Duang with You: Enjoyable, but Overrated
I generally liked Duang with You. It was light, easy to watch, and occasionally charming, but it was far from a masterpiece.
The story itself is very ordinary. Most of it revolves around Duang chasing Qinn, with repetitive conversations and scenes that do not add much to the plot. Qinn was one of the better-written characters because he communicated openly and did not create unnecessary misunderstandings. The friendships were also enjoyable, and both lead actors performed well, especially in the more serious scenes.
However, Duang’s exaggerated “golden retriever” behavior was often too childish and embarrassing for me. The constant whining, clinginess, forced cuteness, and unnecessary sound effects was annoying
Qinn’s trauma could have added real emotional depth, but it was introduced too late and resolved far too quickly. Years of emotional pain were fixed through one short conversation, which felt rushed and unconvincing.
The supporting couples were also underdeveloped. Marvis and Jimmy were especially confusing because the series never clearly explained whether they were lovers, friends, or friends with benefits. If the writers were not willing to develop their relationship properly, they should have simply kept them as friends.
I also think the extremely high ratings are exaggerated and are probably influenced by fans of the actors. The leads are very attractive and clearly carried much of the show’s appeal. The series also relied on intimate scenes and sexual tension, which were undeniably part of the reason it attracted so much attention. That is not a criticism of intimacy itself, but it is difficult to ignore its role in the show’s popularity.
Overall, Duang with You is a watchable and entertaining university BL, especially for viewers who enjoy light romance and attractive leads. However, the writing is repetitive, the emotional storylines are weak, and the praise it receives is much greater than the actual quality of the series.
Rating: 6/10
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Wooju Bakery: Years of Waiting for Almost Nothing
*Wooju Bakery* was honestly one of the most disappointing series I have watched.
After all the delays, uncertainty, and years of waiting, I expected at least a decent story or an entertaining romance. Instead, the final result felt cheap, childish, confusing, and unfinished. The alien-and-bakery concept could have worked as a silly romantic comedy, but the writing did almost nothing interesting with it.
The plot was weak, the comedy was embarrassing, the romance had very little development, and the acting often felt awkward. I do not blame the cast entirely because the script and direction gave them very little to work with, but almost nothing in the series felt convincing.
One of the most exhausting parts was the constant switching between Korean, Thai, and English. Multilingual dialogue can be interesting when handled naturally, but here it made many conversations feel disconnected and difficult to follow. At times, it seemed as though the characters were barely communicating with each other.
The editing and production also felt strangely incomplete. Scenes moved awkwardly, emotional moments had no impact, and the entire series looked like an old troubled project that was finally released simply because too much time and money had already been spent on it.
The biggest problem is that the long delay created expectations the series could never meet. After waiting for so long, viewers were given a weak story, poor character development, little chemistry, and almost no satisfying payoff.
Overall, *Wooju Bakery* was not merely disappointing because of the delays. It was simply a bad series on its own: poorly written, badly edited, emotionally empty, and far too dependent on the popularity of its actors.
**Rating: 3/10**
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The Next Prince: Beautiful to Look At, but Empty Where It Matters
*The Next Prince* had everything needed to become a strong series: a large budget, beautiful costumes, impressive locations, a popular main couple, and a political royal setting with plenty of potential. Unfortunately, the writing never lived up to the production.
My biggest issue was the treatment of the supporting characters. Some fans of the leads seemed to want the entire series to focus only on Khanin and Charan, but if that was the intention, the writers should not have introduced so many side stories in the first place. You cannot create several potentially interesting characters and relationships, then give them almost no development simply because the main couple has the largest fandom.
This was especially frustrating because Khanin and Charan’s story was not strong enough to carry the entire series alone. Their romance felt bland, predictable, and underdeveloped. They had visual chemistry, but the writing gave them very little emotional complexity. Khanin gradually became a lovesick character whose life revolved around Charan, while Charan remained emotionally distant and difficult to understand.
In contrast, Ramil and Paytai had one of the most compelling dynamics in the series. Their relationship involved guilt, trauma, emotional dependence, and unresolved feelings. There was much more depth and tension between them, yet they were given only fragments of a story. Every time their plot became interesting, the series moved away from them.
The same problem affected Ava, Calvin, Jay, and several other characters. They were introduced as if they would have meaningful roles, but most of their stories were either rushed, weakened, or abandoned. They existed in the script without being properly written.
The problem is not that the series had supporting couples. The problem is that it used them as decoration instead of treating them as real parts of the story. If the writers wanted a series focused exclusively on Zee and NuNew, they should have created a smaller and more intimate plot. But once they chose a political royal story with multiple heirs, families, and relationships, every major character needed enough screen time and development.
In the end, the series looked expensive but felt emotionally empty. The costumes, palaces, and cinematography were beautiful, but the most interesting characters were pushed aside while the weakest storyline received most of the attention.
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2gether: A Cultural Phenomenon, but Not a Great BL—or a Great Series in General
After finally watching *2gether* and reading the criticism surrounding it, I honestly think most of that criticism is valid.There is nothing particularly impressive about the series itself. The story is very basic, predictable, and at times genuinely boring. Bright and Win are both very handsome, and I believe their looks were one of the biggest reasons the series attracted such a huge audience, especially casual viewers and young female fans. However, I personally felt almost no romantic chemistry between them. At times, they looked as though they did not even want to kiss or touch each other, almost as if they were uncomfortable or simply going through the motions.
This does not mean that a BL series needs kissing or intimate scenes to make the relationship believable. Many series have very little physical intimacy but still communicate love, longing, and emotional connection extremely well. The problem with *2gether* is that I did not feel those emotions strongly enough between the main characters.
The series was also extremely lucky because several factors worked in its favour the timing of its release, the pandemic, the growing international BL wave, and, of course, the appearance and popularity of its leads. Personally, I believe BL was already moving toward global popularity, with or without this particular series. *2gether* benefited from that momentum and became its biggest symbol, but that does not automatically make it one of the best BL series ever made.
I also think nostalgia plays a huge role in the way people judge it today. It is similar to songs we loved when we were younger: we may no longer listen to them or consider them musically exceptional, but they still feel special because they remind us of a particular period in our lives. For many fans, *2gether* represents that kind of memory rather than exceptional storytelling.
That is why I would not necessarily recommend it as a first BL to someone entering the genre today. If a new viewer has already seen the quality, chemistry, writing, and emotional depth found in many newer BL productions, they may watch *2gether* afterward and feel extremely disappointed because its reputation creates expectations that the actual series cannot meet.
Another sign, at least to me, is that neither lead continued doing BL afterward—not even through a supporting role in another BL production. They benefited enormously from the series and then moved on, which makes it difficult for me to believe that they were truly comfortable with or interested in this genre.
I understand why *2gether* became a phenomenon, and its historical importance to the international growth of BL cannot be denied. However, being influential, popular, and nostalgic is not the same as being an outstanding series. In my opinion, people give it far more credit than its actual quality deserves.
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Brave in Concept, Cautious in Execution
*Burnout Syndrome* is a thoughtful and mature series that stands apart from the usual Thai BL formula. It focuses less on fluffy romance and more on burnout, emotional dependence, ambition, exploitation, and the quiet exhaustion caused by work and social expectations. The acting, direction, cinematography, lighting, and music are all excellent, and the slower pacing suits its reflective and emotionally heavy atmosphere.
The series portrays burnout effectively—not as one dramatic breakdown, but as a gradual fatigue that affects a person’s work, relationships, identity, and self-worth. The characters are complicated and often deeply flawed, which makes the story feel more realistic. Koh is manipulative and uses people to achieve his goals, Jira is self-centred and emotionally uncompromising, while Pheem allows himself to be controlled and repeatedly cleans up the damage Koh leaves behind.
I also appreciated Dew’s participation in his first BL role. It was a refreshing and courageous choice, and he handled the emotional and romantic scenes convincingly. However, the series marketed itself as much bolder than it actually was. The trailers suggested a more daring and intense love triangle, but Jira and Pheem’s physical relationship remained limited and their kissing scenes were cut short. It felt as though the production wanted the appearance of being provocative without allowing Pheem to become a genuine romantic threat to the established OffGun pairing.
The same problem applies to the series’ exploration of artificial intelligence. It introduces interesting questions about automation, ownership, stolen creativity, and the emotional detachment created by technology. However, it never explores the ethical or social consequences deeply enough. AI remains mostly a symbol for Koh’s exploitation of Jira rather than becoming a fully developed discussion about artists, consent, labour, and the replacement of human creativity.
My biggest disappointment was the ending. After everything that happened, Jira returning to Koh felt neither satisfying nor emotionally earned. Koh had not changed enough to deserve another chance, and Jira’s journey appeared to be leading towards independence and the realisation that he could live and create without him. Ending their relationship permanently would have been the braver and more logical conclusion.
The fact that Off and Gun are an established pairing should not mean that their characters must always end up together. They can continue working together in future projects without every story forcing their characters into a romantic reunion. In fact, allowing Jira and Koh to remain separated would have demonstrated that the series was genuinely willing to prioritise its narrative over the expectations surrounding the actors’ pairing.
The reunion can be interpreted as two damaged people who remain emotionally and creatively dependent on each other. Even Koh admits that he does not know whether their relationship will work. However, understanding the psychological reason behind their reunion does not make it the strongest dramatic choice. Instead of completing Jira’s growth, the ending weakens it and makes the series feel as though it retreated into familiar BL expectations at the final moment.
Overall, *Burnout Syndrome* is different, well-acted, visually impressive, and emotionally mature. It deserves credit for attempting something more complex than a conventional romance. Unfortunately, it repeatedly approaches genuinely bold ideas without exploring them all the way. It wants to challenge the audience, but ultimately softens its consequences and chooses the safer path.
A strong and memorable series—but not nearly as daring as it believes it is.
**Rating: 8/10**
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Khemjira: One of the Best BL Series I Have Watched
The cinematography, village setting, costumes, rituals, and supernatural atmosphere were beautifully executed. The story was engaging, the characters were connected well, and the series managed to combine horror, folklore, romance, tragedy, and family history without feeling empty or superficial.
One of the things I appreciated most was how much the series introduced me to Thai culture, history, Buddhism, spiritual beliefs, traditional clothing, and local customs. It made me curious enough to start reading about Thai history and religion, even though I am not Buddhist. Very few series make me want to understand the culture behind what I am watching, and that gave *Khemjira* even more value.
The soundtrack was another major strength. This is honestly one of the few series where I loved almost every song, whether it was a regular soundtrack song or one with a more spiritual and religious tone. The music matched the atmosphere beautifully and made the emotional and supernatural scenes even more memorable.
The acting was also impressive, especially considering that several of the main actors are still relatively new. Some of Khem’s more intense crying scenes were weaker, but overall the cast handled the material very well.
My biggest issue was Ramphueng’s ending. For most of the series, she was presented as the villain, but her backstory revealed that she and her son were actually the original victims. Her revenge became cruel and harmed innocent descendants, but it still felt unfair that she was expected to apologize while no one properly apologized to her for the betrayal, humiliation, and injustice that caused her suffering in the first place.
*Khemjira* was ambitious, visually beautiful, culturally rich, emotionally powerful, and supported by an excellent soundtrack it remains one of the most memorable BL series I have watched.
**Rating: 9/10**
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Love You Teacher: An Interesting Idea Handled Too Superficially
*Love You Teacher* had an interesting and unusual premise, but its handling of Solar’s condition felt far too shallow and unrealistic.
Solar’s brain injury and age regression are serious medical and psychological issues, yet the series often treats them as a source of comedy or emotional drama rather than a condition requiring long-term neurological care, therapy, and rehabilitation. The idea that years of trauma could be addressed through one session and a song played on a guitar felt especially simplistic.
His situation at the school was completely illogical. One day he was treated as a teacher, and the next as a student sitting in class with seven-year-old children. Even if his mental state temporarily regressed, he was still an adult who needed treatment and rehabilitation, not a school uniform and elementary lessons. The whole situation felt like a joke and was completely unacceptable.
Pobmek’s employment raises another issue. He teaches elementary school despite not having a full professional teaching license and initially not even liking children. Knowing mathematics does not automatically qualify someone to teach young students. Teaching requires educational training, classroom-management skills, and an understanding of child development. The series may have intended this as part of his personal growth, but it mostly makes the school administration appear irresponsible.
Overall, the series had emotional potential, and the performances may help make some scenes touching. However, the writing repeatedly sacrifices medical, professional, and ethical realism for convenient drama. A complex condition cannot realistically be solved through love, one emotional breakthrough, and a guitar.
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Me and Thee – Review / Thoughts
Me and Thee is a lighthearted, entertaining rom-com designed to make viewers laugh and enjoy themselves. It doesn’t aim to be heavy or emotionally intense, and that’s perfectly fine — not every show needs a deep storyline to be enjoyable. The series is engaging and fun, and its strength lies in providing moments of humor and charm rather than dramatic weight.The plot is easy to follow, funny, and keeps the audience engaged. Even without deep emotional themes, it succeeds in giving viewers a satisfying, enjoyable experience. The comedy is necessary and welcome, and the show delivers it consistently, making it a joy to watch.
It’s frustrating to see people trashing the show after just one episode or rating it negatively simply because they dislike the leads or the genre. Judging a series before it fully unfolds is unfair. If someone doesn’t like rom-coms, they might not enjoy the show, and that’s understandable — but giving it a poor rating solely to attack the cast or prevent its success is unreasonable.
Some jokes and references are specific to Thai culture and the lakorn format. If I were Thai, I might understand some of the humor better. Even without deep familiarity, the show remains accessible and enjoyable for international viewers.
Main Characters
• Khun Thee (Pond Naravit) — honestly, he surprised me with his acting. He has truly mastered the role of Khun Thee, delivering a performance that is nuanced, convincing, and deserving of awards. This role shows growth and skill that even longtime fans can appreciate.
• Peach (Phuwin Tangsakyuen) — calm, practical, and the perfect counterbalance to Thee. Their chemistry is a major factor in the show’s appeal.
• Beach — it would be interesting if the series delved deeper into Beach’s past: what really happened with his father, whether he’s still alive, in prison, or other circumstances, and even his mother. This part of his story feels missing, though perhaps the director chose not to include it to avoid making the series too dark or heavy — it’s not clear.
Supporting Characters & Relationships
• Aran & Tiewan: Their relationship is compelling, though knowing more about how they met and why their conflict began could add depth.
• Mok & Rom: Their subplot is interesting and could serve as the basis for a spin-off or additional episodes in the future.
Conclusion
Me and Thee succeeds in delivering what it promises: a fun, entertaining, and charming rom-com. The story is engaging, the characters are lovable, and the humor works well. While it doesn’t aim to be emotionally heavy, it fills its niche perfectly. For fans of light romance and comedy, it’s a series worth watching and appreciating for what it is.
Rating: 9/10
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A Simple Story Made Unforgettable
I started Bad Buddy because of the overwhelmingly positive reviews and the way people kept describing it as one of the best BL series ever made. The story itself is not completely new: two boys from rival families grow up believing they are supposed to hate each other, only to eventually fall in love. What makes the series special is not the originality of the plot, but the way it is written, directed, and performed.Ohm and Nanon gave two of the strongest performances I have seen in a BL. Their chemistry feels natural, but what impressed me most was the emotional depth they gave Pat and Pran. Ohm made Pat warm, funny, confident, and vulnerable, while Nanon expressed so much through Pran’s eyes, silence, and body language. Pran is a character who hides most of what he feels, yet Nanon always makes those emotions visible.
The rooftop scene is, for me, one of the greatest romantic scenes in BL history. Its power does not come from the kiss being sexual or visually bold. It comes from everything the kiss represents.
Pran has spent years suppressing his feelings, carrying his family’s expectations, and believing that a relationship with Pat could never truly work. When they finally kiss, he is not simply happy. He is relieved, terrified, overwhelmed, and heartbroken at the same time. He finally gives in to his feelings while already knowing how difficult their relationship will be because of their families.
Watching him kiss Pat while crying made the scene feel like a confession, a surrender, an emotional breakdown, and a victory all at once. Years of pressure, rivalry, fear, and hidden love were present in that moment. That is why I consider it the best kiss in BL history. Many series can create a more explicit or passionate kiss, but very few can create one with this much emotional weight. Every time I watch the scene again, I still feel the same impact.
I also appreciate how the series avoids or challenges many tired BL tropes. There is no “I am straight, but I only like you” excuse, and the relationship is not forced into traditional husband-and-wife roles. Pat and Pran feel like equal partners. Their relationship is built on friendship, communication, mutual support, and a deep understanding of each other.
The ending is also happy in my opinion. Pat and Pran remain together and continue living their lives without allowing their parents to control their relationship. I actually appreciate that the parents do not suddenly become completely different people. That would have felt unrealistic. Not every parent changes completely, apologises, or becomes openly supportive. Sometimes they only soften, stop interfering, or quietly accept what they cannot change.
The real victory is not that Pat and Pran fix their parents. The victory is that they no longer need their parents’ approval in order to love each other. They choose their own happiness and stay together despite the conflict around them.
The series is not perfect. The conflict between the faculties sometimes feels exaggerated, Wai’s decision to expose their relationship is resolved too quickly, and the family feud can occasionally feel more dramatic than necessary. However, none of these flaws take away from the emotional power of the main relationship.
Bad Buddy proves that a simple story can become exceptional when it is written, directed, and performed with care. It is funny, romantic, emotional, and deeply comforting without becoming shallow. More importantly, it gave me scenes and emotions that stayed with me long after I finished watching.
Overall, I would give Bad Buddy a 9.5/10. It is not perfect, but it is one of the most emotionally effective and well-acted BL series I have watched, and it absolutely deserves its reputation.
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