Keng played that role with a kind of serene detachment I thought was appropriate to that background. I particularly enjoyed a few scenes where Peem thawed a bit, usually when the old lady switched from treating him like a shaman to treating him like a grandchild in need of TLC. He was impressive in this role, and "stern paladin" worked here for story reasons.

As for the other half of the equation, yeah, that was a BL-style iteration of ye olde damsel-in-distress, waiting to be saved. In the finale, literally waiting: sidelined behind a magic bubble to wait and watch as her knight did battle with the evildoers.

Mu guess: they had one rocket. And one camera. And somehow, the camera operator screwed up the moment. I can't imagine it's an editing issue. If a usable shot existed, a competent editor would have found it.

But note both our theories presume less-than-stellar professional performance from the technical crew.

Somewhat to my surprise, because I kept saying "isn't this episode over yet?" while watching, I wish to defend the last episode. Personally, I prefer
--a finale that resolves any tense drama, danger to characters, or villain storylines early in the episode.
--a finale that spends the bulk of its time depicting the characters' lives returning to normal or establishing a new normal
--a finale that feels as if it letting the audience say goodbye to the characters.

Khemjira? ✅️, ✅️, ✅️.

Did it maybe take too long with all three of those things? Maybe. It was drawn out in spots for sure. There was "returning to normal" after the villain was defeated then a second round of that a few years later. But I can't list that as a fault because philosophically the show delivered what I want in a finale.

As for the "family time" at the end. Two reasons to overlook that entirely. (Assuming you refer to the scene with the kids and the ramen.) First, that was a pure epilog. The official story of any series concludes when the "Directed by' title card appears. Anything after that is gravy; extra; a service to the fans--much as a special episode would be (and I find those pointless, most of the time). This one also had (logically at least) a time jump from the main story, so it was further disconnected. Second, it rather clearly doubled as product placement. I am sure that ramen mix paid Domundi a nice "appearance fee" for that scene. And I will not begrudge Thai companies the need to recoup production costs. These commercial moments are a necessary evil in the Thai business model.

As for the cinemotagraphy of the rocket....that shocked me, too. Why include a rocket's launch if you're not going to show the thing soaring into the sky?

I should have been more accurate in my ideas. Clearly it is possible to do it, but it is very hard--or lese we'd see it achieved more frequently than we do. Plus, it is specifically the combination dark + supernatural where I think length works against the TV director, who has to sustain both suspenseful mood and suspension of disbelief far longer than the director of a film. And let's face it: few Japanese or Korean series (of the BL variety anyway) exceed 8 episodes or 30 minutes run time. That's four hours to fill rather than the typical 10 or 12 of a Thai series. We're not comparing apples and apples. The J- and K-BLS are closer to being overlong films than a TV series. So, I stick to my guns on the relevance of running time.

P.S. Note that the most recent J-BL we liked, the yakuza oriented My Journey to Killing You, clocks in at 6 episodes around 25 dark and gloomy minutes long (minus credits). That is less than 3 hours---or about the length of a long feature film.

I came to the comments specifically to offer praise for the roller coaster sentence. But, it's been done already!

Not necessarily. I think movies (short) and novels (existing in reader's head) are best suited for darker themed stories of the supernatural. It may be that no studio can do a supernatural series justice because the longer the story goes, the easier it will become to screw up the world building or the more demands are placed on the viewer to suspend disbelief. Length works well for selling a love story because deep love needs time to develop. But in a series whose very premise requires belief in supernatural beings, the writing must be very intricate indeed for the whole to be cohesive.

I really liked your review. But i would change the sentence in the second paragraph to read "The concept around the funeral inustry subplot (which apparently in Taiwan is famously cuthroat and murderous and rife with kidnappings) was barely integrated into the plot." And I add that parenthetical to your sentence just to highlight another way the writers toss random action into the mix to disguise the fact they do not know how to depict a romance that happens without "danger."

Where I am, the series has done nothing to explain any of that ghost's backstory. So even if not from WWII, she has 8 decades between the war and now to be from. The wardrobe means nothing to me. Because a ghost can wear...whatever. So, 19th C hadnt crossed my mind. But it is true Rampheung did not appear in the WWII timeline. Until just now, i havent bothered to speculate on her point of origin. I am not sure what you consider "obvious."

The Kemjira "early" timeline is set during World War II. 20th century. So either I have missed some other flashback (am still 2 weeks behind) or you misspoke. But I think we agree that other than "locale," the objection doesnt fit Khemjira well.

Start with IQIY.