an ambitious diamond in the rough, once you know what you're in for

Playboyy, I think, is something quite special. Before I get into a review though, I want to clarify what Playboyy *isn't* because I feel this show is getting a bad rap from viewers who came in with false expectations and were disappointed by the reality:

This show isn't really "BL" in the traditional sense. While there is romance, it is not the focus of the show. The romantic relationships frequently take a backseat to the the personal development of characters and the relationships between friends. It is also nowhere near "an idealistic world free of homophobia" (or, as in more modern BL, a world where gay love triumphs over societal homophobia)--it is a very real and harsh world where the characters are hitting rock bottom. Finally, a lot of the NC scenes aren't *trying* to be sexy or titillating. They function as pieces of the plot and often depicting negative experiences.

I think going into the show with these expectations in mind makes it a better experience. But on with the review:

-The Full Review-

STORY:
I, personally, really loved the story of Playboyy. As someone who has experienced losing friends badly to drug addition, I found Nont's story particularly raw and effective (and, honestly, quite triggering). I thought the decision to use an ensemble cast and a weaving narrative was especially effective in creating a real sense of this disadvantaged and isolated community caused by societal prejudices. It was very satisfying to watch these narratives bump into each other, often in completely accidentally and tragic ways.
While I agree some of the story was over the top or hard to follow, I didn't find it particularly detracted from the quality of the show. I like getting a little exaggerated in my narratives and I think it fit with the highly stylized production. While it wasn't a water-tight plot, I think it was probably the strongest script in the past year in terms of really exploring the depths of the characters and their conflicts. None of the characters felt like extras or like they were leaning on tropes. Each individual had their own story to tell and had their moment to shine.

ACTING:
The acting in Playboyy is a bit hit and miss. As a stand-out star, Dech is absolutely untouchable. Nant/Nont are a monster of a roll that swings between camp, performative highs and truly raw, exposed lows, and he brought me along with him every step of the way. Really, really impressive work. Shell was a wonderful partner for him, matching him in almost every scene and developing a unique and intriguing chemistry. I also greatly enjoyed any scene with Parm and/or Aun, which always felt very grounded and warm, and was continually impressed by Korn, who managed to maintain a necessary friction between Zouey and the rest of the cast.
Beyond these actors, the performance were a little bit shakier. Some of the actors struggled with stilted line deliveries (and I don't mean the English, which I've never had a problem with) or unnatural body language. I was never quite sold on Jack/Chat or Jeffy/Fay as couples, though each actor shined in other areas (such as Chat and Korn's wonderful friendship). In particular, and unfortunately, I found Hymn took a stylized drama and crashed it into melodrama more often than he stuck the landing. That said, I still found this ensemble created a style that played to their strengths well and rarely rendered a scene ridiculous.

PRODUCTION:
Production is where this show really, really shines. The lighting is absolutely gorgeous, full of intentional color, harsh shapes, and neon texts. Each arc and couple has their own world and visual language that helps sort out the massive cast and is, quite frankly, beautiful. The highly stylized, theatrical sensibilities also help highlight the moments when humanity comes crashing in and we left very broken characters in plain framing. It's really, really beautiful to watch.
I know I'm in the minority here, but I love the costuming of this show. I think the underwear was a phenomenal way to juggle the desire for nakedness with the reality of film-making and the comfort of the actors. If you allow it to, the underwear becomes part of the style and lets the characters exist, naked and vulnerable, without becoming exploitative. I also loved the way fashion (especially Nont's) brought it's own sense of drama and feeling to the characters. Realism clearly wasn't the goal here, and this department delivered.

INTIMACY:
Finally, because it has to be talked about, I think the way the NC scenes were stylized were nothing less than brilliant. Playboyy telling a story about the human condition through sex, it is not making porn. When the characters are feeling good and feeling pleasure, the audience is allowed to find the sex scenes hot. But more frequently, the scenes depict a vast variety of other emotions. When Zouey is feeling awkward, nervous, and uncomfortable, the scenes are made awkward with clumsy blocking and...eccentric soundtracks. When characters are being hurt, the scenes are painful and brutal and shocking--escalating quickly and making you wish it would slow down or resolve to something different. It's incredibly effective.
I've been very disappointed at the way BL fans discuss sex in this show, as if the only purpose of an NC scene is to provide spicy fanservice for the viewer to get off on. The old Oscar Wilde "Everything in the world is about sex. Except sex, which is about power." definitely holds true here. For these characters, sex that is about their own pleasure is rare and the show mirrors that reality. But that doesn't make the scenes bad or "accidentally" ridiculous. It is an intentional part of the story and, in most cases, very effectively done.

In all, this isn't a show that I would widely recommend to everyone, largely on account of the seriousness of the subject matter. But I am infinitely grateful that this show exists and is pushing the boundaries of what stories are acceptable to tell in BL. I've genuinely enjoyed my time in this world, and I very much look forward to the to be continued. :)

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slow, sweet, silly, sapphic.... superb!

Opened this one on a whim scrolling the Gaga homepage, and had such a lovely time. Tonally a workplace romcom, Ayaka is in Love with Hiroko encompasses an impressive breadth of lesbian community for such a short and simple series. Ayaka's seduction of her older, competent, and charming boss is so much fun to watch, while Hiroko's bittersweet experiences as a working, lesbian woman in a different generation provide an emotional foundation for the conflict. The acting is bright and lively, but never fails to deliver on softer story beats. It's really a gem of a show that I very much enjoyed.

-The Full Review-
STORY:
This story is a little bit cliche--a young, optimistic, and open lesbian pursues an older woman who has guarded her heart as a result of homophobia and sexism faced in the workplace. Despite this, I think the story delivers very well on it's premise. Ayaka and Hiroko change each other and inspire each other to live courageously and freely. I particularly like how much it is emphasized that it is Hiroko's own work to create an inviting and encouraging workplace for her employees that allows the culture to move beyond traditional values.
One of the strongest elements of this story is the inclusion of a wider lesbian community. Akira's lesbian bar and the friendships and safety it offers provides an outlet for Ayaka's aggressive pursuit and Hiroko's reluctance to be open. I loved getting to see Hiroko in a different light with her brash and goofy friends. Likewise, I loved Ayaka and her friend's shared experience with discovering your sexuality and finding a confidence in your identity.
While some people will disagree with a coming out/stop being so cautious narrative, I think it was presented quite neutrally. Characters who choose to remain closeted (for any length of time) are given grace and understanding, and the resulting issues from conflicting desires is treated with proper weight. I understand being tired of this narrative, but I don't think it is done poorly at all. And I really enjoy these character's journeys.

ACTING:
I loved this cast. The choice to pursue an expressive and exaggerated acting style worked very well for these lively characters and their colorful world. As the series progressed and settled, the leads were allowed several long scenes of a more natural, emotional nature that raised the stakes of the story in a very satisfying way.
Kato Shiho's bright and bubbly personality pulled me into Ayaka's quest right away, and always kept her balanced on the correct side of pursuit over pushy. She was very good at pulling off the charming, innocent, and mischievous that made it so easy to understand why Hiroko liked her.
Mori Kanna's elastic expressions were likewise infectious. While they could potentially come off as "too much," I found her style contributed to the humor of the piece perfectly--especially when Ayaka leaves the room and her blank, boss expression morphs into pure lesbian panic and despair. I loved getting to see her flashbacks to a younger and more vulnerable time in her life as well.
For standout ensembles, I have to go with Naka Bambi and Seto Kazuya because, oh my god. I am but one little lesbian. But truly, everyone here worked well together and had such a joyful chemistry between them. I have a great fondness for every character in this show.

PRODUCTION:
I loved the color! I tend to think of JQL as having rather bleak, brutalist color grading but Ayaka's world is full of personality and color. I particularly loved the way different office spaces were used to capture Hiroko's reluctance--always drawing away in tradition, cold meeting rooms and finding common ground in the open-plan teamwork-centric main room (particularly when her scenes with Chinatsu were the opposite).
Of course, Ayaka's wardrobe is an absolute masterpiece and so, so cute! The progression from the clothing she is wearing for attention to clothing that sits more comfortably in her personal style is likewise very important to the story. I thought her finale outfit was particularly good at bridging the gap between her extremes.

INTIMACY:
There's always a production when they don't kiss until the end, but I really liked the body language happening between these characters. The use of space and casual touch was really curated throughout the story. When Ayaka moves in, you really feel how close and overwhelming her presence is, and her way of melting into Hiroko is very sweet. On Hiroko's side, the tension in her body tells stories and it's so wonderful to see in progress. I loved their chemistry.

In all, I really, really enjoyed this piece. Without discounting the weariness/wariness of some of the comments on this show, I think it has done a lot of work to go beyond the basic and deliver a more thoughtful and rounded story. To do that without losing the humor and joy of a romcom is quite special. I hope to rewatch this again soon.

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an interesting project that got lost in the woods

Oh boy, what to even say. When I started watching Dead Friend Forever, I was having such a wonderful time. A fun, if not particularly original, concept, a familiar cast (for those who watched The Hidden Character), and the promise of lots of bloody, vengeful violence promised a great time. I had a whole murder board of clues going and did weekly recaps with my friends. For a while, this was one of the best titles on a line up of five or six actively airing shows! And then.... it really went wrong. DFF feels like a major case of "bit off more than they could chew" from every department.

-The Full Review-

STORY:
While there were a few high points, the story for Dead Friend Forever was incredibly uneven. Some characters, like Non and Tee got beautiful and moving individual story arcs that really explored the depths of their guilt, anger, and pain. Some characters, like White, Fluke, and Top barely manage to scrape their way out of the second dimension. The writers never quite managed a competent ensemble, and most characters had little to no connection to each other despite being friends for years through extremely traumatic events.
On a grander scale, the plot was... even worse. The authors had a horrific over-reliance on flashbacks. The worst example being a detailed flashback after a "Previous Episode" segment that contained most of the same clips, forcing the audience to watch them Twice in a Row. I hate this device because it creates one certain history (as opposed to allowing characters to lie/misremember) and denies the audience the more interesting scene of getting to watch the characters argue it out and react to the various betrayals and shocks.
Finally, I won't spoil the details of the ending, but a single prop/plot washed out so many of the intriguing clues and mysteries with a singular (and pretty stupid) answer. I used to look forward to rewatching this series to see the little pieces and exchanges I missed, but it slowly became clear that... that wasn't really going to be a concern anymore. Most of those "clues" are just red herrings for the audience to chew on while they wait for the grand reveal.

ACTING:
Let's start with the good! Barcode is a phenomenal talent, as always. Non proved to be a monster of a demanding, tragic role, and Barcode handed him very ably despite his youth and relative inexperience. While some of the "horror" scenes got a little repetitive (mostly due to the authors), all of the most emotional and raw scenes were really beautiful. He's a joy to watch. JJay and Ta were powerful acting partners for him, rising to create some truly genuine interactions that carried the heart of the story. Fuaiz and Bump continue to improve as well.
The rest of the time.... Yikes. Despite an over-reliance on flashback (as opposed to watch two characters have a difficult conversation), the acting still managed to be largely melodramatic with a lot monotone shouting and unnatural flailing. In some of its worst moments, it was difficult to tell (even broadly) what emotion a character was supposed to be portraying. I never did decide if some of these relationships were genuine? Friends with benefits? Revenge? It was that unclear (in the acting). I think that the stakes in this show were simply too high and too distant for a largely rookie cast to grasp effectively.

PRODUCTION:
For the most part, Dead Friend Forever provides its usual level of quality expected by a Be On Cloud production. Lighting, set dressing, costumes, and props all look great (with a few minor continuity errors that we mostly found because we were looking so hard for clues!)! It was a joy to pick out little details around the set that enhanced the story and provided clues. I don't have an issue with the quality of the show here. That said, editing could have used some work. I know this genre deliberately obscures, but time and distance became so unclear that it genuinely began affecting my understanding of the story.

INTIMACY:
:/ I was not a fan of the way intimacy was handled in this show. Most of the NC scenes did not connect smoothly with the plot (Why did we need a Tee/White sex scene?) or the choices being made for specific characters outside of their NC scenes (Phee is... different in the sheets, I guess?). I don't think this story was the appropriate place for "sex for sex's sake" intimacy, as it was NOT a romance, and I don't know that they adequately justified (most of) the NC scenes they did choose to include. I would have liked to see more thought and work go into connecting these moments to characters involved and the relevant plot.

In all, I have actively withdrawn my recommendation of this title to most of my friends. I will definitely not be so hasty to recommend an unfinished show from this team again.

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An interesting concept trapped in a stale formula.

I think that Kidnap suffers a lot of the same issues as 23.5 did earlier this year--Technically, this show is fine. I wouldn't dissuade anyone from watching it if they like Ohm or Leng, or think the concept looks fun. It's a perfectly watchable show with decent production value and some very cute moments. It's just.... empty. The trailer promises of tension, thrills, and complex relationships are completely buried under GMMTV's typical PG-13 Happily Ever After format, leaving Kidnap rattling around uselessly in training wheels. It's cute! But it's never allowed to be anything more than cute, leaving it deeply dissatisfying for anyone looking for something with depth. There really isn't anymore to the characters or story than what was seen in the trailer.

-The Full Review-

STORY:
This entire story feels like the emotion has been compressed to its most palatable range. Tonally, kidnapping at gunpoint and a day on the beach really don't feel.... that different? There's no sense of danger present in the action and no sense of triumph in the "hard-won" good moments, despite what a dramatic score is trying to tell me I should be feeling. Argument appears and resolves without any real struggle or personal reflection, making the characters feel flat and convenient.
I'm shelving this title after seven episodes of build up led to a (inevitable) break up that was resolved-broken again-and healed AGAIN all in one episode, without any true reflection or shift in character. It's just lazy character work. These characters don't actually stand for anything or have any depth beyond the issues directly related to their relationship. They move from place to place with no real motives or principles.... It's utterly 2-Dimensional.

ACTING:
Hm. I'm pretty unimpressed. It's fine. Ohm is very pretty and charming. Leng does a reasonably decent job conveying his characters anxieties. Ohm (the younger) is full up on younger brother cuteness. As three, they usually manage to be a pretty compelling family with a decent amount of chemistry. But there's very little connection to the dialogue. Line delivery is fairly flat and detached, even in moments of high emotion and stress.
Everyone here is suffering a little from trying to make it pretty more than trying to make it real--something I'm not sure is a fault of the actors so much as of the direction and script. I am not giving up on these actors by half, and I'm still excited for Sweet Tooth, Good Dentist. But I don't think this will go down in their eventual filmographies as their best work.

PRODUCTION:
Is there anything here that is intentional and not an attempt to sell a stuffie, t-shirt or choco pie? There is no part of the production that is work talking about. They adequately deliver the bare minimum to appear high-quality, and put all their focus on selling products over a story. There is absolutely nothing unique, inventive, or interesting in the staging of this work.

INTIMACY:
Actually, the thing that has kept me going for eight whole episodes, is OhmLeng's chemistry. I quite like it... when we are allowed to see it. Surprisingly, they are allowed to have a more adult relationship--and I don't mean NC scenes. There's a casual affection to their physical touch throughout the series that feels grown and settled. Particularly, Min's care of Q during his sleepwalking/nightmares has kept me hooked for a long time.
That said, the treatment of the actual NC scenes is laughable. OhmLeng definitely deliver in the performance, but this lazy script just slaps scenes here and there, almost without thought. We go from zero to 100 without getting to come along that emotional journey (even going so far as to just cut to undressing in the bedroom). There's no connection to the story, making them feel like fanservice despite not being overly explicit or awkward in any way. You could cut every scene and the story would remain entirely unchanged.

In all, this was a promising idea for a very fun show that was clearly just fed through the GMMTV machine. There doesn't seem to be any real passion or care in the creation of the series, just another in a line of production. And I'm done giving my time to GMMTV shows that don't want to put in the effort.

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an absolute feast of dramatic acting

My Stand In occupied my top slot of QL shows for... probably 10 or 11 weeks straight. I truly loved the novelty of getting to sink my teeth into some really excellent dramatic acting and well developed character beats. While I appreciate the fast-paced and tongue-in-cheek BLs, it was a lovely change of pace to really sit and let the mood develop properly. The cinematography and production were likewise top-notch, for a visually stunning series. Though the story had some minor faults, it was hardly enough to put a dent in the quality of this show. I look forward to dragging my only-when-the-show-is-finished watcher friends down with me again soon, because I am already missing this world.

-The Full Review-

STORY:
The best of this story was by far Ming and Joe. The relationship between these two characters was natural, real, and evocative. My Stand In was at it's absolute strongest in developing the push and pull between these characters and the believable stresses and reconciliations. Joe, by virtue of his goodness, could have been a largely static character, but his iron will really shaped him into a dimensional and human creature. Ming, of course, was an incredibly thorough character arc.
Within these two characters, the show left time for some truly gorgeous, long beats. The stand out among these scenes would have to be the funeral--occupying more than half of the episode, there was no rush. The audience was allowed to be steeped in the issues these characters are facing and feel the full force of the turmoil. It was some really, really wonderful writing.
That said, the other characters definitely suffered for Joe and Ming's spotlight. While some of the supporting roles--namely Sol, Wut, and Joe's mom--received full characterizations and properly motivated actions, some of the other minor characters changed alliances rather conveniently. It wasn't atrocious--but it does speak to some pacing issues and lack of development within the wider world.
I also found the ending to be a bit sweet for my tastes. While I enjoy a happy ending (and have no issue with My Stand In having a happy ending) the speed at which major issues between characters was resolved lost some of the weight of the earlier episodes and made the reconciliations feel a bit cheap. I'm not sure that I was entirely sold on the change in tone.

ACTING:
Well, first things: Up is a truly remarkable actor. I didn't know anything about him going in, and now I'm planning to watch... everything he's ever done. Ming isn't an easy task-- whiny and childish, but with a depth and charm that needs to shine through even at his most selfish. Up made moving between his tantrums and cruelties, and his playful, loving nature seem easy and natural. I especially enjoyed the way the weight of Ming's grief changed his posture in the later part of the series. It was really a joy to watch.
Of course, Poom is an equally excellent talent. I've heard a lot of comments about his downturned smile, but I actually found the most power in the set of his jaw. There's a moment I keep rewatching where Ming goes to kiss Joe and Joe is quite angry with him but has his reasons for acquiescing... and the clarity with which Poom conveys his entire emotional journey in that moment with no dialogue is quite beautiful. He's very precise in the performance he delivers.
Beyond the leads, I really enjoyed Paradorn as Wut. It's not often that middle aged adults get to have a nuanced and meaningful relationship with the young leads, and I really enjoyed how his performance wove between fatherly and friendly. Billy, Porsche, and Lotte are obviously newer talents, but similarly convey some compelling and promising performances. I'm quite interested to see what they do next.

PRODUCTION:
This team is absolutely dominant in the BL industry for beautiful and thoughtful production. Lighting, costumes, makeup, set design, cinematography, and sound were all absolutely impeccable. It is absolutely stunning to watch and I will happily follow anything this team does next. I hope they work together for a very long time.
I loved the costuming of this series, it felt very specific. The clothing choices were natural... but heightened. You could feel Ming and his families wealth, as well as the presence of celebrity. It contrasted with Joe's more mundane tastes very well and created a sense of separation and difference.
It was very interesting how the lighting team used such a warm palette but still managed to make the appropriate scenes feel sinister and cold. The atmosphere of Joe's house--and especially the outdoor lamps--created a central mood and heart to the series that was never lost throughout.
If I had to pick a favorite though, it might be set design. The color palettes and shapes of large objects in the rooms connected several disparate locations and created throw backs to unexpected moods. My personal favorite by far was the way in which Joe's room was made to feel like the room he was held captive in--perfectly capturing how trapped he felt in his current life.

INTIMACY:
This was quite fun! I thought the actors did a wonderful job of capturing the magnetic chemistry between the characters while also still giving their relationship space to grow. In both casual and NC encounters, early on Ming and Joe carry some awkwardness. They don't quite match properly, and the scenes can feel rushed or uncomfortable (even if they still express desire and satisfaction). As the characters grow closer and come to an understanding, those rough edges smooth out to something more romantic and easy. I liked it a lot!
I also simply HAVE to give a nod to the scene directly following Ming admitting he's afraid of Joe disappearing. The way Up and Poom developed the intimacy in that moment without any conventional touches or kisses was fragile and beautiful. The production allowing this moment to go on so long was absolutely the right choice and truly cemented the course of the series.

In all, I really, really enjoyed My Stand In. I absolutely recommend it and eagerly await what this team can bring next--either together or in their separate pursuits.

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first does not mean best, and that's fine

I'm watching GAP for the first time in 2024, with two Idol Factory GLs in the pipeline (one in partnership with the Thai government), 23.5 airing on GMMTV, and a FreenBecky movie about to hit cinemas--not even to mention the other GL projects from smaller companies cropping up every day. And I think it's important to acknowledge that all of this owes something to GAP, even if GAP isn't very good. The first doesn't have to be perfect, but it has to be made. It's got to be fun and get people excited, and I think GAP did that well. Even though this will never be a favorite for me, I still very much respect the effort and look forward to what this team has coming up next.

-The Full Review-

STORY:
It's not controversial to say that GAP has... a lot going on. And most of it questionable at best. It's not that it's "unhealthy" or "toxic" or anything, I like a good dark romance just fine. But this story was sloppy and didn't bother to earn most of it's emotional moments. Sam and Mon rarely talked about anything real and it was difficult to see what they even found to love in each other. The back third of the show in particular continually seesaws on the character development, leaving everyone rather pale and two-dimensional. It's a real shame.
That said, the script managed to scrape together some fun scenes. Sam and Mon's friends and coworkers are always a delight, injecting much needed humor and life into the story. Sam and Mon also excel when they are funny and most of their early flirtation is genuinely enjoyable to watch. Most of the characters, at least the ones who are not evil, are charming and loveable and kept me going through the slog of some of the worst of the melodrama. Enough, at least, to convince me to give the author a second chance.

ACTING:
The acting here... isn't great, but I'm not sure how much of that is a result of the shaky story versus the actors skills. Both of the lead actresses had some really lovely moments in their acting... and some really stiff/awkward scenes. With such inconsistent storytelling, I imagine it was difficult to craft a comprehensive character. That said, while some of this was due to the style/tone of the story, it was not often balanced by enough true connection to make the jokes land well. The ensemble was particularly weak, with the exception of Looknam and Heng.
Despite this, I did enjoy the chemistry that Becky and Freen created. Even at their stiffest and most intolerable character moments, they played off each other well and had a believable attraction. In their best moments, it was enough to truly start getting excited about future projects with better scripts and productions. I think it's very likely that one day this show is looked on fondly as the fumbling first starts of a young cast and production company that grows into something much better.

PRODUCTION:
On one hand, I really loved so many of the costuming choices. They were insane, but they were really fun and sold the type of story being told here. The wedding outfits alone were so good we almost forgave the episode for all it's previous sins. While some of the locations have been used to death already (how many times must someone cry about their engagement on the death stairs lol?), the production design and lighting was decently good, if sometimes a little random.
What really was Bizarre was the musical choices. I'm not quite sure why they chose to reuse themes the way they did, but it was not an effective way to create an emotional response. At the very least, they should have used different versions of the same songs to differentiate between tension, sadness, and sex scenes. It was all a little ridiculous. Along with the frequent fumbles in sound quality and visible mic packs... sound department has a lot to answer for here.

INTIMACY:
For the positives: I do enjoy that the girls didn't get doomed to hair braiding and were allowed to be sexual beings. I think that Becky and Freen served a really excellent performance that expressed true desire in their sex scenes--I don't think any of the weirdness is their fault. However, the scenes were blocked.... oddly! I'm not sure what SCOY looks like, but coming to GAP from having watched The Sign, it's odd how abbreviated their sex scenes are and how frequently they are... let's say taking turns? Instead of having a moment of mutual pleasure.
I don't care what other reviews say about "the male gaze" and "fetishizing" because it's all stupid! I am a lesbian, GL is *for* sapphics. I want GL to be treated equally and to be allowed to have as much much hot, weird, kinky, awkward, and unfounded sex as they want. GAP was a great step in the right direction, but it's still holding back. QL has a long way to go in this regard.

In all, I am not upset that I watched GAP, but I probably won't rewatch it any time soon. I think it's worth watching because of the history it brings, and I think it's worth watching because it can be fun and Becky and Freen are genuinely quite good. But I am also not going to pretend that I am satisfied with this series or even particularly enjoyed it. It's a start, and I'm looking to see what comes next.

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a lovely, heartfelt ghost-of-the-week with a weak through plot

I wasn't originally going to watch this show because it looked like a style of humor I don't really jive with (and it wasn't really), but I was convinced by the gifsets of exorcisms. The first seven episodes of this series are absolutely heartwrenching--I cried every single week and came back ready for more. Even if I wasn't a huge fan of the slightly obnoxious comedy aspects, I really felt that the individual hauntings were so beautifully well done it was beyond worth it. However, once we left the ghost-of-the-week format to chase Home and Peach's stories... the plot got muddled, less sharp, and less interesting. I enjoyed my time with these characters, but it ended on a bit of a whimper for me.

-The Full Review-

STORY:
This story was at it's absolute strongest when it was incisive and political. The early episodes delve into important failings in society in a sympathetic and earnest way that I found very moving. Particularly, Ciize, Foei, and ForceBook's hauntings have really stuck with me over the weeks (although I liked the other ghosts as well). There was a true sense of justice and purpose in these episodes that hasn't been present in a lot of dramas lately.
But, as I said above, I was very disappointed in the end of Home's story. Rather than truly delve into the issues unpacked in early episodes, Home's entire family got off easy. The societal evils of capitalism melted away into a pretty trite family drama that wrapped up quite easily. It felt the humor became more and more forced, when the show had been successfully trending to something much more emotional and resonant.

ACTING:
This is a tough one. In those most emotional moments? This show is spectacular. Tay and New have an undeniable chemistry that makes their arguments feel very natural and high-stakes. Likewise, the moments intended to show off this growing family feeling are all so, so lovely and warm. Mook and Jan blend into this chemistry perfectly and it truly does feel real.
On the flip side... some of the "comedy" is borderline unbearable. Shrill, whiny screams, performative deliveries, and egregious over-acting with no charm riddled the "lighthearted" moments and felt considerably more amateur than I KNOW these actors are capable of. Perhaps it was simply not my style, but I rarely laughed at this "comedy."

PRODUCTION:
This production was pretty fun for GMMTV this year. While it felt a tad bit over-produced, it was still enjoyable and fun. In particular, the wound/ghost makeup was genuinely exceptional. I put me perfectly on edge of a little uncomfortable, a little grossed out, a little awkward that helped nail that emotional impact.
That said, I think it's a little ironic how curated some of the scenic design was, given that this was supposed to be a story about finding out what Home mean. It was a bit too... clean, by the end. I missed the hominess of Peach and Pangpang's original apartment. I would like to see GMMTV directors/designers be a little bit more intentional and thoughtful about how the look of the show reflects the themes and messages.

A NOTE:
At risk of becoming the too woke friend, I do think this show crossed a line of queerbaiting for me. I want to be perfectly clear: this has nothing to do with Tay or New (who were always clear it was not a BL), shippers promoting the show, or even a preference for it being a BL. This is about certain tweets from the director and official account, as well as "Easter eggs" for "bl fans" in the script left a sour taste in my mouth.
If you want the attention and energy of queer audiences, you need to actually engage with queer storylines and characters. I don't want clever references or teasing jokes that fail to come to fruition. This half-in-half-out style feels slimy and exploitative--just tell the story you mean to tell, whichever that might be.

In all, I enjoyed this show but it definitely still makes my ever-growing list of 2024 dramas that failed to stick the landing.

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an interesting story lost in the wreckage of terrible writing

I'm back from IdolFactory's ever-confusing two week break, trying to remember what the experience of this story was, and think my final answer is: it's fine. In comparison to GAP, I think Dream GL does a better job of crafting meaningful conflict and motivations... but that's about all the improvement I can give IdolFactory here. The actors are charming with good chemistry, but stilted by fumbled pacing that drags. The story is complex and mature, but the magic of the dream world is fairly scarce which diminishes the girls bond. Production quality is about equal to GAP, with perhaps some more interesting cinematography to match the dreamy setting (as opposed to an office romance). I didn't hate watching this, but IdolFactory will have to make some changes if they want to continue to stand out.

-The Full Review-
STORY:
For the positives, I genuinely enjoyed the story of Kim and Wan and their families. I liked how their relationship to their father's complicated their way to falling in love without relying on (as egregious of) miscommunication tropes. Their bond with their school friends was quite cute and brought a very lively energy to an otherwise sad story. While I really could use a break from lesbian-bride Heng, I don't think the marriage plot was awful... though the resolution was fairly melodramatic and rushed.
Unfortunately, the rest of the story was all over the place. So much time is invested into the acting competition plot-line, only to dissolve without fanfare. Likewise the couple-pair plot creates a huge mess before melting away into nothing. The mother's illness overlapped oddly, denying each of them a true moment to shine and bogging down the second half of the show with too much trauma... and so on. It badly needed another edit to restructure the story for this episode count/timeline.
Additionally, I think IdolFactory has gotten a little carried away with their episode lengths. The extra runtime allowed for frequent slow-mo and dead air as well as so many scenes of people traveling places (with no real reason to include the trip). Cutting back to a true 45 or 1 hour runtime would vastly improve the drag on some of these episode and force the screenwriters to cut some of their darlings.

ACTING:
I've seen some pretty harsh commentary, but I didn't find the acting all that grating. Fay, rather held back by the poor pacing of her character arc, did quite well once Dawan was allowed to grow and show all the sides of her character. I enjoyed the stubborn ferocity of her character and the more playful side that only Kim gets to see. I think she did well navigating the realities of depression, especially for a character who has been navigating these struggles for quite some time.
May, likewise, delivered a very competent performance. Her character was quite subdued, held back by the frustrations of so many things in her life going wrong, and I think she portrayed that exhaustion quite well. While some of the crying scenes were not the most natural, she truly started to shine while navigating Marwin, her mother's illness, and Dawan's tempestuous nature. I really enjoy her as an actress and look forward to seeing her grow.
I wish the female ensemble would have... swapped. I loved Frung, Pear, and Ploy and would have loved to see more of them. They're characters were charming and brought out interesting new sides of the leads. I found Looknam and Songjet.... quite overwhelming. I enjoyed their characters, but wish the director would have pulled them back more often. The friendships were very, very sweet but rarely allowed to develop any kind of emotion.

PRODUCTION:
In general, I think Marvellous Dream was a pretty standard IdolFactory production. Competent production choices informing a quality product with very few technical glitches. Like most IdolFactory shows, the OST was pretty limited and repetitive (I really wish the would expand their music), but the lighting was quite beautiful. Unfortunately, with a fashion-plot show, I have to say the costumes kind of... fell apart. While the actual clothing was quite quirky and enjoyable, Kim's designs were completely heinous. I wish the costumes had taken more of an opportunity to be informed by the story, rather than feeling like a child's Lisa Frank Fashion Design game.

INTIMACY:
I genuinely applaud IdolFactory for continuing to insist on allowing women to be sexual in shows. That said, some of the choreography here was... pretty awkward. I don't quite think we're there yet. Obviously, as they post to YouTube, there is no intention of any upper nudity. But the shots over backs and strategic pillow/blanket placement was not always the most natural. I think this director needs to study some GL to get new ideas on how to keep everyone covered while still delivering a good performance. That said, Fay and May did a wonderful job bringing chemistry and believable passion to the scenes! I hope to see this pair again soon, hopefully with better writing!

In all, I don't think Chao Planoy is for me, nor adaptations of her work. While I enjoyed my time with Marvellous Dream... I started watching several better GLs in the two-week break. I could be convinced to watch it again, but I probably won't do so on my own. Baby steps... baby steps... we're getting there...

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simple, refined storytelling

I picked this one up on a whim, based on a couple of gifsets that caught my eye, and I really enjoyed it! This story a slow, thoughtful character piece that works with a very simple (though not unimportant) central conflict. The characters were charming and funny, with plenty of good chemistry to propel the story. The story-line was decently constructed and well suited to its short runtime, despite some moments that were a little more awkward than they needed to be. Like most JBL, the production design was nothing flashy, but competent and correct for the story. I enjoyed watching this story circle and am leaving with a great fondness for these characters.

-The Full Review-

STORY:
What I really liked about this story is how pared down the conflict was. One simple decision representative of their characters respective weaknesses, followed by years of silence and a chance to start again. The crafting of the story around this question was masterful, and the staging of the ending really satisfied this arc.
What didn't work so well was the actual construction of these pieces. The pacing was occasionally odd and the story didn't quiet nail achieving a consistent tone throughout. I was somewhat of a let down to see the characters lose some of their humor in the end, and it cause the show to feel more disappointing than it actually was.

ACTING:
I loved these actors. I have nothing but praise for them. The subtlety to Robin's performance that was beautiful, and I truly enjoyed watching him have quiet, sad conversations with because so much was going on underneath. I also thought that he and his younger counterpart built a very believable character arc of growth together.
In contrast, Makoto brought an energy and movement to the story without going over the top or looking absurd next to Robin's subtlety. You could feel his youth, even in adulthood, in his restlessness and lack of confidence. The two styles played very well with each other and revealed the joy in the relationship, even as they were very rarely happy on screen.

PRODUCTION:
The production value of this show was solid, but I think they could have been a bit more creative, even without losing the realism. It often felt like we'd missed opportunities to tell more of a story or reveal characters by maintaining such simple design choices. Despite this, it worked. It told the story effectively and never detracted or caused confusion. I just wish they'd done... more.

INTIMACY:
I liked the intimacy in this show. I think it suited the characters and was used sparingly and when required by the plot to good effect. I also really enjoyed the threat of intimacy with other characters. Characters who know Takashi as an adult better than Akihiro are threatening to him, whether or not that intimacy was sexual. The series handled that distance and struggle well, allowing it to be mature and multifaceted (and not just about sex). I really enjoyed it.

In all, I would easily recommend this show, though I think some people looking for a more dramatic title may find it's simplicity underwhelming.

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a unique living room drama with a lot of heart

I went into this show confused, as in I had gotten the false impression that this was a show about a man struggling with depression. And while it's not Not that... it turns out this is not the show that the tumblr gifsets showed me. I was really happy with what this show was though! Circular, slow, and domestic, what I truly loved about this show was how unique and unchanging the characters were. Very little changes about their situation throughout the show, but their understanding and point of view is completely different. Each episode is compelling and complete, despite it's bite-sized run time. It's simple, but it works really well.

-The Full Review-

STORY:
I love this story. The characters are so unique and their problems are unique to them. Several times throughout the course of the series there's the set up for an event that 99% of the world would fine completely mundane (like working with a friend a coffee shop), that the audience knows is going to be a disaster because of these two people's personalities. It's not just very fun, it's great character work. Everything feels hand-tailored to this story and this story alone.
I also truly love how understated the story, and particularly the ending of the story, is. The story fits the characters created by it and the amount of growth they've gone through in the series. It never takes the Romantic, quick fix when it's clear the characters are not ready to admit their true feelings. It's frustrating, but in a satisfying way that gives the conflict depth and truth. And it allows the ending scene to shine so brightly despite it's simplicity.

ACTING:
For the most part, I was really impressed by the acting in this series! It's pretty hard to successfully pull off characters who are so closed off and keep things so close to their chest. Both actors did a wonderful job of letting that armor crack occasionally, and showing what was brewing underneath. They built a very natural, despite the unusual circumstances, chemistry with each other that drove the entire story.
I also really appreciated the humor and energy that Manju added to the story. No part of the story really drags, but her energy and light really carries the show through the sadder and more emotional moments without becoming mired in the sadness. She played well with both leads, revealing sides of their personality that the other had never seen before.

PRODUCTION:
This was a really simple show, but all the elements of production worked together quite nicely. I think the real star of the show here is the lighting, which effortless transforms a basic apartment from something simple, to some stifling and cold, to some warm and homey over and over again as the leads clash and come to understandings. The costume design was also excellent, playing a huge role in softening Segasaki, especially in his younger years.

INTIMACY:
While the NC scenes were well done and used purposefully, I loved how what really shined in this show was the casual intimacy they clearly lacked in the beginning of the show. The most vulnerable and intimate scenes--the bath scene, Yoh getting drunk and clingy, early morning cuddling before they were both really awake--were both rare and startling in their softness.
I also really loved how many different types of intimacy were portrayed in such a short run time, with very little judgement on any of them. Particularly, the note about sex and misery (despair? can't remember the exact wording?) going hand-in-hand was a breath of fresh air. Each scene of intimacy felt specific, purposeful, and tailored to these specific characters. Very well done.

In all, I had a great time with this series and highly recommend it! They did so much justice to this premise and this script, and clearly put a huge amount of care into the series.

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a surprisingly satisfying title

It's not a secret that I am not a big fan of GMMTV or Aof. Unlike many fans, I tend to find their writing a clumsy sort of saccharine, with a real tendency to explore serious/complex themes in ways that come off quite offensive and simplistic. I had mostly expected, like A Boss and a Babe, to have this show be a pretty mediocre show I pushed through for the enjoyment of watching actors I enjoy. I was pleasantly surprised to have been sucked into this world almost immediately and treated to one of the strongest, neatest scripts I've seen in a while. A Tale of a Thousand Stars manages to be a rare gem that pulls off everything it was hoping to accomplish in spades.

-The Full Review-

STORY:
I didn't really have any expectation of liking this show, so I didn't know much more than "organ transplant romance" and "Mix Sahaphap" going in. When I realized this was an organ-transplant-*voluntourism* plot, I was immediately nervous that the show would fall into a lot of irritating tropes like glorifying the traveling volunteer, insulting the local communities, or ignoring the harm these patchwork solutions do to the communities they serve. Thankfully, this show (for the most part) managed a very nuanced look at the industry.
Between the way that Tian doesn't really have any expectation of the career beyond finishing what Torfun started, the careful focus on the members of the community as complete people, and the quick and complete way that Tian's clumsier efforts to "help" are refuted, 1000 Stars largely manages to avoid the major pitfalls of this type of story. While some points may continue to be a little overly idealistic, I find it to be a nuanced and interesting exploration.
Aside from the community aspects, which do (to my joy) take a large portion of the screen time, I loved this romance dearly. Nothing is quite as good as a slowburn that is powered by character psychology and genuine conflict (over misunderstandings from plot-mandated lack of communication). Watching these two characters learn to understand each other and trust their forming relationship is truly beautiful. I especially appreciate these characters awareness of the others feelings, even long before they begin discussing it. It's a very mature relationship.

ACTING:
I absolutely adore both Earth Pirapat and Mix Sahaphap--I only started this show because I was so impressed with their work in Moonlight Chicken. Both of these actors bring an absolutely natural and beautiful vulnerability to their characters with a compelling chemistry. The way the two of them create connection in silence, communicating only with their eyes, is really quite remarkable. I am definitely going to be working my way through everything they've ever done.
Aside from the leads, I absolutely have to commend the child actors. It's a heavy script and there is a lot of focus on the children and their emotions. These kids carried out their parts beautifully, becoming a truly individual personalities and recognizable group of kids rather than a monolith of "the class." I really believed in their school community and the bonds they shared with each other and Tian. It is not an easy task, and the whole production should be proud.

PRODUCTION:
A necessary simplicity, given the setting, but the quality of the production was truly top notch. I have to especially commend the costumes team for the visual journey of Tian becoming part of this community. Some stand out selections include: Tian's traditional shirt when he goes into Chiang Mai, Phupha's button up date shirt, Torfun's scarves, and Everyone's wedding outfits. Just really excellent choices.
I also appreciated lighting design of this series. A lot of the night scenes got very dark, but for once I think it enhanced the series rather than inspired comparisons to Lord of the Rings and "when you could actually see what's happening on screen." The dark and stillness of this community became a very present aspect of the series. I loved the scenes when you could only catch glimpses of the actors expressions (and they always ensured you could see the action when necessary).

In all, this title has shot right to the top of my list. It's a perfect choice when you are looking for something slow, romantic, and healing. It's a really beautiful story.

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very cute, but little else

I watched this title with my friend who loves ForceBook (after Only Friends). It's very sweet! The characters are quirky/fun and the plot is cartoonish. While it could be slow, it wasn't ever so bad that I was bored or wanted to drop it. We wanted to watch Force be hot and silly on our TV screens, and that was certainly accomplished. As a pick-me-up or feel-good show, it definitely has it's place.

That said, the story wasn't particularly original or well done. Particularly, a lot of the plot with Tian and Thoop was either haphazard, rushed, or a rather inappropriate tone to the rest of the story. It takes a sweet, unoriginal romcom and makes it just clunky and long enough to sink the rewatch value. I had fun!... but I won't be picking this up again.

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must a show be good? is it not enough to get silly with it?

To be totally honest, I watched Ai Long Nhai with a 102+ COVID fever and I think it rewired my brain chemistry. So while My Dear Gangster Oppa is certainly not a masterpiece of a show, I had a really fun time watching. It's silly, goofy, campy, and tropey, with not a lot of substance underneath. It probably didn't need to be as long as it was and Certainly should have spent some more budget on the sfx wounds. But it did make me laugh and smile, and I genuinely looked forward to watching each week. It's a pretty big step up from ALN all around, and I look forward to see what these guys work on next.

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fantastically tight and entertaining lakorn bl

This is my first 10 star review on MDL and I really can't say enough good things about this show. Century of Love is the perfect example of working within your means to create a really solid, moving and memorable story. Between the charismatic cast, wonderfully witty script, and production that lived within it's means, this series is a definite hit. I almost wish it hadn't been on a twice-weekly release schedule so I would have gotten to enjoy it even longer. I'm new to both DaouOffroad and this production team, so I'm very happy to have a backlog to look and more to come in the future. Highly, highly recommend.

-The Full Review-
STORY:
I'm a certified lakorn enjoyer, so the I absolutely loved the tone of this show. Despite being highly entertaining and largely unserious, Century of Love always picked the perfect moments to ramp up the emotional connection to the story and provide a truly touching and beautiful scene. My favorite episode, episode 7, had me on the absolute edge of my seat and cycling through emotions the entire hour. It was very well balanced to provide joy and laughs without feeling empty or surface level.
In terms of the themes and execution of the reincarnation plot--I was so pleased. This is probably my favorite handling of this particular trope since Until We Meet Again. I've seen some anger at the primary concept (that the female love interest has reincarnated into a man, to the initial discomfort of her former lover) as well as some annoyance at the (in my opinon, minor) mysteries left unsolved at the end... but I don't think these criticisms hold much weight. The writers are careful to give weight to San's struggles and decisions, and his narrative arc is satisfying.
The true jewel in this show's storytelling is the connection to family. It's pretty rare, these days, for a BL to have such a strong ensemble cast (unless that ensemble is same-aged friends). San's and Vee's connections outside of their relationship really elevate the concept of a mature BL and cement their adulthood. It's a rare treat for this genre and one I very much would like to see more of in the future.

ACTING:
I don't have any prior experience with Daou or Offroad, but they both won me over almost immediately. It's a very fun genre for acting-- giving melodramatic, comedic scenes as well as much more realistic and emotional scenes. The balance here and the slide from one moment into the other was very well done.
For Daou, I really enjoyed his handling of the age of his character. While San is over 100 years old, his body and (in many cases) his mind have been static. The contrast between his graceful and wise stature when comforting Juu and his childish and petulant fights with Vee sold the premise well and were quite funny. There was a subtlety to his performance that shouldn't have paired as well with the lakorn styling of the show as it did, but it truly made him feel otherworldly when necessary.
Offroad has a more traditional lakorn acting style, but one that was very suited to his character. Young, passionate, and easily upset by the events of the story, his open-book expressions contrasted Daou's restrained performance perfectly. Their chemistry is quite obvious and exciting. While I sometimes felt like his acting was verging on the overly melodramatic, it never quite reached point. When the scenes truly did hit their most emotional, Offroad delivered a very sincere and affecting performance.
In the ensemble, there were no weak performances. In particular, I was delighted by Cookie and Xiang--both of whom added so much to the humor and heart of the show. I especially enjoyed the moments where Juu and San's age difference became very apparent. I also have to give props to young San who gives a positively hilarious performance. It's probably the most laughter a series has gotten out of me in a singular episode.

PRODUCTION:
I'm infinitely charmed lakorns god-awful SFX, so I found the production of this series to just fine. While the restrictions of the budget were definitely visible in the effects, I think they successfully leaned into a style that allowed the story to move past it. Beyond this, the production was really quite something.
I loved the locations chosen for this show, especially San's house and the Temple. Vibrant, visually interesting, and filled with set dressing that bridges the century gap quite well. Likewise, I thought the costuming was so fun. The cut of San's suits (and the style of clothing Vee began to dress in) was such a fun modernization of his original timeline. I loved the attention to detail there.

INTIMACY:
I really, really like this pair. The intimate scenes are not particularly spicy in this show, but I don't think that fits the tone most of the time anyway. What I found most effective was the way these characters orbited each other. Vee moving with and to San immediately, whenever he was injured was so well done. Likewise, both characters had such a natural way of slotting into one another--my personal favorite being how tightly Vee snuggles up to San after their first time. You could really feel the connection between these characters and their desire to simply be close. Really well done.

In all, I am so pleased with this show. I pick the best of the shows I watch and rewatch them with some friends, and Century of Love has LEAPED to the top of that list of possibilities. I'm so excited to rewatch already and hope this brings nothing but new opportunities to everyone involved. I can't wait to see them again.

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and all that jazz...

Honestly, I wasn't planning to watch this one... but I couldn't skip out on supporting my blue haired bias. I'm glad I did though! Compared to A Shoulder to Cry On (by the same company), this series had a much tighter plot, more interesting ensemble cast, and better production quality--particularly some really excellent score, which was vital to this series. While I still have my gripes with some K-BL tropes that get overused and abused here, I was prepared for them going in and didn't find that they significantly detracted from the story. I may have tuned in for Hangyeom, but I'd definitely watch it again on it's own merits.

-The Full Review-

STORY:
In general, I really enjoyed this plot! I spent a lot of time with music majors in my schooling, and some of the ridiculous antics were really nostalgic. I liked the push and pull of the four main characters, and felt that the structure of the story worked well for the run time and pacing. The flashbacks and dream sequences worked well and weren't overused, though sometimes it was confusing if the voice-over was meant to be taken as ongoing dialogue.
What I didn't like, as has driven me away from a huge amount of K-BL, was the rampant homophobia. I understand that homophobia is a real issue faced by many people, especially in conservative countries, but three separate characters doubling down on how disgusting and weird being gay is... is a little much. I would have at least liked to see some of these characters unpack those thoughts a little bit more.

ACTING:
I was quite happy with acting here! I am definitely a fan on Ji Hogeun now--I was very impressed with his performance. I liked most of what Kim Jinkwon brought to the table, though his character ended up being a little bit static for my tastes. As a pair, I thought they were very sweet! I particularly enjoyed their flirting in the classroom as an insight into them as a couple. They established a strong sense of intimacy.
Of course, I came here for Hangyeom, but I'm happy to say his comedy was a delight and really brightened up the story. I also enjoyed the few moments where he was allowed to settle into something more serious. Kim Jungha was an interesting match for him, and I'm not sure I truly cared about where the show took them. But it was competent and complimented the main couple at least. It was definitely not a lack of talent.

PRODUCTION:
To begin, for the most part the production value was very nice. Good compositions, evocative lighting, good costuming choices despite being limited by school uniforms, and excellent set dressing (especially of the piano room and the jazz bar). It felt quite polished throughout and established a good tone. I especially likes how it leaned on lighting tropes of this genre.

INTIMACY:
C's get degrees, my guy. Listen, it's fine. I get it. I know that I can't put the expectations of other countries media on K-BL, especially when tangling with idol actors. And there definitely *were* kisses, so it's doing better than most. But I really am just tired of shows that will double and triple down on how "gross and weird" being gay is, and then go out of their way to avoid showing any "controversial" intimacy, even if it's as simple as a kiss.
The main couple kisses, and it's a little bit dead fish (though they do try). The second couple "kisses" and it's a trick of cinematography. It's fine. It is the absolute minimum required to tell this story effectively, and they do it decently well. But I'm not going to get excited about it or praise it. In my opinion, it definitely doesn't feel like a story for queer people, that takes joy in the love between two men, but rather a story that happens to have queer characters dotting their I's and crossing their T's.

In all, Jazz for Two exceeded my expectations, but my expectations were pretty low. I would recommend it and I did enjoy it, but it's not really one that hits me hard in anyway and definitely reinforced some of my grievances with K-BL. It was good. It could have been great.

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