On both sides of the mirror

Aksorn (Beck Pitchayutt Chatchawansombut) and Songjam (Parky Napavit Tewaphankul), in their respective first major roles in their acting credits, represent two young people who are fighting for the same cause: the pursuit of happiness and love, which is not only that of romantic love but also that of love for one's own identity.
Adapted from the web novel 'Memories in Letters' (ท ร ง จำ ใ น อั ก ษ ร), by Hungrybird, the eponymous drama of six episodes of about 35 minutes each, is one of the most beautiful, emotional series and addictive Thai of recent years, and follows the love story of two young people in two different worlds and the miracles that come with it.
Playing on the series' title, Parky plays the character "Songjam," which means "Letter," while Beck plays "Aksorn," which translates to "Memories," a rebellious soul searching for love, understanding and happiness.
The two protagonists quickly fall in love and treat each other with love and care, which makes the loneliness, the absence of the mother and suffering the intolerance of the father in one of the worlds make Aksorn's life happier. On their respective sides of the mirror, feelings will begin to grow between the two young people towards each other, while they discover their sexual orientation and identity.
With an extraordinary ability to guide the viewer's imagination, the script, written by Nirattisai Ratphithak, presents us with an adventure that mixes reality and fiction, which explores the world of parallel universes. This is a supernatural story of romance and mystery with which any teenager and young person, and older ones too, will immediately identify.
The protagonist and main narrator, Aksorn, moves into a bedroom on the top floor of an old building after being kicked out of home by his authoritarian father, who does not accept that his son is a writer. After a meteor shower, accompanied by an earthquake, Aksorn discovers that his mirror has been transformed into a portal to another universe, specifically to a bedroom inhabited by a young adventurer with a turbulent past who is not afraid to defy the laws of physics. .
As they deepen their relationship, Aksorn forges a mysterious connection with the boy who lives inside the mirror in his room. From the first exchanges, both young people feel emotionally and physically attracted to each other.
Jinthaphat Sakkaen's photography contributes to the effort to tell a story set in an extraordinary reality that defies all logic, following the romance between these two young people and the obstacles they will face to be together.
'Memories in Letters' takes place in a surprising and unique environment, divided into two different worlds located opposite each other. The distance that separates both sides barely exceeds the width of a thin crystal, but the natural and physical conditions of each of the worlds make accessibility from one place to another extremely difficult. The boys can see each other, but not touch each other.
Aksorn is a university student of Literature who has lied to his father about the course he is studying at the university and who likes to read the work of Oscar Wilde in one of the two worlds that are on both sides of the mirror. His passionate nature is responsible for fueling his dreams of being a great writer. For his part, Songjam is a happy and smiling young student who dreams of being a doctor and who likes to dance and listen to music in the world opposite to Aksorn's.
One day, an online novel about two people from two different worlds who meet through a mirror becomes the fascination of readers. However, it turns out to be based on the life of Aksorn and his lover. Who wrote this story? How did the writer learn about the personal history of the two young people? Is Songjam the author? Who is Likit, the only clue that surrounds the mystery? What will the complex network of human relationships and time travel on which the story revolves have in store for us? Is there any way the two guys can meet in person?
While the novel may be the only key that breaks the wall between Aksorn and Songjam, the mirror, the only obstacle that separates them, remains at the same time the only thing that unites them.
This romantic drama with a touch of fantasy is the first BL series from Studio Say-Yes.
As in every love triangle, in this story about coming of age, friendship, love, discovery and acceptance, a third character is missing, and this is Khiao, played by Atirut Kittipattana, the well-known actor, singer and presenter of Thai news, who plays a doctor with a secret identity that will cause an important twist in the story.
As the enigma adds new layers of suspense and intrigue to the already captivating story, the trio will travel together, on both sides of the mirror, and we will learn more about them and their past. But will it be a true and classic love triangle?
I am struck by how Beck's character offers an image of a gay teenager who, despite his youth and family trauma, has maturity when it comes to relating to others, and maintains a healthy relationship with those around him, something which is sometimes missing or failing in other series of the genre, as it is not written and represented as delicately and carefully as on this occasion.
Through a modern fairy tale, 'Memories in Letters' demonstrates the interest in making homosexuality visible during the adolescent-youth stage approached from everyday life, that is, without the characters experiencing it with drama or histrionics, as traditionally happened.
Homosexuality as a theme is inserted not only in fictions aimed at a youth target or audience, but also in audiovisual content intended for adults, offering greater understanding to those who deal with adolescents, that is, family members, friends and those people in their school environment who participate in their personal and psychological development.
The musical themes "Crossing Paths", performed by Atirut Kittipattana and Parky Napavit Tewaphankul, and "Definition of Love", by Soravit Thitipawat, reinforce the action on the screen to tell this amazing story of love that overcomes all barriers and limits of its realities going beyond science and its properties, and that, in addition, demonstrates that with a low budget you can also work on the genre when there is passion and creativity for the story you want to tell.

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From 'Da Ge' to 'Unknown': "In this infinite darkness, you are my only light"

Today, people are losing the rich habit of reading. Every day he spends more time in front of the screen, watching moving images. Both cinema and television have become the preferred leisure option in our societies, while books have been relegated to the background for many. Faced with this reality, television networks continue to rely on the decisive influence that literature has had on their future, which is why they will again and again resort to books or works published online to recreate television fictions.
Incestuous love has been brought to film and television in works such as 'Starcrossed' (2005), a very famous American short with a homosexual theme about gay love between brothers. Written and directed by James Burkhammer II, it tells the shocking love story of Darren and Connor, two brothers from a suburban neighborhood who are lovers.
'From Beginning to End' (original title in Portuguese: 'Do Começo ao Fim'), the 2009 Brazilian film, written and directed by Aluizio Abranches, tells how two male brothers from an upper-class Brazilian family maintain a special relationship, from children, which draws the attention of the adults around them, worrying their parents and family.
BL series such as the Chinese 'Stay With Me' (2023) tells the romantic story between two stepbrothers. Su Yu, a high school student, lives a simple life with his father, but faces a big change when his mother remarries a rich man and introduces him to his stepbrother Wu Bi.
In this effort to bring literary pages to the screens and also reflect a story of a love relationship between people without blood ties, but considered "brothers", the Taiwanese Youku opts for the novel '大哥 ('Da Ge'), 'Brother', by the talented Chinese writer known by the pseudonym Priest, whose work, published by the web publisher Jinjiang Literature City, covers a wide range of genres, from romance and martial arts to science fiction and danmei, with a quality and creativity that distinguishes her from other writers, due to her deep humanistic themes and her ability to capture the essence of life's struggles and joys.
The dramas 'Guardian', 'Legend of Fei', 'Word of Honor', 'Faraway Wanderers' and 'Justice in the Dark' are based on Priest's novels.
Under the direction of Ray Jiang ('We Best Love: No. 1 For You and Fighting Mr. 2nd, 2021, and 'My Tooth, Your Love', 2022), 'Unknown', based on one of the most acclaimed works of Priest, will immerse the viewer in a moving story that revolves around Wei Qian (Chris Chiu), a young man with a strong spirit who, since the age of thirteen, has carried family responsibilities on his shoulders by being the breadwinner for his half-sister, Wei Li Li. after the premature loss of his parents. Wei Qian's world takes an unexpected turn when he adopts Xiaoyuan (Kurt Huang), a street child who goes by the alias Wei Zhiyuan, as a brother. Living a life of loss, violence, poverty, helplessness and anguish, our characters face life, winning and losing, on a journey of self-discovery.
'Unknown', faithful to the original novel, is full of sorrows and pains, but also of small joys that illuminate the lives of its protagonists and lead them to build a beautiful and sincere relationship.
In this story, which is about human warmth, family, friendship, self-discovery and self-acceptance, and which defends the idea of ​​learning when to persist and when to let go, it shows a love between two boys more powerful than the water, deeper than blood. As if on a slippery slope to the top, 'Unknown' will draw a path for us and even alert us if we have to travel the path ourselves.
With a distinctive characteristic that its protagonists are young, the series addresses the experiences and challenges of the current generation of any country, since the themes exposed are universal. However, it is crucial to understand the codes that guide the plot. Individual conflicts, dreams, challenges and how they deal with life situations are explored. Although youth is reflected in various ways, the series highlights gay love, sensitivity, ways of loving, facing adversity, family situations, as well as the differences and contradictions present in all the characters.
With a capable and engaging cast, the drama is interesting and intelligent. The all-star cast of this captivating journey into the world of romance and human complexity includes Yankee Yang as Wang Jun Le / "Le Ge", Danny Liang (Xiong Da Fang / "Lao Xiong"), Kim Jae Hoon (Tan Yu / " San Pang") and Tammy Lin as Wei Li Li / "Xiao Bao", who weave, around the protagonists, a warp of surprising, complex and beautiful characters and relationships.
Chris Chiu, who pleasantly surprised both critics and viewers with his leading roles in the dramas 'High 5 Basketball' (2016) and 'Hello, Again' (2019), once again demonstrates character by playing a young man who puts his life at risk and works illegally to support his brothers. He will have the help of San Pang, his childhood friend, to get back on the right path.
His character is rich in nuances: He seems ruthless and cold-blooded, but he is sensitive and knows how to appreciate what surrounds him. He makes the decision to protect his brothers and stubbornly guards a place that increasingly looks like a home. He longs to be loved and sheltered, and to give, in turn, love and shelter. Wei Qian wages an internal struggle, a struggle that leaves him in a state of constant battle against the two opposite poles within him.
Ray Jiang, with his unmatched talent, brings to life a character who challenges stereotypes and shows that dreams know no limits.
For his part, Kurt Huang, in the role of Xiao Yuan, shows on screen the vulnerability of a child abandoned by his parents at birth and the suffering caused by the harassment of older boys in an orphanage, until he is picked up by a stranger who will raise him as a "brother." As a young man, he will admit to being in love with the person who raised and educated him.
In this series based on a Danmei. that could revolutionize the BL universe, both young people struggle with a dilemma considered taboo, such as the romantic relationship between brothers. However, they are not linked by blood. Will they cross that forbidden line and end up becoming lovers?
The series manages to combine the subtlety of Priest's prose and the care that the author puts into her heroes and heroines, and the construction of the characters designed from the script by Cai Fei Qiao ('Stay by My Side'-2023) , making the story very beautiful due to the way in which the characters develop and the events develop before the attentive gaze of the viewer. As the events unfold, he understands the characters and the world in which they take place.
If someone found the development of the story slow in the first part of the series, this is because the characters take the time to define their relationship, taking into account the previous bond between them. But once they do it, the actions gain in intensity. The romantic scenes in 'Unknown' are primarily narrative. Intimacy is a function of advancing the story, making it deeper. The sex scenes serve the characters, the narrative, and the tone of the film. But they are also there because they are sexy. But they do not hide the intention of being used to tell the audience how a character feels about their sexuality or identity.
This imperfectly perfect couple will be sustained by longing, desires, hopes, strangely wonderful coincidences, letters that are written from a distance with all the heart, with all the soul.
I do not doubt that the viewer will be able to remember 'Through the Gates of the Strait (Shared Universe)', another of Priest's novels.
Wei Qian, Wei Zhi Yuan / "Xiao Yuan" and other characters, as tools that they are, after all, are used by the creators to tell a story that will attract the attention of the most demanding viewers.
Will the series respect one of the characteristics of Priest's work, that of focusing largely on the plot and the construction of the world in which the characters operate, leaving romance as a secondary aspect? Doesn't this make the romance more epic, since it grows and evolves alongside the story itself, at the same time helping to avoid monopolizing the public's attention in sexual and romantic matters, as many danmei novels do?
Will 'Unknown' be faithful to 'Da Ge' in terms of not showing explicit sexual content and having a limited amount of romance, such as few vaguely described kissing and sex scenes? The series focuses its attention on romance, and it could not be otherwise because the novel on which it is based is romantic above all.
It may be flawed, so it doesn't fully develop the edges of its story, but the central relationship that holds the series together is so compelling that the rest hardly matters.
YA

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A song to life and love

I have doubts about the strength of my arguments to convince someone that this is a great series, but I have plenty of reasons to, again and again, watch it with pleasure, to tell why that feeling of harmony and hope that 'Gray Shelter' provokes me and, of course, I am also completely convinced that it should be recommended. Attentive to the small and the biggest, the tight heart, the explosion of emotions and the confusion, this South Korean romantic drama will whisper in our ears about certain things that happen to people when they discover their inner self.
Cha Soo-hyuk (Jang Woo Young) is a boring adult whose only goal is to live without worrying about everything and everyone. While working as an external engineer at a cleaning company, he meets up again with Lee Yoon Dae (Lee Jae Bin), with whom he was very close in the past. Yoon Dae lived with his girlfriend, but now he has nowhere to go..., and they end up living together. The two remember domestic violence, running away from home and the days when they consoled each other by saying that they were not like each other's parents.
Korean director Lee Son Eum (이손음) signs with 'Gray Shelter' (회색기류 / Hoesaekgiryu) a significant work of contemporary relationships in his portrait of a same-sex couple, delicately addressing a theme common to all such as love , but here presented in unforeseen and difficult circumstances with a language that involves the viewer in the intimacy, complicity and fears of what is told: the story of two young people united by a past of brotherhood, whose brotherly affection evolves into a warm and deep love with the passing of the years.
Based on Son Eum's own script, the series, consisting of 5 20-minute episodes, explores the awakening of desire, passion and love of a boy for another man. It is, simply, a demonstration that feelings do not know gender. It is love without borders in search of happiness without labels visually narrated in a very lyrical way and assumed naturally.
The deep friendship and love of two men who meet again and begin to live together under the same roof. A journey that turns the viewer into a witness of the internal struggle, the confrontation and the love that they experience. Exterior landscapes of the environment that surrounds them and interior landscapes of the characters written in an agile and lyrical way. History, society, love, defiance of life's obstacles.
A broken family, a heterosexual courtship, a breakup, a friend from the past, almost a brother, a little older, and, suddenly, when everything seemed stable, in perfect balance, the heartbeat, the discovery, the awakening of desire , the feeling, the obsession, burst in with the same force as the denial, the non-acceptance; aggression, which can be both internal and external, and breaks what is established...
They both fall in love. They both see their lives turned upside down. Both are reunited with an unknown self that makes them happy, that gives them pleasure, that fills them with unmanageable pain and uncertainty, but also with love and passion. It is the happy encounter with their own natures.
Can the two young people together travel the roads of South Korea in search of an El Dorado where love, purified of all prejudice, is possible?
How can I describe what is happening before my eyes? Drama and reflection, as intelligent with its images as with its dialogues, turn 'Gray Shelter' into a hymn to life and love, above all, due to the way it approaches a theme, such as homosexuality, which, even when it has been portrayed on numerous occasions over the years in South Korean cinema and television, is still very scarce compared to what is produced in other latitudes or on other topics in the same country, since the taboo component for a A significant part of the population is still present, despite being civilly legal.
From the Heavenly network, this romantic drama that feels like an old movie in terms of color tone and harsh composition, returns Lee Jae Bin to the screen after his successful performance in 'Choco Milk Shake'. At his side is an actor who has also shown his incredible artistic talent in the films 'Phantom' and 'Baseball Girl'. A couple that shows a vibrant chemistry in a drama that excites and moves as it manipulates as only initiatory stories, owners and lords of an absolutely individualistic narrative voice, can manipulate.
Jang Woo Young and Lee Jae Bin bring two very different characters to the scene, but two who not only have a strong connection and chemistry, but also relate perfectly to each other's struggle. There is a healthy and affectionate love between them, it is also romantic, with great generosity, nobility and compassion at play. The sadness and melancholy that both bring is not the kind that makes viewers cry, but rather hits deeper, to the very core. It is not a typical anguish, but heartbreaking.
If at any point I might have thought that Lee Jae Bin would be pigeonholed into comedy, I must confess: I was wrong. If in 'Choco Milk Shake' he achieved a genuine naturalness in his performance, even in those most dramatic parts, which could suggest this would be the right genre for him, in 'Gray Shelter' the young and talented actor shows his versatility and possessing the gift of standing out for his ability and skill when it comes to embodying totally opposite characters.
I liked how he made it clear that he is an actor of race, of vocation, one of those who dares with comedy and drama, and puts himself at the service of the role in question with body, mind and soul. You have to follow his steps.
For his part, thanks to Jang Woo Young, Cha Soo-hyuk is a completely plausible, convincing and even beautiful character, in the sense of being absolutely different from those played by the same actor in his previous works. Everyday life has such a forceful beauty that when an artist is able to see and represent it, he achieves works that are not only solid, but also shocking.
With an acidically caustic tone, raw and direct, highly intelligent and subtle, and always based on the dialogue and organic behaviors of two characters with few filters, 'Gray Shelter' becomes a sophisticated story of a homosexual relationship. The narrative simplicity of the series is reflected in the filming style and is offset by the complexity of the relationship.
Although at times it crosses the border of frivolity, it is possibly one of the most elegant translations of contemporary South Korean dramatization of a story about homosexual men, which is nothing other than a great love story.
'Gray Shelter' is, in short, one of those gems that presents a world so wonderful that you feel sad when you reach the end credits. In short, a drama that captivates the viewer, in addition to the story and the way it is told, due to its attractive visual effects and its visual chemistry.
The drama turns out to be, then, a delicate story of everyday situations, especially those essentially linked to providing inclusive views to the debate on diverse identities and sexualities, while diluting the binary and sexual identity boundaries (man-woman). But, in addition, it recreates, with proverbial skill, especially in the dialogues, and also in the situations, a romance that is not just one more of those that South Korean audiovisuals have contributed since 'The King and the Clown' (Lee Joon-ik, 2005), 'A Frozen Flower' (Yoo Ha, 2008), 'Man on High Heels' (Jang Jin, 2014), to name just a few, but one current, daring, pure, in a series all time attentive to those shudders that perhaps strengthen our expectations of finding what we are looking for.
Lee Yoon Dae's confessions, the evocation of the past that unites them, the way in which the two men approach each other and establish a unique, explosive, fiery intimacy, make total sense through a delicate photography, capable of converting each shot of night exteriors in acts of love in the light of the sunniest day, in addition to managing the expressiveness of the composition and the framing placed even in a symbolic function (Cha Soo-hyuk healing Lee Yoon Dae's wounded face is filmed in a way that implicitly alludes to the major issues involved here); or music that is barely noticeable, and the composers of the songs know that this is a compliment when talking about musical soundtracks in film or television.
The cinematography is moving, with great use of color, particularly a dark, natural palette.
In addition to everything said, I also loved the tenderly filmed scenes of intimacy and sexual complicity. As for the general assessment, it must be said: Lee Son Eum pleasantly surprises us with a seemingly simple series, but which is ultimately a treatise on losses and breakups, on the one hand, and encounters, reunions and discoveries on the other hand, about the gone and the lost, about the found and the unexpected, about the search and finding of love and happiness, the clinging to illusions, to certain affections and feelings, by human beings so complex as well as sincere, animated by the real idea that perhaps they will find, very close to themselves, in their shared past and present, what they have always sought.
And if it all seemed like a lot to me, I am surprised by the beautiful animation by Jeon Seon Myeon that serves as the opening title. The animation shows the two main characters, Yoon Dae and Soo Hyuk, walking alone in the snow before ending up under a streetlight. Yoon Dae spreads out his scarf and wraps it around Soo Hyuk. The light turns on, illuminating their gray world, and they embrace as Ode's "Sleepless" plays in the background.
Few South Korean series have left me, at their end, with such an inexplicable feeling of melancholy and complete satisfaction. And that's why I decided to enthusiastically recommend it.
YA

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A small (great) literary gem brought to the screen in a masterful way

Complex characters, controversial themes, personal stories, family relationships, LGBT+ empowerment, and romance are the identifying nuances of Taiwanese filmmaker Liu Kuang Hui. The protagonists of his works reflect their inner world, as shown in 'Your Name Engraved Herein', in which fear and sin already appeared burning the insides of the protagonists because of a forbidden love, the first love, the love relationship /hate, two young people united by friendship as if they were brothers, the differences of social classes...
In the work of someone who expressed that this film takes a lot of his own life, stating that A-Han's narrative arc is based approximately 80% on his own experiences, since originally, it was not his intention to make a gay film, but a personal film about his first love, and his first love is the story of a boy who likes another boy, features typical of the Taiwanese film and television director appear.
This is confirmed in his next work, the short film 'Best Sisters Forever', from 2021, and has continued to this day in some other films, such as 'The Story of the Stone' (2018), and the series 'Hello Again! ' (2019).
Liu Kuang Hui is a very versatile director and screenwriter, as he does not limit himself to creating his own literary and technical texts to later be brought to the screen, nor to adapting those titles of novels that he admires and that have served as inspiration, but rather who cites them in his films, reviews and updates them, nourishes them with other cultural elements that, ultimately, give personality to his filmography. This allows his work to be easily recognizable due to its numerous intertextual references.
The latest piece of his authorship as director and screenwriter so far, 'The On1y One', is a sentimental initiation series that tells the story of queer love between two teenagers who begin to develop emotionally.
This long-awaited LGBT+ drama takes place in the present day, and tells the story of Sheng Wang, a dreamy, rich and popular young man, whose world changes when, after transferring to a new high school due to his father's job, he meets Jiang Tian, a tall, intelligent and lonely student who lives with his mother.
As he settles into his luxurious new home, Sheng Wang is determined to stay focused on his desire to meet the person who, according to his mathematical calculations, would be one of the 0.0000173 inhabitants of planet Earth with whom he would meet. It would have to coincide first that they know each other, and then that he gets to like her the way he would like too.
The two begin a rivalry that becomes even more complicated when Jian Tian's mother enters into a romantic relationship with Sheng Wang's father, and the four of them are suddenly forced to live under the same roof. Since they are not blood relatives, nor do they consider themselves true stepbrothers since their parents are not legally married, they must face life together, the growing respect, the secret admiration of one for the other, which becomes a forbidden attraction.
While Sheng Wang must face his new life, with all the significant changes that this entails, he must not only get used to suddenly living with two strangers, but also to the cold welcome that his classmate sees in him a tough competition.
The confrontation is felt from the first minutes in which Sheng Wang sets foot in his new institute. Luckily, he has new friends with whom he can vent tensions, among whom Gao Tianyang (Andy Chen) stands out.
At first, Sheng Wang and Jiang Tian couldn't be less alike. Jiang Tian is a intelligent who likes to be alone. Sheng Wang is also intelligent and popular who everyone likes, who is invited to games and parties and who seems to have everything going for him. But by chance of sitting next to each other in the classroom, the two form an immediate bond, and then the closeness carries over to the home they will share as part of an unexpected family.
In addition to the characters and the plot, which deals with the stories of LGBT+ teenagers with openness and sensitivity, the pacing of the series is also perfect. With twelve episodes of about 45 minutes, it practically flies by. Every character's story, every relationship is perfectly arced throughout the series, while leaving plenty of room for character growth and exploration and romance. That's a rarity in any medium, and it's staggeringly impressive that the creators made it work.
I have no doubt that the series, as an artistic phenomenon, also managed to confirm and bring out a pool of stars, especially in the new actors who play the study companions of the two protagonists.
The series is told from Sheng Wang's point of view, but in the final four or five minutes, before the credits roll, we will have Jiang Tian's vision, and this helps fill in the gaps in the story.
Chinese actor Liu Dong Qin ('Psych-Hunter', 2020; 'To Be with You', 2021) plays Sheng Wang, whose main objective is to make his way in life based on intelligence and studies. His rich origin and the constant change of school and place of residence have determined his fighting spirit and earned the friendship of everyone around him.
It is about a teenager whose mother dies when he was a child, and whose life has developed with a certain animosity towards his father, much more so now that he discovers that he has a stepmother and a stepbrother, just the boy who sits next to him at school and with whom he doesn't get along at all.
The Chinese-born Taiwanese actor Benjamin Tsang plays Jiang Tian, ​​who has grown up estranged from his father after his parents' divorce, and from whom he only receives monetary support from time to time, money that he immediately gives to his mother, because both have lived in financial difficulties.
Also with an extensive filmography and experience in films with LGBT+ themes, the 28-year-old actor has starred in the short films 'Boxing' and 'A Cohabitation', both from 2019. In the first he plays Wei, a boxer who falls in love of Rong, his training partner, and in the ring he will have the ideal setting to declare his love, while in the second he puts a face to one of the members of a gay couple who is forced to separate because one of them has HIV.
Its beauty immediately attracts attention. He is a very physical actor. It looks robust and mysterious. In the interaction scenes with the actor who plays Sheng Wang, he is able to transform into a fantasy creature. He is also able to bring childlike innocence to Jiang Tian's interpersonal relationships.
As the two teenagers discover and explore their desires, the physical aspect of the story is striking, in which each scene represents a moment of action during which the characters are in a constant state of alert, and react without understanding what is happening to them happening, without knowing how to respond and, above all, how to put it into words. For the actors, it is a real challenge to work with a director who is so ambitious in the stories he tells, since Liu Kuang Hui does not want Sheng Wang and Jiang Tian to express their emotions like adults.
In my opinion, the director wants to make a very physical series, and capture that moment when desire and attraction rise from the intestine to the heart, and barely touch consciousness. In some ways, they are both lonely guys. They are not conceived as part of a group. Although we see, quite early on, that Sheng Wang integrates easily with the rest of his companions, we get the feeling that he lives in a kind of solitude that is not tinged with melancholy. He, like Jiang Tian, ​​keeps a bit to himself.
On the other hand, the animosity that dwells within them is, at least initially, the only language they share. They don't know where it comes from, or at least they don't know how to put it into words. Perhaps it is due to their similar intellectual abilities, but above all to their different environments. Jiang Tian has to trudge through the streets from his humble abode for a long time to get to school, while Sheng Wang makes a similar journey in a luxurious car driven by someone else. The gap between everyday life that leads distance from each other and separates them.
Shen Wang shows himself, creates poetic images in his mind; Jiang Tian is more in tune with the nature around him. They feel incompatible. When their parents announce to the two children that they will live under the same roof, it is obvious that neither of them wants to make peace. They want to remain at enmity, without realizing where they are going. They behave like explorers, adventurers.
However, if their first disputes seem to arise without control, then, little by little, we have the feeling that it has almost become a kind of chivalric rite. Here, the director once again shows his mastery of cinematographic language: he does not want the scenes to be repetitive. Each one had to erupt in a different way, and out of nowhere. But they are inevitably called by animosity and in their constant duel they reach the zenith when, indifferently, one steals a kiss from the other on two occasions, once as part of a game, the other as revenge.
These are the first steps. They are both a sensual moment. Especially the second one, as it is something spontaneous. Time stops. And so, Sheng Wang immerses himself, once again, in his poetic images full of love. For Jiang Tian, ​​something clicks at that moment. He feels an erotic discharge, links this moment with other recent memories, and finally everything begins to make sense.
The rivalry between them increases, until it becomes a story in itself. The more it grows, the more it blossoms, and the dramaturgy of the relationships between Jiang Tian and Sheng Wang evolves and becomes more sophisticated. It never stagnates, it is a dialogue. Little by little they are allowed to understand what is bothering them and what is changing.
The wish for Sheng Wang comes later. It is more indeterminate. He has to overcome his fear of rivalry and physical contact with Jiang Tian. Once he senses Jiang Tian's attraction towards him, he needs to keep his distance. He resists Jiang Tian's wish.
That's where the construction of the series becomes so unique: we're really in the frame of a drama about growing up, not a chronicle of summer heartbreak, nor, once again, anticipating what's going to happen. The reactions and evolution of the characters are as unexpected as the twists and turns: school conflicts, living in the same house, sharing the same spaces, the beginning of a love relationship... Everything remains a mystery. In the script and staging there are live characters who are surprising and at the same time surprised.
Liu Dong Qin and Benjamin Tsang, first and foremost, are perfect in the roles. Their chemistry is off the charts. Each line of dialogue is infused with feeling, from deep conversations about life and love to simple exchanges of the seemingly most insignificant word, a characteristic riff that resonates and takes on different meanings throughout the audiovisual. Without this key duo, 'The On1y One' wouldn't work. Fortunately, it does, and in the best tradition of romantic drama, you will find yourself rooting for them to figure out their feelings and come together in an indestructible bond from the beginning, much stronger than being step-siblings without any blood connection.
The fact that they are two proven actors, with a strong command of acting, works to the benefit of the series, with the nervous and uncomfortable energy of Benjamin Tsang merging perfectly with the confidence and security of Liu Dong Qin, who will not hesitate to kiss him without warning as part of a game of Truth and Dare with their fellow students.
At least, before the two start switching roles, for reasons too spoiler-filled to mention here. Beyond the two main characters, the world in which the two protagonists operate is populated by a group of adorable characters.
The romance and relationship between the two teenagers is one of the three axes that structure and are transversal to the entire story set in the present somewhere in Taiwan, but which could very well be any corner of the world. The other two are the relationship between Sheng Wang's father and Jiang Tian's mother, who by joining in a cohabitation union, that is, without a marriage bond, cause their children, two adversaries at school, to become close people and will cause a romance to be established between them that goes from the platonic to the physical, but with a certain degree of containment, given the circumstances of seeing each other as if they were two stepbrothers, and finally, school, friends outside the enclosure student, and classmates and teachers.
Led by Liu Kuang Hui in writing, Chinese screenwriters Ma Jing, Guo Guang Yun and Deng Yao Yu, who have jointly written the script for the series 'The Untamed Special Edition' and 'The Untamed', adapt the story of the little (great) gem of teenage romance, which is the novel "Mou Mou", by Mu Su Li, to tell us a classic love story in which two lonely souls write a sweet but sad love story, while they travel together through the paths that lead them to develop a precious relationship.
The fact that both belong to apparently different worlds does not prevent them from creating a transformative connection. The premise plays with the codes of the most classic teenage drama, but includes a forbidden love plot with the trope of a romantic relationship between two people who in the eyes of many can be considered stepbrothers, turned lovers, which has aroused the interest of a large part of the public. In this sense, the television story would run in the direction of other teenage productions of recent years, such as the Chinese and Thai versions of 'Addicted Heroin' and 'Stay With Me: The Series'.
It is a work that fascinates for its very cinematic production values, photography, soundtrack, editing, sound design, opening (header), and interpretation of the two protagonists.
On the other hand, it is important to point out the role of music as a narrative element that influences dramatic development. The music accentuates and intensifies the characters' feelings and has its climax when the songs by music producer James Chang and the vocal arrangements by Shivia Lee and Steven Lai are heard.
Songs are very important in all of Liu Kuang Hui's work, and this one fits perfectly. The main theme songs of the series are "Love Proverbs" / Mou Mou, "Just Lonely", voiced by Ricky Hsiao, "Rainbow Love / Give Mou Mou", performed by Princess Ai, "Interlude" (TRASH) and "17 Run to You", a song sung by Nasi Lee, among others.
In summary, part of what makes the series produced by Dragonfire International Co. Limited, Beijing Jinying Technology Co. Ltd. and Ilustrato Picture Ltd., work so well is, without a doubt, the trustworthiness and kindness of the source material, which is a huge hit with over a billion views. The series manages to adapt not only the story of Mu Su Li's novel, but also its spirit. Having these characters established and already loved by fans of the literary work gives it a step above the competition. And while we have seen many popular original works crash and burn when translated to television, this is not the case with 'The On1y One', as the different technical aspects, the work of the director, the scriptwriters and the acting cast also triumph unquestionably.

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Experimental series on connecting stories, the so-called metacinema and "not fulfilling its premise"

I wrote an initial review for the first episode of the series. As usual, I modified it as the episodes were broadcast. Subsequently, several readers have encouraged me to review the series in its entirety. This is that review:
Does destiny exist? Everyone has their own point of view, there are those who say that everything happens for a reason, there are those who say that destiny exists and that we cannot escape its designs. Therefore, if so: are we directed? Does our life have meaning if we are already anchored to a future that, whether we want it or not, we cannot avoid? I, personally, do not believe so, I am a little more scientific, so to speak, and I believe that each person takes the reins of their life, and that there is no destiny, but rather cause and effect... However, this already remains within each person.
Whether you believe in destiny or not, soul mates are a myth about love that has remained alive for centuries, perhaps because we are all searching for it, because we know a story that reinforces it or, possibly, we have seen many movies and romantic television series.
Film and television have delved into the search for perfect, magical and lasting love, and have shown more than once that soul mates exist and are in the places you least imagine.
If destiny wants two boys to remain united in an indissoluble bond, so it will be, regardless of whether they both live more than a thousand lives, and in each of them they somehow manage to fall in love with each other. This is the premise of the Thai LGBT+-themed romantic drama 'Every You, Every Me', from director Sutida Singharach, university professor and director of the Film and Creative Media Arts program at the Faculty of Communication Arts (International Programme) Bangkok in his official debut behind the cameras, based on the script by Saipirun Chaichiangpin, renowned author of BL series such as 'Love Sick: The Series Season 2' (2015) and 'Reminders' (2019), and also debutant Jeong Thunyathorn.
However, will this be a story about destiny? Will it be about reincarnation or time travel? Will the viewer be able to discover how the characters will live the more than a thousand lives indicated in the synopsis? Will the plot develop according to the initial premise?
This is an innovative series in which the creators apparently play with the audience by offering false clues about the "accuracy of a synopsis."
Through independent plots, without a visible thread that unites them, without a tie that connects each of the stories, we will sometimes see stories with happy endings, at other times with closures that will make us cry; often with performances by part of the well-known supporting cast, occasionally with supporting actors who have recently entered the series. But yes: always with the presence of the two stars who dress in luxury and touch the sky with their performances..., always to tell us a better story than the previous one, which will keep us intrigued and expectant.
The truth is that with complete naturalness the two protagonists exchange personalities, characters, attitudes and characters from one chapter to another, since each story is completely different and if they have a connecting thread it is the performance of the same actors in each episode. The series is perfect for giving Mick and Top the opportunity to showcase all facets of their acting skills, something they achieve superbly.
'Every You, Every Me' is discussing these topics, through magical and lucky encounters, and these encounters occur between the characters played by two handsome and talented actors with meteoric growth within the BL industry in the country from Southeast Asia: Mick Monthon Viseshsin and Top Piyawat Phongkanitanon.
Through the interpretation of several characters that have no apparent relationship with each other, Mick and Top demonstrate that there is no series that cannot stand out for their presence, both being the type that BL lovers find attractive and intelligent; In other words, pine for them.
This is not the first time that both actors have met on the filming set, nor is this their inaugural performance as a couple in an audiovisual production. Already in 2023 the first plays Korn in 'My Universe', specifically in the story 'You Are My So(ul) Mate' Korn, while the second got into the shoes of Butr, his partner in this BL series.
'Every You, Every Me' keeps the audience's heart in its hands from the first to the last scene and, although it squeezes it at times and leaves a bitter taste when learning about sad endings or relationship problems that could cause the breakup of the itself, the series goes much further, as it reflects on how much of love is destiny and how much is a choice.
The main reason this series works where other romantic dramas fail is the casting. Mick and Top are affable leads with solid chemistry that mesh well enough and quickly enough for the audience to become reasonably invested in their activities and their romance in each of the stories the series tells.
Added to the mix is Meen Nattakrit Hamontri ('On Cloud Nine', 2022), and although his work is unaccredited and he acts only in the first story, he steals every scene in which he appears. For its part; Fiat Patchata Janngeon ('Shadow', 2023) and Ball Peeratad Promted play various characters throughout the series.
The beautiful photography of Danupat Thananurak, a skilled craftsman in his craft, helps the series take off with the growing closeness between the two young people, physically and emotionally, in each of the stories.
There are sad, boring, dull series... But that is not the case with 'Every You, Every Me'. And there are also those that serve to make you laugh, to make you sing, to make you cry, to make you have a pleasant time, to make you feel emotional. And this is useful for all that, but it can also be used to identify yourself.
Or even to extract reflections, for example on destiny or on the hooks, false or not, that creators let slip to draw the public's attention to their product. Which is behind everything. When decisions are made, perhaps it sends signals, it will depend on how we interpret them to be happy or not. Or if that assertion, practically shattered today, is true, that if a single person appears in your life that you really want to be with, don't hesitate, this is your series.
Philosophical disquisitions aside, this television delight of romanticism and the BL genre is a breath of fresh air, of legitimately sentimental and involving audiovisual production.
The protagonists are irresistibly charming, adorable; one follows them in their smallest and largest gestures with great delight.
It's one of those beautiful series, really really beautiful. And although it exudes a certain bitter aftertaste, both bitterness and sadness, although it may sound strange, can generate a strange happiness, as is the case. And so, once the final credits roll, it is easy to be overcome, as happens to me every time I review each episode to write the review, with a feeling of lasting happiness and a tremendous desire for this couple to continue meeting in one and a thousand more lives.
Of course, the soundtrack is in charge of doing its thing to recharge the cake even more and one ends up thinking that it is worth trusting and believing in destiny.
And already in the final episodes, the magic increases: you can see the love that the director has for the seventh art by using cinema within cinema or metacinema as an artistic and narrative resource that has been used by filmmakers from all over the world throughout of cinema history.
Experimental and innovative series, it seems not to care about the synopsis itself and fully immerses the audience, in episodes 6 and 7 (even at the end of 5) in metacinema, something little or never seen in a Thai BL.
Sutida Singharach deploys her arsenal of knowledge about the seventh art and manages to place cinema at the center of her series. It uses the characters Roy Inn, played by Mick, and Pun, played by Top, two actors who are going through a breakup in their love relationship, so during the filming process both have difficulties showing their acting skills in a scene in which they must kiss.
Under these circumstances, the director and production company of the series in which the actors participate decide that Roy Inn and Pun need to participate in an acting workshop to ensure that they adjust their behavior, or else the film project runs the risk of being stopped due to the incompatibility of the actors.
In this way, the series appeals to metacinema to peek into the processes of film creation and the professional performance of directors, producers, performers and scriptwriters. Likewise, the viewer obtains privileged access to the backstage of the cinema, and suffers and enjoys the conflicts that emerge behind the camera.
Knowing that filming is, in effect, a stage in which ego struggles, asymmetrical power relations, unforeseen events and human limitations are unleashed, the director of the series, like a magician showing his tricks, uses ' Every You, Every Me' to reveal the strategies that allow the cinematographic illusion to be generated. It also plays with the transfers that occur between reality and fiction, between life and cinema.
Many viewers have reported that the series does not fulfill its premise, as they expect the stories to be clearly connected to each other.
Sutida Singharach does not care about complying with the classic regulations of Aristotelian linearity, the narrative clauses... in short, the guidelines of the dominant historical decalogue.
In other words, the creators break the traditional narrative scheme. They ignore the three units that serve as literary rules, designed especially for theater, but that have a broader extension as aesthetic criteria and art theory, by requiring that an artistic work (specifically literary) must have a certain unitary character.
According to this part of the audience, everything seems to be upside down by not having a visible link that unites the stories, with the non-compliance of the premise of a thousand lives for the two protagonists to live together. For these, nothing closes or pretends not to close. I have even heard it said that Sutida Singharach shows no interest in making the viewer feel safe, satisfied.
Quite the opposite: 'Every You, Every Me' seeks complicity with the audience, unsettling them, annoying them, taking stories and characters down unexplored paths, so that the audience puts alternative instances of appreciation on the offensive.
In concert, the director and screenwriter ensured that the series – as a source of worlds and stories – fostered new experiences for the public when appreciating a work. What they formulate is a proposition that invites, not only the intervention of the viewer during the 8 episodes of the series, but also after the screen goes black.
The above is more than plausible when both cinema and television like the inflexible point of view of closed discourse, reluctant to grow after the visualization of the product has concluded.
In this way, showing its condition as an interactive neural work, of passion and drive, of tension and restlessness, the series ensures its permanence in the BL Olympus.

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The perfect mildang: "The further I move away, the closer we get"

In the context of "tug-of-war" romantic relationships, in South Korea it is common to hear sentences like: "내 남자친구가 항상 나를 밀당하는 것 같아", which in English would be something like: "It seems that my boyfriend is always trying hard to be with me."
Is your crush acting cold one moment and hot the next? One minute does he pursue you and show his feelings, and the next, he suppresses his interest and distances himself?
It is precisely in these circumstances that Koreans use the phrase "acione Mildang." That is, this person is doing "mildang," a term used to describe someone's behavior when they intentionally create a "push and shove" dynamic with another person.
In the drama 'Boys Be Brave', directed by Lim Hyun Hee, the story revolves around the "mildang" of two couples who are stuck between confessing their feelings and holding back, portraying the cute and agonizing tug-of-war of unconfessed love.
We will see the story through the eyes of Jin Woo, a naive and insecure character with a perfectionist tendency who lives his life according to the plan he has drawn up. However, one day, she falls in love with Ki Sub, a determined and popular boy, owner of a relaxed and confident nature.
And this playful and daring push-pull dynamic begins when Jin Woo reveals that despite having a crush on Ki Sub, he's not her type at all.
The entrance of Jung Ki Sub (Nam Shi An) to Kim Jin Woo's (Kim Sung Hyun) apartment not only announces that the living room sofa will be occupied indefinitely by the visitor who was never invited, but also the beginning of a beautiful love story between two friends who have suddenly become roommates.
Despite being reluctant to share a roof, you will soon discover that this may be the ideal opportunity to be close to the person you love.
I find it interesting to see how between Jin Woo, a young perfectionist who dreams of having the perfect relationship with the perfect partner, so he even makes a checklist of the ideal lover, and Ki Sub, the type of person who can seem Just another attractive and popular guy who has to get what he wants, but is actually a gentle soul who wants to be loved, they manage to change for each other.
Likewise, I love how Ki Sub, who doesn't like complicated emotions and situations, so he often resorts to portraying a positive image, at first shows one-dimensional awkwardness, but as the story progresses, he learns to express his feelings. own emotions and find their identity.
The series allows us to see how the actions and emotions of the characters change, all thanks to an endless aegyo attack by Ki Sub against Jin Woo, which in turn brings fun and hilarious moments.
On the other hand, the narrative also explores the love relationship between Choi Balg-Eum (Jung Yeo Jun) and Ji In Ho (Ahn Se Min), who keep a secret from their high school days.
Adapted from Seok Young's webtoon "Roonmates," the LGBT+-themed youth romantic comedy showcases the unique images and charms of the main characters, each with distinct personalities. The free spirit Jung Ki Sub, the seemingly perfect Kim Jin Woo, the mysterious Ji In Ho with a hidden secret and the charming Choi Sunny will entertain the audience through a funny, charming but meaningful and touching drama as the four continually reflect: "Why doesn't the person who loves me confess to me?"
After the success of the acclaimed series 'Our Dating Sim', with which it won multiple awards at the "2023 Heavenly BL Awards", such as the "Grand Prize" and "Best Drama" sections, director Lim Hyun Hee teams up with music producer Hwang Sung Jin, known for producing popular songs like See Ya's "Lovely Sweet Heart" and Gummy's "We Should've Been Friends," to carry out this project that, in his own words, "captures so much eyes like ears." Because? Because stories like these not only entertain us, but also offer us valuable lessons and insights into life and human relationships.
With a solid plot and well-developed characters, the emerging writer Lee Sin Won manages to change conventions and break clichés, and delivers a narrative text on which the series is built, in which she gives substance to the conflicts and stories that intersect, Because the four boys are united by friendship.
I like Nam Shi An's performance in portraying a character who is popular and constantly receives love confessions from those around him. However, intrigued by Jin Woo, who likes him but has not confessed, he impulsively invades his house and begins living with him, determined to make him confess.
The viewer will love the character played by Kim Sung Hyun, a seemingly perfect and meticulous young man. However, her life begins to fall apart after her crush breaks into her apartment. Thanks to Ki Sub, Jin Woo discovers that he has been living a gray existence, without love and without dating experience.
Based on their friendly love-hate relationship, the romance between the two, which begins when the former literally knocks on the doors of the latter, will delight the public. He will be waiting for the moment when the bond between these young people crosses the thin and fragile line of friendship and gives way to love after a confession.
The film text explores how the empathy between Ki Sub and Jin Woo becomes the basis of a lasting romantic love, highlighting how the deepest relationships are often born from friendship.
On the other hand, Ji In Ho has not been able to forget the romantic relationship between him and Choi Sunny during high school. That is the reason why he abruptly returns from the United States where he is studying and introduces himself to Sunny, who rejects his advances. Undeterred, Ji In Ho asks her to go on three dates with him. We will soon learn the reason why Sunny decided three years ago to put things on the line, despite being in love. Could a true romance arise within the framework of these encounters?
Lastly, Jung Yeo Jun takes on the role of Choi Sunny, the extremely optimistic part-time worker. Choi Sunny, as brilliant as her name suggests, is a person who has also not been able to forget the boy she loves and whose memory she still keeps in her heart. His life is shaken when his friend shows up again.
The story of these two characters details how an event from the past tests the relationship of the two friends, but its resolution, which teaches us about forgiveness, understanding and personal growth, ends up strengthening the bond, demonstrating the resilience of friendship and How romantic love can arise from this.
As these young people navigate their feelings for each other and come to terms with their own hearts, a tender romance blossoms that will satisfy all of your BL needs.
Why do I recommend the series?:
- For its cast with its attractive visual effects and its visual chemistry.
- For being a fan of the webtoon on which it is based.
- For following the work of Lim Hyun Hee, who has captivated me since his previous drama, 'Our Dating Sim'.
- For the promise of combining stunning dramatic elements in the beloved original work and enhancing the immersive experience through a sophisticated visual style.
- For the guarantee of the entertainment factor.
- For bringing us credible and genuine characters, with human emotions and reactions that feel real and resonant.
- Because it allows me to follow the work of Ahn Se Min, an actor with a simple charisma and an air of mystery, who has caught my attention since his participation in 'Youth On The Road', 'The Red Sleeve', 'School 2021', among others dramatized. With his expressive eyes and pure appearance, I recommend following this actor.
- For the reappearance on screen of Kim Sung Hyen, a perfect boy who wins the hearts of fans with his unique charms. Those who have followed his artistic career will remember him for his roles in 'Love After School' (seasons 1 and 2), '100% Era', Hospital Playlist', 'Brain, Your Choice of Romance Season 2', and many other works that They leave a lasting impression on viewers, raising expectations about his future as a solid actor.
- For the possibility of reunion with rookie actor Nam Shi An who has gained a lot of attention for his attractive looks, outstanding physique, subtle sensuality and acting skills shown in KBS Joy's 'Love Naggers' and the web drama 'Woman Playbook', as well as the independent short film 'Mutation'.
- For having the possibility of seeing Jung Yeo Jun's work again, after discovering him in 'Like Flowers In Sand', 'Arthdal ​​Chronicles: The Sword of Aramun', 'Rookie Cops', among others, since this rookie actor has a distinctive and irresistible charm that captivates the hearts of viewers. With her imposing figure, I love her explosive chemistry with Ahn Se Min.
- Because the series exposes two stories of love and friendship that have the power to open doors to a world where emotional ties are intertwined with life lessons, leaving indelible marks on those who discover them.
- Because stories like these have the particularity of touching two of the purest and deepest feelings of human beings: romantic love and the selfless affection that characterizes true friendship. The mixture of these affects in a single narrative creates a rich and multidimensional film story that speaks directly to our hearts. That is, stories that weave love and friendship reflect the full spectrum of our emotions.
- Because it is a drama in which we will see our own triumphs and challenges in relationships reflected, which makes these stories so personal and moving.
- The conflicts represented are reflections of the complications of real life.
- Being able to witness the performances of four male actors, each with different and combined charms, taking on their first BL drama challenge.

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'When it comes to love, the second time is better'

Everything starts (or should I say "continues"?) thanks to chance. Miyata Akihiro (Hasegawa Makoto) and Iwanaga Takashi (Furuya Robin) meet again when the former, a business magazine editor who has just begun the tenth year of his career, must start a new column and hires a popular university professor from the Faculty of Economics, who turns out to be his first love of youth.
Takashi has changed his name from Hoshizawa to Iwanaga after being adopted by another family after finishing high school and the two having separated. This is the reason why Akihiro Miyata does not relate the boy he loved in the past with the person he is trying to locate to propose to be in charge of the new section in Tokyo Business magazine.
They immediately recognize each other. A decade has passed since they were dating and today they are around thirty years old and life has taken them on different paths and treated them in different ways. They look at each other, talk nonsense to avoid remembering the past, while they decide what topics will appear in the publication.
This is how 'Koi o Suru Nara Nidome ga Joto' begins, the live-action dramatic adaptation of the popular manga by Keiko Kinoshita that was serialized in "Chara Selection" (Tokuma Shoten) from 2018 to 2022.
Directed by Yuka Yasukawa, known for the drama 'Jack Frost' (MBS) and the film 'Yodaka no Unrequited Love', the series will tell us that that love story was not overcome by time and boredom, and the new meeting, Initially professional, it will begin a love relationship that is both old and new.
Skilled as usual when it comes to entertaining and awakening the audience's empathy, the director invites us to a series that lives up to the plot intensity proposed in the script by the talented Aya Watane, who worked on 'Yokai Share House' and 'One Room Angel', this time with Yasukawa himself.
Rich in hidden feelings, in hidden frustrations that will be revealed through the conversations of the protagonists and the evocation of times gone by, as well as current conflicts, such as editorial work, teaching work and university scientific research, the crisis of couple and the desolation behind a breakup, 'Koi o Suru Nara Nidome ga Joto' is told with great detail and care, and the music adds an overall air of reflection and empathy.
With a well-cared for story, full of hidden twists that are revealed to the extent that the paths of the two protagonists cross again, we will immerse ourselves in this journey of searching for happiness, reconciliation and, why not, forgiveness. .
The sound design, original music, editing and photography round out the script's discourse, making use of very interesting shots and high-flying staging solutions.
Regarding the drama adaptation, Keiko Kinoshita expressed: "As a viewer, I was able to see the monochromatic story of the manga colored by the hands of many people, including the cast and staff, and told in a different way in the form of images."
In his desire to achieve a "total split", in which each character he plays is unique and different from the others, has led Hasegawa Makoto to face a wide range of characters and challenges throughout his career. In this, his first leading role, he plays a serious boy who is very enthusiastic about his job as an editor, but when he reunites with his former love, his life falls apart due to his own dark history/trauma.
Likewise, in a constant search for diversity and authenticity in his acting work, Rotoshi Furuya, in his debut in a leading role, plays a university professor with a judicious and calm personality, who shows simple expressions of love when he reunites with Miyata, who has a personality completely opposite to him.
The relationship that the two will experience is very endearing and provoked a variety of moving emotions in me.
'Koi o Suru Nara Nidome ga Joto' shows two talented young actors, for the first time as co-stars, recreating an atmosphere of love and executing their roles with honesty. As they deepen their bond day by day, the viewer will be able to appreciate the pleasant changes in their expressions.
With lush and beautiful visual expressions, characteristic of Yuka Yasukawa's work, this realistic depiction of an adult love story follows ex-lovers who meet again for the first time in more than ten years, with a touch of reality exclusive to those in their thirties. .
One of the most romantic and exquisite Japanese dramas of the BL genre that, in addition to making you laugh and cry, will make you wonder how we deal with the loves of the past, those that appear by surprise and that, in many cases, we have not yet forgotten, because its protagonists are a couple that rekindles their relationship after more than 10 years.
How many times has Miyata wondered what happened to that person with whom he had a great love story during his adolescence and early youth? How many times did Iwanaga think what would happen if he saw again the person who has been and is his only love? Will they both be aware that first loves are never forgotten?
And Akihiro Miyata and Takashi Iwanaga loved each other very much, big time, and promised to elope in their high school years, but they made fun of it, which led to their eventual breakup. And that is why, throughout the 6 episodes, while they share time at the publishing house or outside, having dinner or enjoying a walk, those moments they spent together will come to light but also what led them to separate.
Initially, Miyata treats Iwanawa coldly, as a business partner, having promised never to fall in love with him again. However, he continues to appreciate her beauty, her talent and that character that he fell in love with when he was practically a teenager. Everything is intact, there, within reach of your eyes and your hands... your entire body, your entire being. And the other yearns for the same.
Because yes, they separated and their lives took a 180 degree turn: Akihiro Miyata, who also actively participates as an actor in The Rampage, is today an adult, serious and responsible man who is incapable of being honest with his first love again. after a decade of breaking up with him. Meanwhile, Takashi Iwanaga lives immersed in his work as a university professor and has a mature and relaxed personality. Both are still single and have problems facing maturity. Is it perhaps that they secretly hoped to meet again at some point in their lives?
But, despite being separated, they know that they are still the perfect couple, it is as if time has stopped for them and they continue enjoying the same songs they listened to on their headphones in high school, watching the same romantic movies lying in the floor of one of the two's rooms or playing a video game on their cell phone, while they kissed secretly from the others. Until something happens that will make the smiles and romance between them end up giving way to a series of reproaches related to what could have been and was not.
However, their characters do not exude bitterness or resentment, and, although they assume that loving each other is sometimes not enough and that "love stories only end well in the movies," they will fight with all their might so that, now, after meeting again and discover that your love has remained unscathed over time, the time has come to express: "When it comes to love, the second time is better" and make your love also like a movie... or rather, a television series .
Little by little, through seductive looks and tender gestures and subtle smiles, the lovers of yesteryear will reconcile with their past, to which they refer with flashbacks and sound evocations.
One of the strong points of 'Koi o Suru Nara Nidome ga Joto' are the dialogues between Akihiro Miyata and Takashi Iwanaga. Through what they say and what they keep quiet or hint at, we learn about their shared history and the personality of each one of them.
Sprinkled with a nostalgia that emerges throughout the series to make us recover that lost youthful feeling and the confusion caused by the arrival of adulthood, this would be the occasion to ask ourselves: What will happen to the boy over 30 years old who no longer Can you be as honest as before when you meet your soulmate again? What will happen to this "second" love, full of tactics and approaches with which it is expected to bear fruit and consolidate?
Note: With permission from the MDL administrators, I will leave the review open to, if appropriate, continue rating the series as the following episodes are broadcast.

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BL, GL and internalized homophobia: Characters and different points of view on love about to collide

'My Strawberry Film' is a Japanese youth romantic crowd drama about the intertwined feelings of four high school students with very different personalities and views on love, attracted by a mysterious movie.
This is a coming-of-age drama about four teenagers, ages 17 or so, realistically observing moments in their lives, moments that all of us could have experienced or will experience at one point or another.
The drama, likewise, covers serious and mature themes while presenting them in a comedic and dramatic manner.
Screenwriters Kobayashi Keiichi and Takahashi Natsuki, and director Takeda Karin, manage to mix friendship, love and longing, while complex feelings cross the hearts of the characters.
Also appearing as director and screenwriter is Ryo Kawasaki, a proven master of BL, who was the director of the drama 'Minato Shoji Coin Laundry 2' and writer of the script for 'Zenra Meshi', both from 2023.
The music of Yuya Mori and the opening themes "Flashback Memories", by Kubota Kai, and "Cropping", by Quw, for the closing, converge to delight the audience with the story in which four high school students, each one with their own feelings, they face heartbreaking emotions as they pursue a mystery.

PLOT

In their second year of high school, Ryo Ichikawa (Ryusei Fukada), Hikaru Toyama (Rei Yabana) and Chika Nakamura (Mizuki Yoshida), live a seemingly peaceful school life while harboring hidden emotions.
One day, Hikaru and Chika are penalized for being late to class. To fulfill the punishment imposed, they must clean an old warehouse behind the gym. Faced with old and used items stored in the shed, Chika comes up with the idea that she could sell the valuables on an auction site. Immersed in his search, he finds an 8 mm film kept in a small metal box. As they pass the tape through the projector, the image of a dazzling girl appears before them. Hikaru is captivated by the beauty of the young girl (Ririka Tanabe) that could be seen even through the rough particles.
Perplexed and fascinated, Hikari declares to his best friend Ryo: "I want to meet the girl from the movie." Isn't he dancing and laughing on the same rooftop of the school where they go in their free time? Doesn't the film show images of an old building known to them? So, the young woman has to be a former student of the school. Didn't you also wear the same uniform as theirs? From this moment on, they will show her face to the former teachers to see if any of them recognize her.
If the girl must have been known by the most senior teachers, several were even students at the school decades ago and, therefore, they must know all the young people who passed through their classrooms, why does no one recognize her? What is the mystery surrounding the young woman? Why do they seem to prefer to remain silent and not identify the girl and tell them where to find her or tell them what happened to her?
Together with Hikaru, Ryo and Chika begin to search for clues about the enigmatic creature reflected in an 8 mm film. Are your feelings for that special person love, friendship or respect? is the question that floats in the air.
The very next day a transfer student arrives at school. The three friends will be surprised when Minami Murasaki appears before them, a young woman who looked exactly like the girl in the movie.
The feelings of four people that are intertwined with the mysteries hidden in the film are represented in this youth group drama: Hikaru chases the shadow of the mysterious girl, Ryo worries about Hikaru and Chika has feelings for Ryo, while Minami's gaze seems pass by.
Finally, in an unexpected turn of events, the series also drifts towards Girl Love (GL) and internalized homophobia, since the girl in the video is actually Minami's mother, who was filmed by the student she loved. and this, despite loving her, could not reciprocate.

OF CHARACTERS AND STARS

This Fuji Television drama, with an original script, shows people with feelings that cannot be named in their hearts: they cry, fight, laugh and desperately try to seize the moment that is now.
Quattro, who plays Ryo Ichikawa, perfectly captures his role as a boy who is not good at interacting with people, is seen as cool by those around him and is popular among young girls for his beautiful appearance, but he does not like to stand out and does not show no interest in girls. His passion is making music.
His time in 'Kenisasu Life' (Nippon Television) and 'Dragon Zakura' (TBS) confirms the constant evolution of this popular actor, now in the role of giving life to a high school student in full struggle with many emotions such as love and friendship. The nostalgic and sensitive, but also romantic, audience can identify perfectly with the character.
Rei Yabana, the member of '7MEN Samurai', shines in his first leading role, playing Hikaru Onada, a beloved and energetic boy who is sometimes insensitive, with great communication skills and easy to get carried away, but also fickle when not having anything that excites him and without love experience.
Ductile playing a young man in his phase of discovering and describing the sweet and bittersweet youth that only a high school student can experience, his characterization makes the viewer live or relive, as the case may be, that "youth" as if he had lived it with previously or somewhere. I don't doubt that it will awaken memories and emotions that the audience may have had.
Who we saw in 'Nare no Hate no Bokura', on TV Tokyo, confirms with his performance that he is an artist who not only has the talent to play a wide range of instruments, such as the guitar.
For his part, Yoshida Mizuki manages to convince the most demanding viewer in his role as Chika Nakamura, a young member of the badminton club with an active personality and knowledge of ancient tools. As a bright girl who cares deeply about her friends and sometimes has trouble expressing her true feelings, she makes the audience identify with the character.
Yoshida Mizuki, who has demonstrated her talent by starring in the films 'Atsui Chest Sawagi' and 'Kamuy no Uta', as well as her role in the Netflix series 'Alice in the Country', penetrates with conviction into the skin of an objectively girl cute but lacks self-confidence and has secret feelings for Ryo.
Ririka Tanabe, who like Mizuki Yoshida is an exclusive model for "Seventeen" and has also appeared in popular works such as the drama 'The Best Teacher: 1 Year Later, I Was Treated by a Student', shows great sensitivity when characterizing a devilish girl who has her own vision of the world and her own rhythm, and never tires of unconsciously manipulating everyone around her.
As Minami Murasaki, she shows her artistic skills as a transfer student who looks exactly like the beautiful girl in the film and seeks to unravel her late mother's past.
With her role in 'My Strawberry Film', Mitsuki Yoshida shows her extensive stage skills, as she did when starring in 'Alice in the Country' (Netflix), 'Dragon Zakura' (TBS) and the play 'Three Thousand Moles' Gather'.

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'My Love Mix-Up!', a big comeback

Adapting a classic Japanese manga would seem like a complicated and overwhelming task, especially if we take into account both respecting the spirit of the original and the inevitable comparisons with the previous version, which with the title 'Kieta Hatsukoi' premiered on TV Asahi in 2021 and enjoys great popularity, and so it is; however, nothing stopped director Au Kornprom Niyomsil from returning the renowned work 'My Love Mix-Up!' to viewers.
The original piece, winner, in 2022, of the 67th Shogakukan Manga Award in the shōjo category, written by Wataru Hineruke and illustrated by Aruko, is one of the most revisited by BL lovers, since its publication for the first time in June 2019 in Bessatsu Margaret magazine.
From the genre of romantic comedy and musical with LGBTIQ+ themes, the series brings a new dimension to the original work while reflecting the spirit that animates the manga, but at the same time knowing how to successfully distance itself from it.
Those familiar with the original manga will be happy to know that 'My Love Mix-Up!' It is faithful to it. The main plot is similar, except that the Thai adaptation, in addition to interpreting the same events from a different cultural and aesthetic vision, introduces slight dramatic twists and elaborates the characterizations of the characters, whom it inserts into a musical, which helps to enrich the viewer's immersion.
Even if you already know what happens in both the original source material and the Japanese series, there is still a unique flavor to the series directed by Au. The adaptation also benefits from a longer narrative, allowing for greater depth.
From another perspective and aesthetic, the series expresses the richness, the main plots and also the emotions that we feel when we read the original, with its emotional ups and downs and its script twists in this romantic story, where everything happens in a very fun and realistic way. It is a story about the search for human connections, about the difficulty of discovering one's identity and finding a place in the world, and someone to share it all with.
The unexpected love relationship that shapes the core of the story is the basis of a beautiful and tender exploration of friendship and love, where the protagonists must discover what they really want, while deciphering their own feelings and dealing with some how many responsibilities and pressures related to the lives they live.
And as they spend time together, love works unexpectedly, and Atom and Kongthap, as our narrative heroes are called here, will discover that they are more interested in each other than either of them can believe. They're both straight, or that's what everyone thinks, themselves included. But the misunderstanding that causes their lives to intersect, combined with the way they treat and care for each other, will cause their feelings to begin to go down a path they would never have imagined.
The romance of the protagonists is the great setting, but, as a backdrop, the series tells us an everyday story about adolescence, coming of age, love, discovery, family, acceptance, personal growth, loyalty, insecurities and friendship.
'My Love Mix-Up!' it is a manual installalove. Boy meets boy. First they become friends. Then they fall in love. They discover. Both, without intending to, undertake the clearing of the weeds towards full identity. A typical teenage romance story, with no pretensions to breaking schemes or introducing new plots, and surely that is its greatest point in its favor.
One of the things I couldn't help but feel a weakness for is the plot. This is quite simple, which in any other work would be negative for being "too poor in terms of complexity", but that is exactly where the magic of 'My Love Mix-Up!' is born. The minimalism is so good that the series doesn't need anything else, just that beautiful romance between the characters and the positive energy that they manage to convey so much.
From the first frames we are going to enter a love story full of doubts, discoveries and acceptance. It all starts with a misunderstanding that gives rise to a beautiful friendship that will change everything. For Atom, because he can't help but fall in love with Kongthap. And for Kongthap, because he's starting to realize that "friendship" isn't enough to describe how he feels about Atom, and that means there are parts of himself he doesn't know yet.
Atom will soon discover that he feels more for Kongthap than he could imagine, but it will be a path in which he must discover himself, come to terms with who he is and what he feels for the young man who makes him so happy when he is at his side. Suddenly, and before he himself realizes it, Atom knows who he is, and he thinks he knows who Kongthap is, but many surprises are about to happen that will keep us on the edge of our seats until long after the credits have finished.
What I liked most was seeing how friendship is built and how, while they explore their respective worlds, trust, affection, physical attraction, love are born...
The intentions of this LGBTIQ+ story are very clear from its first episode, since what you will find here is a romantic story that explores the relationship between two teenagers. At this point it shouldn't really be a particularity that they are both boys, but I am aware that it is one of its most striking aspects, although for me the most important thing is that it is a charming series and probably the most tender work of fiction, beautiful and endearing that we are going to see throughout 2024.
I remember when a few years ago I pointed out that 'Love, Simon', the film directed by Greg Berlanti, came to fill an incomprehensible void within the romantic comedy of the major studios, since until then it seemed that homosexual couples were condemned to suffering or, at most, be a kind of complement to the main plots. There was a lack of luminous stories, and 'My Love Mix-Up!' is also found along those lines.
'Write Love with Eraser', as it is also known, also delves into topics such as empathy, tolerance, prejudice, homophobia and coming out, always addressed with tact, simplicity and naturalness.
Au, an expert in probing gay sexuality and gender identity, gives us a series that focuses on feelings and the search for answers to the inevitable questions that we have all asked ourselves at some point. There is no idealization of the characters nor of the stormy relationships that are established between homosexuals in other series with a tragic tone.
From the first moment there is an enormous respect for the emotions of others and, although behaviors that we could identify as homophobic are occasionally shown, the characters reveal themselves so as not to be victims and encourage a dialogue that allows them to overcome each other. That is to say, an enviable harmony prevails that goes far beyond the good ideas you may have at a conceptual level. Rhythm, tone, interpretations and even the effective staging work all go in the same direction, and that always adds up.
The characters in the manga are endearing and very beloved, so it was extremely important to find the right people to play them. I couldn't imagine the series with other protagonists: "Fourth" Nattawat Jirochtikul and "Gemini" Norawit Thiticharaenrak make the world fall in love with them from the beginning. The first is a perfect Atom, clumsy, somewhat silly, frank, childish, nervous, shy and in love, he makes us smile every time he does it, and reflects very well how he cannot erase Kongthap from his head no matter how hard he tries.
And Gemini, for his part, is an incomparable Kongthap: intelligent, friendly, studious, talented artist and athlete. His character is more complex, as he has to assume the role of a young man without defects, while acting with a restrained, soft voice, deep gaze, and adorning his face with a frequent poker face.
Atom and Kongthap are a cute couple whose opposite personalities complement each other. The extravagance of one strikes a perfect balance with the seriousness of the other. Of the two, Atom is more vulnerable due to his constant doubts about himself and his relationship. However, his traveling companion proves to be also committed to romance.
Both represent self-discovery, not only regarding sexual orientation, but also regarding the way of being, something that we often repress to try to fit into a group or relationship.
Kornprom Niyomsil knows how to direct them perfectly to give life to the story in which there is no trivial detail: from the creative freedom given to the members of the cast, to the brilliant palette in which the colors of the rainbow prevail.
Compared to the original work and the Japanese version, I feel more invested in the romance of the Thai series. And the big blame for this, in addition to the reasons stated above, lies with Fourth and Gemini, who do express the physical intimacy that I never got from Michieda Shunsuke and Meguro Ren.
I took for granted the comparisons not so much between the manga and the Thai version, but between the latter and the Japanese adaptation, and that has been the case; but I consider them both to be excellent BL dramas.
However, the remake that I am reviewing has a romantic vibe that did not exist in that one and more dynamic and charismatic characters, which makes the series more meaningful to me. From the first moment I heard the protagonists perform the happy and catchy songs that make up the soundtrack, including "Re-Move On", its opening theme, I already had the feeling that I would love it.
'My Love Mix-Up!' It is, in short, a sensual and tender journey to the very epicenter of the heart of love.

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Love at first sight and the realization of dreams

Do you believe in love at first sight? This is one of the most used tropes in film and television, especially if it is a romantic drama. In fact, it is a trope so used in almost any narrative that for many people it is quite normal to expect this famous crush when looking for a partner.
What would happen if we combined love at first sight with other tropes, such as the difference in social classes, dissatisfaction with life, very opposite personalities, the passion for music and dance, the evolution of strangers to friends and from friends to lovers, the search for happiness, the realization of dreams or that one of the boys continues studying while the other abandons studies to help his mother in the family business in the absence of his deceased father?
With all these ingredients inside a large saucepan used to make curry rice, Sakon Wongsinwiset, recognized for his work in popular dramas, such as the saga of 'Club Friday: The Series', 'Cooking Crush' and 'Our Skyy 2' ', among others, cooks the series 'Only Boo!'.
Starring "Sea" Dechchart Tasilp, as Kang, in his first foray into the world of entertainment, and "Keen" Suvijak Piyanopharoj, as Moo ('My Tempo'), or just "KangMoo", a ship that at only 18 years old of age each already raises sighs among BL lovers, the drama tells the story of a young heir of a rich family in Bangkok in the last year of high school, who is forced to move to Nakhon Phatom, as punishment to correct his behavior for deciding not to go to school and appear for an audition on the same day as an exam. In the new setting, while trying to fulfill his dream of becoming an idol, he discovers his first love.
The boys' lives are about to cross paths, and it won't be a casual crossing. And such an encounter between the two produces the subsequent "train crash." The one will influence the other as much as the other influences the one. This union will be to such a point that both will begin to feel things unknown until then that they will not be able to control.
With a script by Pattarawalai Wongsinwises, this romantic comedy tells the story of Moo, an ordinary teenager who loves to sing and dance – although with bad luck because he has not been able to fulfill his desire – who falls in love with Kang, the boy who sells curry. with rice at the school to which he has been transferred. To conquer him, he will need all his ingenuity and the help of his new friends Payos (Ashi Peerakan Teawsuwan), Potae (Aun Napat Patcharachavalit), also interested in becoming idols, and Neth (Milk Pansa Vosbein), Khang's friend. Jang (Louis Thanawin Teeraphosukarn), these three
Moo, who wants to love and realize his dream at the same time, accepts his homosexuality from the moment he meets Kang. But his hopes are null when he believes that the sharp, serious and very joking boy is decidedly heterosexual. However, Kang, who initially treats him in a cold and distant manner, has actually also developed feelings for the cheerful and playful teenager.
Intelligent, a dreamer, with strength and confidence in achieving what he believes in, Moo is different from anyone Kang could meet. Moo will try to make him fall in love with her and get him to see beauty through his eyes. Time will make them both discover and accept each other, allowing them to live a key moment in their adolescence when the bond of friendship leads to a deep story of intense, respectful love full of tenderness.
And after Moo tells Kang: "I don't want to have friends. I want to have a boyfriend," one of those idyllic adolescent romances that hide - or deny - any flaws will begin. However, the love relationship must face several tests, and among these is the arrival in the town of Shone (Book Kasidet Plookphol), Moo's cousin, who will also have intentions of conquering the curry rice seller, or the pressure he exerts the entertainment industry from preventing the romantic relationships of their idols.
Sakon Wongsinwiset, a director with an important work within the genre, knows how to narrate, knows how to build atmospheres and knows how to use cinematographic tools to tell what he wants about beings destined to be incompatible, but who against all odds and against all difficulties meet. and they love. With complete intentionality, at times it seems as if these two young people could not be together, but neither could they be apart. And this, in addition to the talent of the actors, says a lot about their work behind the cameras and pulling all the threads of the machine.
Kang, the boy who likes art and painting in his spare time, and Moo, the sincere and innocent young man, with an expressive face and open personality, are a perfect couple. How so, when one hides his feelings while the other is honest and direct about his love and affection? There is a reason for the magic of television. No?
Hopelessly in love, Moo tries to get Kang to notice him and flirt with him. So he tries hundreds of ways to win him over. She writes songs for him, she comes up with phrases to make him fall in love with him, she dances for him. At first, Kang appears to be angry at Moo for bothering him. There comes a point where he is confused about his feelings for Moo. He tries to tell himself that he doesn't like him, but deep down he is attracted to the boy.
This is a romantic comedy characterized by a fast tone, acid humor and self-confidence in dramatic situations, which intimately portrays the first moments of passion and falling in love between two boys to delve into the twists and turns and complexities of love and desire.
The student who comes to the store every day to eat Kai Palo begins to arouse some curiosity in Kang, and with plates of delicious food, rides on the motorcycle on which Kang goes out to the street to sell food, and furtive glances Between the two, a joyful and intense love story is born in a subtle way.
This story, which provides inclusive insights into the debate on diverse identities and sexualities, while at the same time exploring the development and growth of a young man pursuing a dream, addresses topics such as friendship, love, family, relationships, sexuality, adolescence and in particular first love, sexual awakening and identity in a post-millennial format as it dilutes the binary and sexual identity boundaries (man-woman) and makes way for a teenage romance drama that aims directly at the heart.
Moo will realize that the journey towards his dream is not a bed of roses and to succeed he will have to overcome many obstacles. This is how the series also sends the message that effort and passion can contribute to success.
Although mothers, friends and a secondary couple circulate in its universe, the series is, basically, an exploration of that very particular relationship. And, in that sense, the chemistry and magnetism between Keen and Sea is what will make or break the narrative. They are the ones who on screen can cope with even the cheesiest situation with commendable elegance, ductility and naturalness.
From a cinephile's perspective, 'Only Boo'! It is a story to watch without pauses. It portrays that first feeling of attraction towards another man in adolescence. Friends, school, parents, dreams, make up and generate a world of difficulties that, in a certain way and in that single moment, are the most difficult problems to solve. But it can also be considered as a contribution to current discussions about non-binary and non-heterosexual sexual-affective bonds, with the conflicts they entail.
I liked how Moo came out to the whole school and how Kang, instead of blushing, getting shy, reproaching Moo, as happens so many times in real life as in other BL series, went to help Moo escape punishment of the school authorities who, in turn, did not go to punish him with a homophobic attitude, as one could imagine could happen in a conservative, patriarchal and heteronormative society like Thailand, in which discrimination against members of the school still persists. LGBTIQ+ collective, but because Moo used the school radio to broadcast a personal message.
I liked how the two mothers accepted their children's homosexuality, when it was assumed that they would act differently for the reasons stated above, since homosexuality in Thailand is also a taboo subject.
'Only Boo!' It is an example of how Thai series can set out and fulfill the objective of contributing to diluting binary and sexual identity boundaries (man-woman) and contributing to current discussions about non-binary and non-heterosexual sexual-affective bonds. In other words, it is an example in the fight for the rights of LGBTIQ people in that Southeast Asian country.
'Only Boo! It delves into its plot and puts its finger on the sore spot when it addresses a very controversial topic: either being human or being an Idol. Everything seemed to be going very well for the protagonist couple, until the moment when they must face a reality: many music agencies stipulate contracts with artists so that they do not have romantic relationships while the engagement lasts.
Likewise, we will not only be pleased with Keen Suvijak's histrionic and dancing skills, as we will also enjoy his vocal qualities when he performs "แค่ที่แกง Ost.แค่ที่แกง Only Boo!", the theme that presents each episode, and "Estación No .0", a heartbreaking song about a boy who suffers after being abandoned by his boyfriend, among others.
In this case, the director presents the story through a plot structure that gives the series an innocent and nostalgic look at first youth and first love.
Simple, sober and with just the right moments of humor, the drama radiates an incredible charm that will make us want to close our eyes and hug the screen tightly so that this world and these characters never escape us.

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Food and care: couples therapy for the fulfillment of a promise

Directed by Tadaaki Horai, who we know for his participation in the live-action adaptation of the popular manga 'My Love Mix-Up!', and the 2021 BL drama 'Kieta Hatsukoi', and script by Takeshi Miyamoto, writer also from 'Old Fashion Cupcake', from 2022, Fuji TV ('The Novelist', 'Mood Indigo' and 'Playback') produces the six-episode series 'Perfect Propose' (パーフェクトプロポーズ).
Adapted from the manga of the same name by Tsurukame Mayo (鶴亀まよ), the work stars Shunya Kaneko ('Ultraman Trigger', Rent-A-Girlfriend, live action) and Kota Nomura ('Shup Up', 'Shin Shinchō Kōki', 'Classmate wa Sengoku Bujо̄' live-action) in the lead roles of Hirokuni Watari and Kai Fukaya, respectively.
The creators have allowed themselves changes to the original plot in order to give a more realistic vibe to both the characters and the story.
The main song is "Daydream", by the group OCTPATH.
Additional cast includes:
Jingi Irie as Kaneko, senior at Hirokuni's company.
Ayane Kinoshita as Hiyori, a junior employee at the company.
Rio Takahashi as Tatsumi, a junior employee.
Yuta Hayashi as the new employee, Sakamoto.
Ryo Iwase as Hirokuni's boss, Sato.
Toshiyuki Kitami as Kenji, the restaurant owner who taught Kai how to cook
Kotaro Tanaka as Koji's son.

With a mix of the popular JBL 'My personal Weatherman' and 'Old Fashion Cupcake', Hiro and Kai's romance will take us into a world of complex relationships with tender moments and a love story that will defy expectations. Two souls battered by life and circumstances will find comfort and forge an unforgettable and unbreakable bond.
Why has Kai been searching for Hiro for twelve years? How true is Kai's alleged old promise to “get married and live together”? Has Hiro forgotten that “he has been engaged to his friend since adolescence?” Has Kai taken the promise seriously and makes it his life's mission to make it a reality? Will Hiro be willing to keep his word given in the past? Will the two of them be happier together or apart?

PLOT

Hirokumi is on the verge of a nervous breakdown due to the stress caused by the deadlines for work tasks assigned by his demanding boss, as an employee of a corporate company. He feels that life can't be worse. But just when he thought things couldn't go any further, he meets again with an unexpected visitor: Kai, a childhood friend that Hirokuni used to babysit, who comes to make true a promise made by the two in the past.
It's been twelve years since they last saw each other. The circumstances under which the reunion occurs are not ideal. While Hiro is about to faint from the workload, Kai is homeless and asks for help. He, despite his reservations and with no other option, reluctantly allows Kai to move in with him. Soon his friend will reveal to him that he is gay. What Hiro would never suspect is that this circumstance will lead to an unexpected connection that challenges his preconceived notions.
Positioned in his new domestic life, Kai proves to be an expert in the culinary art, and makes delicious plates of home-cooked meals. The phrase “love enters through the kitchen” has never been better said. Hirokuni soon understands that being cared for and pampered isn't such a bad thing after all.
Kai's caretaker in the past, Kai will now take care of him. Kai becomes a caregiver fully willing to take charge of Hirokuni's messy life. This, a little clueless in matters of love, along with an optimistic and self-confident Kai, make the perfect couple in this series that skillfully combines drama and romance.
The unconditional power of love, acceptance, intricate threads of vulnerability, self-discovery, compassion and personal growth, surrounded by a warm environment of healing therapy and delicious food are woven into a tapestry of emotions that may not seem like much to us.
We will witness Hirokuni's metamorphosis from a lonely and exhausted man to one who finds solace and inner peace in the presence of Kai and their blossoming love.
As their lives intertwine, a new dynamic is produced that will enhance well-being and reduce problems in the strange relationship between the cool, handsome guy with remarkable domestic skills and the work-weary salaryman who lives a lonely life. .
The classic tropes of friends becoming lovers or old promises to keep will not detract from, on the contrary, they will enrich this fun and moving Japanese drama.
If you asked me to define 'Perfect Propose' in a few words, I would say that it is a healing gastronomic drama, a couples therapy in rescue of two souls wandering in pain. I would add that it is possible to become absorbed in the depth of the characters' emotions, the nuanced details of their interactions, and the beautifully rendered images that bring this love story to life.

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No wonder they are the happiest Thai actors today. It cannot be any other way: after two series forming a ship that attracts millions of viewers, Thitipong Sangngey and Wasuthorn Chaijindar (FortPeat, as they are known) finally star in a series, the one they always dreamed of, and the one we have waited for BL lovers in general and followers of these two actors in particular.
Yes, we already saw him lead the cast of 'Love in The Air' (2022), but there they were the secondary couple, while in 'Wedding Plan' (2023) they played roles of little weight in the story and little presentation on screen. On both occasions they left us wanting more.
The opportunity to show off their acting skills, their beautiful faces and physical attributes comes from Ne Neti Suwanjinda, the director who has always chosen them to put them in front of the camera since the entertainment industry, very intelligently and correctly, paired them, to tell us the love story between Tongrak, a writer looking for inspiration for his most recent novel, and Mahasamut, a resident of an island in the south of Thailand who was tasked with taking care of the visitor.
In the first two episodes of the series (those that have been viewed for this review), the protagonists will find themselves trapped in a stormy, fiery and sensual relationship full of sex and endless days and nights, where love will set the course of their lives new lives while both fight to achieve their respective dreams.
'Love Sea' is a new-adult dramatic and romantic series with an aspirational LGBTIQ+ theme narrated in a dynamic, vibrant way and with a realistic treatment of the most current youth conflicts, all accompanied by beautiful and cheerful music and exquisite cinematography.
Based on the novel of the same name by prolific BL MAME screenwriter and director Orawan Vichayawannakul, whom Net called on now as on other occasions, the series tells the spectacular and improbable story of Tongrak (played by Peat) and Mut (role assumed by Fort), two young dreamers with nothing in common, whose destinies cross unexpectedly.
Tongrak has it all, a good financial position and enjoys success after publishing several novels, some of them brought to television as BL series. But despite this, he lives in a state of constant frustration caused by several unresolved problems in his life and by currently suffering from writer's block. Furthermore, he does not believe in love, considering that it only lives in the imagination.
The journey of Peat's character is the most interesting one made, since in his contact with Mut we can see his reproach for being ashamed of his past and the wounds of his soul that have yet to heal. Thus, the creation of Tongrak and its motivations are very interesting and gain the public's favor.
For his part, Mut is a humble young man, who carries the trauma caused by having been expelled from home by his father at the age of 15 and, despite having to resort to pretending about himself to others in order to make his way in life and get a roof over his head and a plate of food, he has become a leader of the locals and the force behind the local people.
Each one, in their own way, faces an existential crisis that can lead them to failure, to lose what they have achieved so far, so they have no choice but to join forces and embark on the same path that will lead them to know each other better and perhaps...
United by destiny, when their lives intersect, they embark on a transformative journey together that represents both an escape from their complicated presents and traumatic pasts and a search for love, happiness and their place in the world. These are questions that almost all of us have experienced, or on which almost all of us have reflected, at some point in our lives. Especially in our twenties, which is the age that Mut and Tongrak are around, and the time when doubts about our present and our future are most crowded.
For her part, MAME cannot hide her happiness. Although at first his style left us with some red flags, such as 'Love By Chance' or 'TharnType', today he seems to have found his voice by giving an evolution to his stories to keep fans of the genre happy, especially with that HOT touch that all BL fans love.
The ForthPeak junction, a visual and spiritual gift for so many viewers around the world, would give good returns to the creators of the series, especially through a drama that has its main strength in the clarity with which this story is conceived on paper, the pulse with which the direction channels them through the setting on screen, and the way the two actors defend it, in characters with characterological richness and infinite nuances that only they know how to add in their assumption.
One of the great things about 'Love Sea', and one that the production team cared a lot about, was showing the paradisiacal environment and the natural settings that serve as the setting for the erotic-existential journey of two young people in love and that provide truth and essence, because if there is a place that wins by a landslide, it is that southern Thai island, the meeting place of the protagonists and where their romance takes place. Having been able to record in that place is one of the great achievements of the drama, since it is integrated in an outstanding way into its DNA.
'Love Sea' effectively combines the conventions of the romantic genre and a fresh visuality by placing the narrative heroes in a natural and paradisiacal environment, which also takes center stage, to which is added the bill of the presentation and farewell, and the curtains of Transition.
So far, the performance of actresses and actors has been, in general, high, and the combination of young figures with other already established ones was among the most successful. It was especially appreciated to once again enjoy Forth Kashane Pichetsopon, Ja Phachara Suansri, Boss Chaikamon Sermsongwittaya, Noeul Nuttarat Tangwai, An Oliver Poupart, Jinjuta Rujirakumthonchai Liu, Ivy Phattaree Tassananakajit and Chanya Amarit Duval. Kevin Tray will provide his voice as Conner.
The best thing about the MAME-Net binomial's staging lies in its way of capturing the love and physical contact between Mut and Tongrak, materialized in the hugs, kisses and sex they share in different situations: at the bottom of the ocean , on board a moving yacht or during their sexual encounters both on the sand of the beach and in the resort room, where the eyes, lips, hands... the entire body of one travels over the body of the other and vice versa. The latent desire between them is subtly filmed through gestures and glances, which communicate everything that is not expressed verbally. But how much is there left to express when in one way or another everything has been said... or almost everything?
The direction knows how to give credibility to the sex scenes and the dialogues exhibit enough youthful nihilism and naturally.
Fort and Peat consolidate themselves as a ship with great aspirations to continue being one of the most anticipated by the public, and as two actors with attitudes in abundance after 'Wedding Plan' or especially 'Love in the Air'. Their respective Mut and Tongrak work from the beginning because of their talent and also because their characters' status as people called to surpass themselves gives them the strength to stand out dramatically.

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Hwang Da Seul, attractions and self-acceptance in a dominant and homophobic male environment

As viewers, we know that, regardless of our inclinations, there are always authors who lead us along the path of visualizing good works that, once taken, become indispensable to us.
Someone told me, shortly after leaving my adolescence, about a romantic writer and director, author of unique audiovisuals that leave the public with the desire to see and see more. Shortly after, he brought before my eyes the youth and romantic drama 'Where Your Eyes Linger', the series with which Hwang Da Seul began his particular exploration of LGBT+ themes.
Viewing each of its frames proved my friend right. The secret infatuation and the vibrant love story between two childhood friends and classmates, today 18 years old and high school students, one of them a playful chaebol heir, and the other, his diligent bodyguard, both lovers of Taekwondo, It became a revisited work capable of transmitting new sensations.
To visualize each scene today is to return to those impacts and convince ourselves that we are facing a work of the highest resonance in the world of BL. The bond between Han Tae Joo, son of a powerful chaebol family, and Kang Gook, "hired" by the latter's rich and conservative parents to protect their descendant and prevent him from getting into trouble, is enduring.
In this way, I immersed myself in the work of Hwang Da Seul, a young woman who graduated from the Film Department of the National University of Art of South Korea, who at only 30 years old already has several awards, such as the Excellence of the 5th Catholic Film Festival for their 2018 short film 'Spring That Summer'. I needed to discover it. I still need it.
On the one hand, LGBTQ + films and series include BL, Yaoi, Yuri, GL and other additional ones about love between people who may be of the same sex or some variation.
On the other hand, in the review, I use the acronym LGBT+, if I remember correctly, on three occasions, and always in the context of THEMATICA, not film genre. Therefore, calling 'To My Star' as LGBTQ+ is, in my view, very correct in both senses.
LGBT+ themed works are those that tell stories of members of the group made up of lesbians, gays, transgenders, transsexuals, bisexuals, intersex, queer and the rest of the identities and orientations included in the +, which tells us that the group is still constantly growth. And these are represented in 'To My Star'.
Regarding your opinion of the director and screenwriter, I do not agree with you. Her work speaks for itself: In 2023, director Hwang Da-seul attracted global attention when 'Where Your Eyes Stay', considered Korea's first BL web drama, was screened for the first time in the BL genre category on the VPB (Venice Production Bridge Screening) of the prestigious Venice International Film Festival, one of the three most important film festivals in the world.
Season 1 of 'To My Star' ranked first overall in the daily section of China's Weibo and Japan's Rakuten TV, achieving good results in overseas markets such as China and Japan. After that, 'To My Star 2' was the first BL series released in Korea after being released on television, in addition to the ratings, it ranked second in the overall category on Japan's Rakuten TV monthly chart and first undisputed place in the Korean drama category, which generated a global syndrome.
The screening schedule for 'Break the Curse of Taekwondo' was published on the Bucheon International Fantastic Film Festival website on June 18, to generate expectations, as the public's interest was known.
Other films by this director have similar balances, such as the drama 'The Sweet Blood', from 2021, a youthful and supernatural romance about a half-vampire who must choose between family duty and the desires of his own heart for a companion. class, and the film 'You Ghosted Me for a Week', in which he places his protagonists in a terrifying scenario caused by the tragedy of Covid-19.
Sometimes only as a screenwriter, sometimes as a director, sometimes combining these two professions, in the drama '300 Year-Old Class of 2020', a fantasy comic web miniseries, tells the story of three students from Seowon during the Joseon period who travel accidentally in time and arrive in the current Seowon in 2020, while in 'Drama Stage Season 2: Push and Out of Prison' catches the viewer with a story that mixes drama and mystery, and in 'Love as You Taste' offers a collection of love and heartbreak stories combined with each character's favorite food cravings as they all fall in and out of love.
In the series 'Blueming', from 2022, Hwang Da Seul returns to the love series between boys, to tell us a romantic and youthful story about whether good appearance defines popularity, also exploring insecurities, discovery, acceptance, shame body, and brother-sister and mother-son relationships, among other topics.
The extraordinary genius made into a television series by Hwang Da Seul is demonstrated with the two seasons of 'To My Star', from 2021 and 2022, another LGBT+ themed drama, which tells us a fairy romance between Kang Seo Joon, one of the brightest acting stars in South Korea, and Han Ji Woo, a talented chef.
Starring Son Woo Hyun as Kang Seo Joon, and Kim Kang Min as Han Ji Woo, this is one of my favorite series of all time.
Throughout eight short episodes, the young director and screenwriter returns to the LGBT+ theme and explores, in 'Let Free the Curse of Taekwondo', her most recent work, sexuality, masculinity and queerness, as well as internal conflicts, friendship, first love, separated lovers who meet again in time, homophobia, internalized homophobia and the healing power of a deep love.
The story revolves around Lee Do Hoe, a serious and quiet high school student who lives with his abusive father, a Taekwondo coach in a rural area. The life of the teenager, who despises the violent and brutal atmosphere of his home, takes an unexpected turn when the cheerful and bright Sin Ju Yeung, who dreams of going to university specializing in Taekwondo, arrives from Seoul.
According to the synopsis, after the arrival of the mischievous martial sport practice partner, Do Hoe's dark and sad life enters bursts of small and big joys, which will make his world light up. However, the oppressive culture symbolized by their father finally twists the budding love relationship of the two boys and, after an unexpected incident, they both separate, only to meet again ten years later.

HWANG DA SEOUL AND THE SIX TYPES OF ATTRACTIONS

It is fascinating how, through the dynamic established between Sin Ju Yeung and Lee Do Hoe, Hwang Da Seul makes a profound study of modern social psychology, in terms of the six types of attractions, in consensus with sexology and anthropology, based on the concept of attraction as a force that brings people together and enhances the desire to interact, know, discover, deepen ties.
With extreme and masterful acuity, the series addresses the fact that if you are attracted to someone, you feel it beyond a doubt. Defining what for depends on the factors that shape that affinity. One of them is the frequency of contact, since it is more possible to develop fascination with those who you see often. Touch makes love, says the proverb, and this makes the two protagonists fall in love with each other immediately. They both feel that unique and shocking shock for someone they have just met, while at the same time they become attached to that charismatic being because they identify with his way of thinking or his image.
The truth is that a physical, sexual, carnal, objective attraction arises between the two boys, since each of them meets the beauty requirements of the other's cultural context. The so-called aesthetic attraction or sex appeal is palpable from the first moments, because one awakens a reaction in the other in their environment thanks to their image.
And this physical, sexual and carnal attraction is much deeper and enriching, since it is accompanied by other types of attractions, such as romantic or platonic, based on an emotional affinity that privileges the bond towards carnal desire, and friendship, consolidated with the tests of the lives of the two main characters from the moment their lives intersect, and based on trust, sincerity, emotional well-being... spending time with someone and growing or having fun in their company.
But the director and screenwriter also plays with the so-called sentimental attraction, an attraction that is halfway between romantic and friendly. Both Ju Yeung and Do Hoe feel intense admiration for each other since the friction between them barely begins. They even come to see themselves as part of the same family, perhaps like the brother they never had, living under the same roof, occupying the same bathroom, one preparing food for the other...
Likewise, through the bond between the two boys, sensory attraction is manifested, that which has to do with physical contact with someone. From their body-to-body interaction while practicing sports or outside the dojang, such as when one steals a piece of ice cream from the other by snatching it directly from the mouth, in direct contact of one's saliva with that of the other, as if it were an indirect kiss, or when they touch their hands when they both hold the umbrella, both in the rain, in front of the school, when Ju Yeong surprises Do Hoe when he goes to pick him up after finishing classes, or when they heal each other's injuries after sustaining combat practices of the martial art they practice.
The mere proximity of one to the other calms, happy, strengthens with their pampering and hugs... even from listening to them, seeing them or smelling their essence.
It is extraordinary how in just one hour of the first two episodes, Hwang Da Seul, outstanding in his ability to connect with the viewer's most intimate feelings, explores the sixth type of attraction, the intellectual, that fascination with someone outstanding (or no) in some branch of knowledge, sport, art... Sin Ju Young is an excellent athlete and future university scholarship holder, while Do Hoe, in addition to being a good student, excels in taekwondo training as his father's assistant. His opinions, knowledge and philosophy of life invite his training partner to follow him closely.
Each of them believes in the duty and right to care for and protect the other. Although you know you are strong in spirit, body and character, don't you feel that the other is vulnerable and fragile in the face of the circumstances imposed by life? Has one not been expelled from school and home, and sent by his parents far from home, to a remote place, to an unknown world? Doesn't the other suffer from the physical and psychological abuse of the father? Hasn't Do Hoe had to fend for himself in the face of his mother's abandonment of the family home?

OTHER THOUGHTS

Starring Kim Nu Rim in her first leading role after appearing in several series, such as 'Once Again' and 'I will go where you are when the weather is good', and in the film 'A Girl of the 20th Century', as Lee Ho Doe, and Lee Seon in his acting debut, playing Sin Ju Yeong, it is evident from the beginning that the filmmakers strove to be as authentic as possible. This is evident in all aspects of the series, as is also evident in its depiction of Taekwondo.
In addition to the excellent choreography in the sports practices, everything is satisfactorily filmed, such as the long process before or after training, where the characters are seen warming up their muscles, seeking concentration, getting rid of their sports clothing or cleaning his wounds. In this aspect, the series gives us an intimate vision of the techniques that make up the basis of the art supported by the physical, spiritual, martial and philosophical that corresponds to the name of Taekwondo. This is the second BL series in which the director and screenwriter puts the protagonists in this sports scenario. Everything seems to indicate that he likes this sport.
And there emerges another strong point of the series: placing these two teenagers who explore sexuality in a scenario in which they must challenge stereotypical notions of manhood, as that virile and combative sport is supposed to be.
In this sense, the two protagonists will live hell trying to be true to themselves, so the biggest fight is not the ones on the streets or in the training area, but the one that comes from within each of them, so that the series is also a stunning exploration of two young men's journey toward self-acceptance in an ocean of hypermasculine and homophobic pressures.
With outstanding performances and beautiful cinematography, Hwang Da Seul has created an extraordinary drama that speaks directly to all those LGBTQ+ youth trying to define their feelings, emotions, and their place in a heterosexual world that can often feel scary and strange.
None of the series authentic qualities would have worked without the commitment of its two main stars. As seen in its first two episodes, the only ones broadcast until the moment I write the review, 'Let Free the Curse of Taekwondo' follows the protagonists' journey from beginning to end, there is no scene without them and their performances in all of them.
Their roles are deeply demanding, both physically and emotionally, as the characters go through this entire hard process of self-discovery and acceptance of their sexuality, while proving the innocence of teenage love and stopping being strangers to become lovers, in a dominant male environment. , within a complex scenario of homophobia and violence exercised both by the father of one of them, the coach of the other, and by the young delinquents who frequently persecute Ho Doe and Ju Yeong.
There are plenty of reasons to watch the series, and among these the leading roles of Kim Nu Rim and Lee Seon stand out. They are one of the best performances of the year. These guys have a bright future ahead of them.

THE MUSIC AND THE SERIES

Personally, I really enjoy the songs composed for the series by the successful musician Doko and performed, among others, by the emotional singer-songwriter Gogang'. The OST, composed of five songs, allows to increase the emotions of the drama in the audience, while leaving a deeper and more persistent impression.
"I'm Still Young" captures the incomplete emotions and awkward movements of the mind as if walking alone down a road at dawn. Jo Hwan-ji's melodious, calm yet deep voice creates a lyrical sensitivity.
For its part, "Thank You" delicately expresses the emotion that is cautiously approaching. This song, which lists one by one the tremors in a moment that feels like destiny, doubles the emotion by adding the soft and sweet voice of Yura, the main vocalist of the group Unicode.
Meanwhile, "Camino" is based on a lively piano accompaniment and contains the thought: "Just as our lives are on the path of youth, there will be a time in our lives when we will all take a path that we must travel." and 'Trunk' is a simple song based on guitar playing, Gogang's charming voice represents the desire to "pack only the necessary luggage and leave in peace to an unknown place."
Finally, "Oh Camino", is a band version of "Camino", and offers something new with a different melody, arrangement and version from a different era, to frame the passage of time in the lives of the two protagonists.

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The trio of debut directors Yaegashi Fuga, Makino Masaru and Harashima Takanobu are responsible for bringing 'Hidamari ga Kikoeru' (ひだまりが聴こえる) to the small screen, for the TV Tokyo channel, the real-time adaptation of the shōnen genre manga -ai eponymous written and illustrated by Yūki Fumino.
The script is in the hands of Kawasaki Izumi, known for writing the series 'Nagatan to Aoto: Ichika no Ryourijou', 'Jimi ni Sugoi! Koetsu Garu Kono Etsuko', and the specials 'Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko' and 'Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko 2', among other serials and films.
'Hidamari ga Kikoeru' is a compelling Japanese youth, college and LGBTIQ+ romantic drama that delves into themes of identity and personal growth. The series explores the relationships and identities of two teenagers who begin a journey of discovery and transition from what they should be to what they want to be, in which their group of friends will also participate, who are united by the search for their place in the world. Its plot begins by narrating the difficulties that Kōhei Sugihara has hearing, since the current university student had suffered from a sudden sensorineural hearing loss during high school. Circumstances have led him to become a lonely, distrustful, introverted, unsociable and distant boy with great difficulties relating to other people. He himself admits to feeling "out of place wherever he goes."
Thus, the creators present us with a love story between two teenagers of the same gender, and analyze the problems that the world can pose for a person with hearing problems.
Kōhei's entire life changes when he accidentally meets Taichi Sagawa, who offers to take notes in classes for him in exchange for the lunch that the disabled student gives him every day. Kōhei will soon discover that he can hear the loud voice of the new acquaintance without difficulty.
This is how a friendship develops between a boy who had always had problems socializing, because his hearing problems caused him to be marginalized by his classmates, and another happy, optimistic, determined, empathetic, energetic boy and extrovert who lives practically in poverty, needing to work while attending university in order to survive. Both will help each other and, little by little, they will give in to their feelings, unleashing a beautiful story of friendship and love.
Taichi will make Kōhei open up to the world once he assures him that his hearing loss is not his fault. Taichi's kind words pierce through Kōhei's usual defense mechanisms and open his heart, causing his feelings for Taichi to turn into love.
This relationship changes Kohei forever.
Thanks to Taichi, Kōhei begins to smile and integrate into the social life of the campus. Others also begin to see him with different eyes. Taichi becomes the friend he never had or perhaps lost when he lost his hearing and was ostracized. Taichi teaches him "that there may also be a place for him on the other side."
Taichi and Kōhei challenge gender norms on a journey of self-discovery. His story takes us into themes such as the search, the formation of identity, personal growth and the transition to adulthood. But it also addresses feelings such as loneliness, happiness, marginalization or improvement.
The two protagonists spend time together outdoors while having lunch or in other spaces on the university campus, creating an intimate and comforting atmosphere. Beautiful scenes filled with subtle gestures and glances highlight the growing connection between the characters. As they exchange words, smiles and shy glances, viewers are left with a sense of anticipation of what is to come in the next episode until the series' conclusive close.
There are many challenges that this production more than overcomes, and several reasons that enhance its plot proposal. Beyond the structural, acting and logistical aspects, which through austerity allows this series to achieve a lot, and the virtues in the themes addressed, and their management, the narrative structure must be highlighted.
With a slow pace, and alternating different timelines that go from the adolescence of the two protagonists, narrating the moment in which Kohei begins to lose his hearing and how he isolates himself from the world, or the divorce process of Taichi's parents that It led to him going to live with his grandfather, to the present day, each episode, from less to more, manages to generate expectation, interest, entertainment, and leaves an important space for personal reflection.
This slow pace creates a context that allows for the correct development of the protagonists' story. As a weak point we can mention, on the other hand, the lack of depth in the construction and history of other main and important characters in the story: Yokoyama Tomoki, Sugihara Ryoko, Yasuda Satoshi, Sagawa Genji, Miho, Maya...
'Hidamari ga Kikoeru' is a story of growth, of the transition to adulthood, and the team behind the cameras knows how to put themselves in the eyes, the body, the sensitivity of those young people who are just beginning their steps in the university world, young people among the adolescence and adulthood, for whom the conflicts they are going through would be deciding "their entire life."
The tempo, the music, the movement of the bodies build a truth in which some lines of the script may be redundant. A detail that in no way detracts from an endearing and loving story, which knows how to deviate from the commonplaces that the universe of television series has built.
The young and promising actor Nakazawa Motoki, in his first leading role after appearing in the film 'Sayonara Monotone', from 2023, and several series, including 'Saitama no Host', plays Sugihara Kohei.
For his part, rising star Kobayashi Toranosuke, also playing his first leading role, after debuting in 2022 in the series 'Kateikyoushi no Torako', takes on the role of Sagawa Taichi.
Nakazawa Motoki and Kobayashi Toranosuke had already worked together before, when in 2023 they coincided in the series 'Gekokujo Kyuji', in which the former played Inuzuka Sho, while the latter played the character Hioki Soma.
Personal and sincere, with a cast that is simply perfect and which is joined by Usa Takuma, who we saw in the role of Sakuma Hajime in the BL series '25 Ji, Akasaka de' or in 'Kiss x Kiss x Kiss: Love ii Shower', of the same genre, and music that carries the narrative drift with sensitivity and fairness, 'Hidamari ga Kikoeru' is a series of enormous beauty.
These three actors, along with the committed performance of a cast that includes Natsuki Omi, Nishida Naomi and the renowned veteran actor Denden, is another reason why viewing this series becomes an interesting experience.
It is not a simple love story between two teenagers, but rather it represents the problems that can arise in a romantic relationship when one of the two members of the relationship has a hearing disability. Thus, beyond a standard love theme, 'Hidamari ga Kikoeru' is a call to eradicate the mistreatment and discrimination that society carries out on minority groups, be it the members of the LGBTIQ+ group or the disabled, in this case, those who have hearing problems. "Stress is the worst for you... Living in a society designed for those who can hear might be the biggest challenge," the doctor will tell Kōhei.
In this way, the series becomes a manifesto to demand the equality of all human beings. The fact of being homosexual, something considered taboo in Japan, a country that does not yet accept equal marriage and where members of that community face discrimination and constant challenges that heterosexual people do not experience, should not be seen as something bad, but rather it should be to be integrated into society until, one day, there is no type of exclusion for the mere fact of being different from others.
To the delight of manga and BL lovers, the series does not have the same ending as the 2017 film of the same name. As I expressed in the review of this feature film: "Despite the fact that the development of the plot is very similar to the story created by Yūki Fumino, its ending has nothing to do with the original. Instead of the magical and emotional ending of the manga, the one of the film directed by Kamijo Daisuke leaves BL lovers with a bad taste in their mouths.
'Hidamari ga Kikoeru' is, ultimately, a series whose main theme is simply love, and focuses on the fundamental idea of ​​accepting each individual as they are and showing respect towards others, a message that runs through the story of the two young university lovers.

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Jazz and internalized homophobia holding hands

'Jazz for Two' is subtle in mixing several themes to bring us a romance between two boys, with the world of jazz as a context, marked by internalized homophobia in one of the members of the couple.
A lover of this rhythm, Song Soo Lim, known for directing 'A Shoulder To Cry On', adapts the popular Clazju webtoon in live action, published in Lezhin Comics in 2017, offering us a romantic and musical drama with a complaint against a problem which can lead members of the LGTBIQ+ community to feel ashamed of their identity and question their own validity as people, as well as making them feel isolated and alone, which can lead to mental health problems such as anxiety, depression and post-traumatic stress.
With its unique combination of music, romance and drama, the series, produced by MODT, confirms the growing appeal of BL dramas and webtoon adaptations, both by fans and the industry.
With the inclusion of jazz music themes, the series is not just a story of high school students, but a testament to the power of storytelling to explore universal themes such as love, identity, friendship, grief, musical studies, personal improvement, the discovery of sexual orientation, the process of overcoming complexes and traumas, acceptance, intolerance, homophobia, internalized homophobia and internal family struggles, in its narrative arc about a journey of discovery for the four protagonists .
In an intimate tone, the series is structured around Han Tae Yi (Jee Ho Geun), a cold, scheming and expressionless musical prodigy who has brilliant trumpet skills and a captivating voice, and Yoon Se-Hun (Jin Kwon), a jazz otaku who wants to be recognized for his music and has just transferred to Wooyeon Arts High School.
When the gaze of Yoon Se-Hun, playing the piano with a slight smile on his lips, and that of Han Tae-Yi, surprised, from the door of the old music room, meet, a dazzling visual combination occurs. This eye contact will be enough to change their lives. We are facing a spontaneous piano recital that is actually the overture to romance and seduction.
Have you ever met someone who makes you feel restless and calm at the same time? Have you fallen in love with a person who, although beautiful, seems complex and mysterious to you? Have you crossed your life with someone who keeps your heart rate at 112.5774 beats per minute?
If this happens when you listen to jazz, it also happens when you meet the love of your life. Se-Hun's arrival at Tae Yi's school represents an alteration in the latter's routine, where the hours in which he does not study or make music are spent immersed in his thoughts, among which an apparent hatred towards him stands out musical genre caused by the suicide of his brother, who was a genius jazz pianist, which is why he lost the will to live. On the one hand, Se-Hun's brilliant appearance contrasts with his own, while on the other, he has been shocked by his piano performance.
The attraction between them does not take long to materialize and little by little we witness how the surly and cold Tae-Yi opens up to the feelings that invade him, slowly but unstoppably revolutionizing his life emotionally. However, he rejects Se-Hun's feelings and distances himself from him.
If the reason why Tae Yi's brother commits suicide has always been a mystery, I am even more intrigued by the young man's question to his uncle: "Was my brother weak (in character)"? This made me think early on that both had had sexist and even homophobic teachings from their father. Would Han Tae Joon's (Byun Sung Tae) death have been related to this cause? Why does Tae Yi reject all approaches from Song Joo Hee (Kim Min Ah), Song Joo Ha's (Kim Hung Ha) sister? There was no doubt in my mind that Tae Yi was gay before Seo-Hu came into his life.
In this way, a very sensitive topic that is rarely addressed in BL is introduced in such an open and stark way: internalized homophobia. Marked by trauma, having to comply with what is demanded of him by a conservative country with strong patriarchal and heteronormative traditions, with an internalized homophobia that prevents him from admitting his own homosexuality, in a fascination that reflects his struggle of feelings: hatred and desire, Tae Yi rejects the boy he loves over and over again.
Tae Yi has all the cards against him: traumatic and painful experiences, such as bullying, physical or emotional abuse, the loss of friends and family. Tae Yi is a victim of the discrimination, rejection or shame that some LGTBIQ+ people feel towards their own sexual orientation or gender identity. It is a common problem among people who have grown up in societies that stigmatize or repress sexual diversity.
The series, for my taste, is a very subtle and interesting criticism of the discourse that seeks to suffocate minorities by stating that being homosexual is something abnormal and depraved. But instead of taking you down the path of vindication in search of conquering our rights, Song Soo Lim directly shows us the consequences that something that seems so general has on a normal person.
In theory, something that would not have to affect Tae Yi, who spends his days at school, his house or his uncle's bar, oblivious to everything and everyone, except forgetting his deceased brother. But it does affect him, because after meeting Seo-Hun his whole world collapses, feeling a fascination for him that borders on obsession. Tae Yi transforms into another person, but he doesn't know how to react to him. He doesn't know what the consequences will be of his actions of admitting to himself that he loves another man.
How to repress and hide a part of yourself that is suffocating you little by little and eating you away from the inside. But also, this inhibition not only affects you, but all the people around you who are also swept away by that gale.
'Jazz of Two' is a series that proposes us to reflect on internalized homophobia, on the many generations that have been affected by that intrinsic message that society constantly sends you and that tells you that you are not normal, that there is something wrong with you and that you have to hide, make yourself invisible. How you learn to put certain feelings or opinions in a box and wear a mask to feel safe, at the cost of never being your true self.
And I really liked that the drama portrays this process realistically, not in a perfect entity, but in a fallible young man, who is struggling with his reality, who makes mistakes, who takes steps back and is afraid. Tae Yi lives two separate worlds. That of the talented high school student, that of a genius with a trumpet on his lips, on the one hand, and that of a gay boy in love with the jazz-loving student, on the other.
It might seem for these reasons that we are talking about a dark and depressing series. But it's not like that. Its director also shows us what it means to build community and how your queer family, especially the other three young protagonists, and their uncle, can be there for you in difficult times.
'Jazz of Two' is sometimes a mirror that many have found difficult to observe. It will remind us of so many moments in which people who carry a great deal of internalized homophobia within themselves feel just as uncomfortable as Tae Yi, with the same feeling of hopelessness and helplessness.
For this reason alone it is worth giving great recognition to the series, to the members of the technical and artistic team. How can we not consider the series timely, revolutionary, provocative and innovative in a country like South Korea, where relationships between people of the same sex are not yet recognized and equal marriage is not legal, when in the United States, a nation supposedly less conservative, every day states pass laws that seek to bring LGBT+ people back into the closet, or in Spain a children's movie is censored because it shows a lesbian kiss.
But it's not just the main couple who is damaged by internalized homophobia. The second, made up of Song Joo Ha and Seo Do-yoon (Song Han-gyeom), two other students at the school and the latter's friend of Tae Yi, will also suffer for this reason. And even a third, made up of Yoon Se Jin (Ko Jae Hyun), Se Hun's brother) and Han Tae Joon, Tae Yi's brother, composer of the jazz piece that gives the series its title.
Just like that of the main couple, the chemistry between Seo Do-yoon and Song Joo-Ha is also unique. Both characters show their passionate emotions, capturing the viewer's attention. It also adds curiosity about what type of relationship there would be between them through the question posed by the first: "What happens if I cross the line?", incorporating new tensions and questions to the story of four sensitive and pure teenagers who go through friendship. and love.
The viewer can appreciate that it is not a simple plot, as it may seem at first glance, by showing us the social reality of South Korea, to which is added a homosexual love relationship marked by internalized homophobia, with jazz music as background.
Ya

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