The profound loneliness that homosexuals experience in heteronormative societies

'Sad Temptation' (슬픈 유혹 / Seulpeun Yuhok) reflects on the deep loneliness that homosexuals experience in conservative and heteronormative societies, through the extreme disconnection with another society, the homosexual one, and seeks to find a way to communicate beyond that disconnection. Likewise, it explores the breakdown of communication.
Its plot takes us to South Korea in 1999 and follows a middle-aged man named Jung Moon Gi (Kim Gab Soo), who has distanced himself from Suh Jung Hye (Kim Mi Sook), his wife, and meets a young man. homosexual employee, Shin Joon Young (Joo Jin Mo), with whom he falls in love. Both are victims of the lack of understanding of their families and the violent and discriminatory society that excludes homosexuals. Although the two men try to take refuge in their own world, They inevitably end up falling in love with each other.
Aware that film and television content reproduces the socially and culturally idealized sexual and gender approach and that these are aimed at the consumption of the heterosexual community, Pyo Min Soo, the director, seeks with 'Sad Temptation' to make a society in need reflect. to advance against heteropatriarchal logic.
To film the first South Korean public television drama that profoundly depicted love between men, the filmmaker relied on the script by Noh Hee Kyung, a television scriptwriter and essayist, who has earned a solid reputation for his realistic, visceral portraits. and profound insights into the lives and relationships of ordinary people, captured in many family dramas and urban melodramas that have received critical acclaim and won many awards for Best Screenplay and Best Drama Writer, such as the Baeksang Arts Awards, Korean Drama Awards, MBC and KBS Drama Awards.
From the KBS network, and the third time in which the director and screenwriter work together, the audiovisual breaks with the patriarchal approach of society that still today permeates the scripts of the majority of films, series and television programs, aimed at the consumption of the heterosexual community and, in which LGBT+ people remain in the background, and are generally stigmatized and stereotyped.
Its protagonists are three people who live in solitude. The loneliness of Jung Moon Gi, a precarious man in his 40s who worked to achieve success all his life but has now been expelled from the company's management, comes from the fact that he will never be able to tell his family that he is homosexual and has to carry this burden alone.
Shin Joon Young, a man in his 20s who seems confident and ambitious in the eyes of everyone, feels the loneliness that comes with living as a homosexual in a society dominated by heterosexuals and suffering from the lack of understanding from everyone, even his family. Joon Young was hurt by all the men he loved, but they didn't love him just because he was a man.
His loneliness is contained in these heartbreaking words, addressed to Jung Moon Gi: "Coward! Men like you have no right to love or be comforted! Do you know what love is? If you feel alone, say that you are alone , and if you are going through a difficult time, say that you are having a hard time! Love is trusting and hugging each other! Like you, like my brother, suffering alone, not talking, separating from everything is not love. I wanted to touch you! I didn't ask you to have sex! I just wanted to love you! To comfort each other when we feel alone! I wanted to comfort you. If I could, I wanted to help you. live in this difficult world?"
For her part, Suh Jung Hye is the wife who, despite being a professional and with a university degree, which would give her economic independence, has been forced to spend 20 years of her life in a failed marriage watching her husband's back. . That is why he will ask you: "We are one as a couple. Isn't it true that we are separated as husband and wife?"
Why is the connection established between the man who little by little is losing his place in the world after a business failure and estrangement from his wife, and the young man who dances and drinks in bars, and in the street shouts without paying attention? pay attention to the glances of passers-by? What are the reasons for the connection between the somewhat elderly manager whom Jung Yong calls frustrated, and the free-spirited worker?
Moon Gi can see himself in his youth while looking at Jung Young, and Jung Young discovers in Moon Gi the lonely support of his older brother who, like Moon Gi, is selfish and only thinks of himself, even in the moment. of his death, or of Moon Gi's dismissal after his failure at work, which in this case would be the same, since he does not tell his wife what happened.
Jun Yuong, who enters Moon Gi's empty, routine and disconnected life with an irresistible attraction, and whether out of love or pity, falls in love with him. Moon Gi also has feelings that he cannot admit to himself, but one day he discovers himself when he sees Jun Yuong's naked torso, drunk, on his bed, and reacts by fleeing from his presence. But he is surprised when, without stopping thinking about the young man, he finds himself, the next day, wandering in front of his house.
And how does Jeong Hye come into this equation? She is curious about the worker who frequently, in her presence, names her husband, who is not interested in anything but the company. When Jun Yuong visits the couple's house and drinks tea with her, in the absence of Moon Gi, the wife discovers in the handsome young man an image of her husband of two decades.
The simple writing, but with a strong and direct tone, and the delicate and calm direction, are a perfect combination to tell the internal struggle that the two men are experiencing and the relationship between them.
In the one-act play, Moon Gi asks Jun Young, "Why did you become homosexual?" and Jun Young responds, "Why did you become heterosexual?" He then explains, "It's a question I can't answer, any more than you can answer it."
In a society that at the end of the 20th century was as homophobic and intolerant as it continues to be today, the phrase that contains the essence of the film is: "Did you marry your wife because she was a woman? It's not that I loved a man. It's just that the person I loved was a man."
With a photograph marked with dark tones that tries to demonstrate the state of mind of young homosexual love in times of so many conflicts and denials, a pertinent use of the camera and movements that accompany its intensity, make this drama a must-see for story lovers. deep and heartbreaking.
For years before, the idea of ​​filming 'Sad Temptation' had been in the minds of Noh Hee-kyung and Pyo Min-soo. After finishing 'Lies', putting the project into action gained momentum, but they encountered numerous obstacles in translating the text on such a transgressive and unconventional topic into images. From homophobic attacks with hate speech in digital chats and messaging groups, mostly directed at the two male protagonists; Calls for censorship and non-commercialization of the audiovisual product by conservative elements of the South Korean Catholic Church, refusals by cultural institutions to grant monetary funds for the process of writing, filming, post-production and exhibition, marked the work from its beginning.
It was even difficult for the casting, as it was not easy for the actors to accept the emotions of the script, which includes a kiss between Moon Gi and Jun Young.
Pyo Min-soo later acknowledged that in particular, "the entire staff had to take a short break before filming the kiss scene. However, the actors, who were worried before filming, thinking: "Can't the kiss be given a little on the forehead or cheeks?", when the signal was given, they were caught up in the emotion and acted naturally. . Furthermore, the effort put into preparing in a short period of time is evident throughout the work.
The pressures and obstacles could not prevent the viewer from enjoying one of the most tormented passions between two men, nor could they prevent the yellow ginkgo leaves from decorating the path of the Seosamneung stud farm, where Moon Gi and Jun Young, while they walk hand in hand, they give us, at the end of the film, one of the most beautiful romantic breakups in the history of film and television.
In addition to the bittersweet taste, 'Sad Temptation' leaves us with hope, as the creators emphasize throughout the entire film that instead of suffering alone, human beings must work together to overcome loneliness, sweeping away everything that promotes it, thus denouncing to heteronormative, patriarchal and conservative societies. Not turning our backs and fleeing by withdrawing into ourselves, but defending the right to live in accordance with our dreams and passions, the sexual and loving among them, as long as they do not harm others.

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Loss and acceptance of it, themes of the series

Imagine that you have a dog and a cat as pets that have accompanied you since you were a child. Suppose that one day they return to the world of the living, in human forms, after having died, along with your parents, in an accident, with the purpose of giving you company and making you happy. Imagine that you only have a hundred days to spend with them before they must leave again. Suppose that during that period you fall in love with your human-dog. Represent yourself that you will surely have to wait two years for a new reunion, due to the difficulty of traveling between the afterlife and the world of the living.
From this premise, Ahn Ji Hee, the South Korean film director, creates, in 'Choco Milk Shake', the miniseries of 11 episodes of about 15 minutes each, a magical story with a dreamlike aura that creates a moving and pleasant visual experience.
It all begins when a cat and a dog cross the Rainbow Bridge and return to the world of the living in human forms. They go in search of Jung Woo (Go Ho Jung), their owner, a young bachelor who lives alone. When he was twenty years old, a fatal accident took away everything he loved: he lost not only his parents, but also his dog and cat, Choco (Lee Jae Bin) and Milk (Kim Seong Hyuk), respectively.
One night, after returning home from a long day of work at her uncle's (Park Seung Bin) cafe, two handsome strangers knock on her door. To your disbelief, they claim to be Choco and Milk! He doesn't believe them, but Choco and Milk prove their identities by sharing memories that only Jung Woo can know as the pets' owner. This is how Jung Woo realizes that the strange visitors are indeed his two beloved companions from childhood and youth, reincarnated in human form.
A question arises in the viewer from the moment they understand what the series is about: Will Choco and Milk manage to develop human feelings and emotions?
With the cute and clingy dog-human Choco and the more restrained cat-human Milk settled comfortably in Jung Woo's house, the three will once again enjoy the warmth and affection that united them in the past. However, the clash between these four beings will bring new dimensions to the resumption of their life together and surprising discoveries in the areas of friendship and love.
Despite his surprise and confusion, Jung Woo quickly and easily adapts to a warm and cozy lifestyle with his inseparable friends. They bond, create memories and happy moments, and in the process develop feelings that go beyond friendship.
I will answer the question: The story will take legitimately dramatic turns when love and friendship take center stage. The series makes the most of the affection and affection established from the beginning, to legitimize the emotional and romantic twists that appear later.
Choco will be for Jung Woo and Milk for Uncle, the perfect couples, achieving vibrant chemistry between them. Don't forget: The adorable characters and their endearing personalities are the strong points of Choco Milk Shake.
Although the events, romances and stories (for example, how pets become humans or Jung Woo's past), are not developed in depth, this fantasy drama surprises because it is much more than it appears. What begins as a light, fun and adorable story becomes an emotional love letter to pets, their role in our lives and, above all, the importance of saying goodbye in order to continue.
Had the details been developed, 'Choco Milk Shake' would be a more finished, polished series, with a more convincing story.
Rather than focusing on the romantic aspect, 'Choco Milk Shake' deals with the topic of loss and acceptance of the same in a warm way.
With a cast possessing individual charms and wonderful chemistry, the direction, cinematography and writing transport the viewer to a dream and fairy tale universe. The narrative, hinting at the continuation of the series in the future, maintains a good rhythm that enhances the emotionally bittersweet closure, due to the new separation, but the hope of a new reunion.
Jung Woo, the sensitive, soft-spoken boy with a kind heart, who after the tragedy has lost the joy of living, regains his joy and happiness after his reunion with Choco and Milk. But soon his heart will tremble again when he discovers that they both have a limited time on earth. But this will only serve as an excuse for a second season.
And it is there, in the moments of transition from happiness to sadness in the face of the imminent new loss due to the inevitable separation, piercing the most sensitive fiber, when 'Choco Milk Shake' shows its strength and the beauty of the work, thanks to the performances.
STRONGBERRY's first fantasy romance web drama series BL web drama won several awards at the first K-Web Drama Award (KWDA) in Dangjin. At the event, which seeks to celebrate the excellence of Korean web dramas and highlight the unique storytelling and creativity of each creator, director Ann Ji Hee won the Culture of Odyssey award, and production company Matchbox was selected as a of the 12 best winners of the Spotlight selection. For their part, the lead actors also won an acting award.

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Between fiction and reality

Seung Woo Park (played by Jeon Yu Bin) is dragged by Sangyoon Park (played by Minjin Kim) to a corner of the room and, cornered, listens, annoyed, as he is accused of having had sex with someone else.
Sangyoon attacks him and hurts him with his words. Both young people argue heatedly. At any moment they could come to blows. They are not a couple. They are just two friends who…
The victim cannot understand why he is treated that way. That's why he asks her insistently: "What does that have to do with you? Why do you keep interfering in my life? Are we lovers? Are you jealous of other people? Do you like me?" The response he receives from Sangyoon is a kiss on the lips. But when he realizes his act, he nervously turns away and asks for forgiveness.
Thoughtful, Seung Woo Park lowers his head and sighs. He feels a shudder run through his entire body. The question still hangs in the air: "Do you like me?" He looks at him again, and understands that he was not wrong: his partner loves him, most likely with the same strength that he loves him.
Looking up, Seung Woo Park meets his eyes and holds his gaze. Only then, for the first time, he sees Sangyoon Park. He sees it not only with his eyes, but with that inner gaze, through which one is able to see what is deep inside each person, and understands that both are drawn to each other like an abyss to the suicidal person. Yes, he loves the person who has been standing in front of him for months, when they met at the beginning of filming. But the most happy thing he is to discover is... that it is reciprocated.
What intoxicating delight to feel for the first time in one's life the pulsation of the blood in the veins and the pulsation of all the fibers of the body. I was learning what it is to love and be loved.
The order: "Cut!" brings Seung Woo Park back to reality.
It may be that, carried away by emotions, he has strayed from the script. That's why he looks, surreptitiously, at the director of the romantic drama in which both he and Sangyoon Park are protagonists. But she, a few centimeters away from them, camera in hand, does not correct them and has let them do it, understanding that improvisation could allow the characters to flow freely, resulting in genuine, organic, authentic performances.
By then, they were no longer two actors performing a love scene in a romantic drama while being filmed. They have become two people who, through gestures, silence and words, many of them coming from a written text to be interpreted by them, have expressed their true feelings during filming... without anyone on the crew noticing. of it.
And Jui Kim, the director of 'Actor: eal' ('Act or Real'), the two-episode South Korean miniseries from 2024, is aware that love can surprise us anywhere. The same on an ocean liner about to sink, on a desolate mountain where two cowboys discover their sexuality... or on a film set.
The direction and cinematography contribute to the artistic and visually attractive quality of the audiovisual. This work, whose centrality is its love plot, grows around love and the evident desire between its characters.
As it progresses, the miniseries captures the tender moments of their interaction. Through silence, abstract soundscapes and textured cuts, the discovery, acceptance of sexuality and the birth of love between the two young people are conveyed in a visually striking way.
Jeon Yu Bin, the actor who plays Seung Woo Park, and previously known for his leading roles in the series 'Blue of Winter', and the short film 'His, Ice Cream', both from 2022, manages, together with his co-star, to infect us that sexual tension, palpable during the almost 9 minutes of footage.
It's nice to see how in such a short time, the love between the two characters develops honestly, authentic and tender. And together they discover their own homosexuality and give themselves over to it freely, although with obvious shyness, perhaps because other people are present... or perhaps because of the obvious: they are two boys, and South Korean society would not accept them. But they take risks. Love is much stronger.
Music makes everything much more romantic.
Both the director and Jihye Woo, the screenwriter, are aware that one of the most important aspects of an audiovisual is to ensure that the trust and connection between the characters—especially those in love—is very good. That is why they selected two very convincing actors as a couple who acted together in several intense scenes..., like the one with the fast-paced kiss almost at the end, and it surprises us, not because it was not expected by the viewer, but because of its unusual nature. to see the passion represented in it in Asian BL series.
The chemistry between the actors is palpable, allowing the depth of their relationship to shine on screen.
Full of emotions, 'Actor: eal' is a work with love as the central theme, with a kiss and a happy ending. Another added value is that the heteronormative nuclear family (boy-girl) is also questioned on this occasion.
And the creators are also consistent with the logic that few feelings are more universal than love. Any human being could have their own definition and all of them would be valid, even more so if we understand that there are many types of love. The fraternal one, the one you consider a friend, the one you profess to your family... But of course, few things are equal to romantic love, whether between a boy and a girl, between a girl and a girl or a boy and a boy.
They also understand that if there is something that comes close to the authentic perception of romance, it is its representation in literature, theater and, of course, in film and television.
Both one and the other, since their invention, have been much more than simple entertainment. They have been a window to the world, a door to the imagination and an inexhaustible source of emotions. Movies, television series and short films are not only a way to escape from reality, but a way to connect with the stories, characters and emotions that touch our hearts.

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A couple that conquers and falls in love

Food, pranks, love play, sexual tension, music and love are the ingredients of 'Ingredients', the Thai BL series starring Jeff Satur as Marwin (Win) and Gameplay Garnpaphon Laolerkiat as Tops, two college students who are also roommates. From the first moment, we see them already living together under the same roof. And yes, you may think at the beginning that there is already a romance between them, but no... this one is on the way. And you will witness it firsthand.
Win is a charming and confident young man, romantic and playful. He loves music and dreams of becoming a world-class musician. Away from his family and immersed in the world of concerts and tours, but suspended for the moment due to the Covid-19 pandemic, he has not taken good care of himself until he comes to live with Tops.
Gentle and sensitive, Tops has been fascinated by cooking since he was little. An aspiring chef, he finds happiness in cooking delicious, tasty food and giving it to Win to try. When the difference between the two becomes the perfect match, chaos ensues, and the two find themselves deciding between their dreams and each other.
While Marwin writes and sings his own songs and plays the guitar beautifully, Tops, the Food Science student, dreams of opening his own restaurant one day and creates many dishes that have Win as his taster par excellence. He, amazed, will help him with the ingredients and in the kitchen itself, in addition to creating a vlog for Tops to promote his elaborate recipes.
There's no drama. There is no complex and elaborate language. There are no dramatic twists. And is this a problem? In another series, I would surely demand it... and I would even complain about the tropes and the toxicity and the jealous boyfriend and the homewrecker that I have questioned on other occasions, but no, it will not be necessary..., the same with the guys from 'Ingredients' and what happens before your eyes, they will steal your heart and conquer you, well shhhh, total silence, you haven't realized yet that you will only need two people who are happy to be in each other's presence.
Other of its peculiarities lie in the fact that the series has as its background the cruel stage of Covid-19, and with only two or three outdoor scenes, all the action takes place inside the home shared by the protagonists. It is therefore striking how they promote health and safety in times of pandemic, as well as the interest in raising awareness about the necessary hygiene habits.
This drama, which highlights the many cute interactions between the couple as they go about their daily lives, doesn't have a big budget or a complex narrative. With two charismatic protagonists, a cozy atmosphere, simple but honest dialogues, and a romance that is based on the platonic and the playful, 'Ingredients' shows that a love story can be created, even between two people with different personalities, but They have a close relationship and complement each other well.
In a kind of sitcom, although its objective is not to provoke laughter itself, with independent episodes that address a given situation that finds its conclusion in it, but slightly connected by brief references to previous chapters, Win and Tops invite the viewer to penetrate in the privacy of your home so that we can discover your daily life. Between songs, plates of food, jokes, games, looks, silences and small everyday actions, such as calling each other to dinner, playing with a cat, insisting to each other that they stink and have to go take a shower, or decorating the Christmas tree, The friends look at each other and are silent about the love they have for each other.
It is evident that the characters are in their own world and it is the audience, an accomplice, who, already inside the home, bursts into the lives of Win and Tops to witness how one character will take a small step to get closer to the other, and how the other will be happy to take his step forward as well.
The director masterfully directs a visually striking and emotionally charged series that captures the essence of the complexities of human connection, self-discovery, acceptance and personal, spiritual and professional improvement, and challenges conventional notions of love and intimacy, thanks to meticulous attention to every detail.
The camera does not leave the faces of the two young people, and scans the attractive surroundings, especially the living room, the kitchen and the bedroom, now from one, now from the other, as if it wanted to appropriate it. This is how the house becomes another character in the work. In this way, the viewer is guided by the creators through the always beautiful, emotional and at the same time complicated process of falling in love.
As the 21 episodes of an average length of 10-15 minutes progress, the series captures the intimate moments of the two characters. Through conversation, games, music, the preparation of food dishes or their tasting, but without forgetting the silence, abstract soundscapes and textured cuts, the intimacy between Win and Tops is transmitted in a visually shocking.
The absence, at times, of a traditional script, letting the character act, allowing the character to flow freely and spontaneously, allows for improvisation, which results in genuine and authentic performances that resonate with the audience.
The series explores the idea that true intimacy can be found in the simplicity of sleeping next to someone, sitting at the table or on the couch to share one of the delicious but easy-to-make dishes, or being a part of the friendly chat while strumming the guitar, transcending the physical act of sex.
With its unique narrative approach and powerful performances, we can't forget the chemistry between Jeff Satur and Gameplay. Simply put, one feels very comfortable with the other. Since 'He She It', both shared leading roles and this allows them to establish very good vibes. The looks they give each other, especially the first to the second, convey happiness and affection. They are both happy, and excited to be in the other person's presence.
For most of the series, Marwin and Tops play the role of a cute couple of platonic friends, but their relationship almost feels like that of a couple of lovers. In those moments, a solid foundation for their future love relationship is built, while Jeff's voice lets us hear his song 'Moment', which will accompany us throughout the series.
Already at the end, the drama introduces more romance and, if it were not for the kisses, although there are not many, in truth, the viewer practically does not perceive that a natural transition from friends to lovers has occurred.
In addition to the moments in which they already act as boyfriend and girlfriend, it attracts moments such as the tension when Win's family comes to visit to ask him to abandon his dreams and dedicate himself to the family business, the way in which Tops will calm him down in this and in others occasions, the obvious jealousy in Jeff when the neighbor interacts with Tops, the aspiring musician's concern about the thesis that the chef must present to graduate...
Don't turn off the television thinking that it is a simple story, that its episodes are short, that it serves as an advertisement for a supermarket chain (hence the name of one of the characters) or that it will not keep your interest. Don't make the same mistake when for the first, second and even third time I tried to view 'Ingredient' and left it thinking it wasn't worth it. Precisely, there is the hook to seduce you, to conquer you. Don't underestimate the series for these or other reasons.
Tops and Marwin have the power to conquer you as a couple. Jeff and Gameplay are two charismatic actors who make you want to share the fate of their characters. The initial dynamic of the relationship will stop being cordial, brotherly, with large doses of sexual tension here and hints of affection there, until it becomes a true romance in which, as I said, you are an accomplice par excellence.
And yes... why won't I tell you about the ending? Do you want him happy? Do you want the couple to live locked in that house, as if the new coronavirus lurked forever on the outskirts? No, at some point, the doors will open, the masks will be forgotten, those who are no longer with us will be remembered, but life goes on.
At those times, Tops and Win will continue with their careers. The two couples will leave to restart their professional lives where they were stranded after the arrival of the deadly disease. One will invite the other to follow him, but... why do long-distance relationships exist? Can't they stay connected by video calls? Is it not possible to succeed in your respective fields while waiting to meet again? They are not boyfriends? Don't you love each other? Who says that all is lost, that love has an expiration date?
As the final credits roll, I am convinced that always, always, Tops will hear Win's voice, and Win will continue trying Tops' delicious dishes, because love persists, and the hope of reunion also beats.

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Opposites attract and create very deep love stories

Strange strength is that of love that transcends the barrier of distance and time, mocks prejudices of all kinds and also manages to perpetuate itself in art as an inspiring paradigm for future generations.
But there are loves that break, in addition to social and temporal molds, those of carnality and logic. How, why, for what, are just the first questions in the face of the inevitable evidence of these powerful attractions.
We don't know if it's because of something in physics or chemistry, but it's no lie that opposites attract and create very deep love stories. Perhaps it is these differences that make them feel a strong attraction towards each other and, what's more, if they complement each other healthily, they will be able to have an almost perfect relationship for life.
However, patiently overcoming obstacles to get to that point will not be an easy task!
When a film becomes a mass phenomenon, regardless of whether or not it has its cinematographic values, it is because it touches some intimate fiber of that public that goes to the cinemas to enjoy it. 'To My Star The Movies', from 2021, proves the axiom.
Because? Its theme, which was evidently the driving force behind its success: the differences between the two characters, one of them a famous celebrity and the other an ordinary chef, in addition to telling about a homosexual relationship. Their lives will be shaken when one of them, who flees from the press and his followers after being involved in a media scandal, is forced to leave his comfort zone and will cross paths with someone who does not want to leave it.
The film, a compilation of the Korean BL drama of the same name, with some scenes added and others deleted or moved in the new editing, revolves around Kang Seo Joon (Son Woo Hyun), a famous free-spirited film and television celebrity who hides after being implicated in a public scandal. At his hideout he meets Han Ji Woo (Kim Kang Min), his new roommate, an introverted and conservative man who leads a modest and unpretentious life.
Forced into an uncomfortable situation, they begin to share their personal stories, fears, and dreams. Despite his fall from grace and not having started the relationship on the right foot, Seo Joon believes that his luck changes when he meets and falls in love with the boy who represents his antithesis. While they spend time together, between the actor and the chef, who move in two very different social spheres, a romance arises,
Seo Joon is not only famous at the peak of his career, playing the leads in hit dramas and television variety shows, as well as high-profile advertisements, he is also outgoing, extravagant and very charismatic. Accustomed to being the center of attention, his personality is pure magnetism that attracts other people to his presence; while Ji Woo, who always tries to go unnoticed and not experience any upheavals in his life, represents the humility and simplicity of a down-to-earth boy who prefers a quiet lifestyle with simple pleasures, such as cooking or hiking.
And against everything predictable, one falls in love with the other and what is worse... it is reciprocated.
The film, by director Hwang Da Seul, who took her time to weave the story, with the meticulousness that characterizes her, worked like a craftsman in her eagerness to recreate every detail on a topic that she is passionate about: boy love, as he did with two dramas: 'Where Your Eyes Linger' (2020) and 'Blueming' (2022), and the short film 'Inner Me'.
With a simple, but captivating and visually emotional plot, the novice filmmaker, recognized for her creative abilities, shows that it was no coincidence that she won the Award of Excellence at the V Catholic Film Festival for her 2018 short film 'Spring That Summer' .
To do so, it was based on Park Young's script about a romantic relationship between two initially heterosexual boys. The film exposes prejudices about homosexuality in Korean society and, above all, in the world of arts and culture, reflected by Jeon Jae Yeong (Kim Pil Hyun), Seo Joon's crisis and talent manager. , upon discovering the budding romance between the two protagonists, but later he will become an accomplice of the two lovers. The series also reflects the role of the media and social networks in the public's perception of youth idols.
Emotionally charged, 'To My Star The Movie' captures the essence of intimacy, vulnerability and unconditional solidarity within the queer community, with two young people navigating their gender identity and cultural background as its narrative heroes. Through an under-researched focus on BL storytelling and powerful performances, the series explores the complexities of human connection and challenges conventional notions of love and intimacy.
The chemistry between the actors is palpable, allowing the depth of their relationship to shine on screen. As the story unfolds, their interactions are conveyed through silence, abstract soundscapes, and textured cuts, creating a captivating visual experience that immerses the audience in their emotional journey of self-discovery and acceptance.
With good intentions, successful gags and sharp dialogues, the film immerses us in the relationship between two young people that, due to misunderstandings, does not start well, but as they live in the same apartment and enjoy cozy and intimate moments together, they will open their hearts.
Since Freud we know that sexuality develops together with subjectivity. It has to do with the pleasure that can be experienced in the body from the bonds built with another.
This reality does not escape the director. While they got to know each other, See Joon and Ji Woo began to learn to enjoy themselves and each other, that experience that shapes our relationship with pleasure, that of each one of them and that which we share.
Soon Woo-Hyun, the actor who plays See Joon, and who worked with the director in the short 'You Ghosted Me for a Week', from 2021, is usually worried about work and the mess in which he finds himself involved, But he tries his best to spend time with Ji Woo.
This, despite the seriousness of his character and overwhelmed by the presence of a being as overwhelming as his roommate, is the first to fall in love. The way he initially puts up a wall of protection around himself in front of the other, the glances he steals from Seo Joon, the intonation of his voice and the strange blink when he doesn't quite know how to act when Seo Joon moves next to him. around him, his facial expressions, his gestures, his entire body, express that he likes it. However, he is cautious, as he suffers from disappointment in love in the past and does not want to be hurt again.
Kim Kang Min, the actor who plays the character of Ji Woo, and whom we know from his debut in 2019 with the SBS series 'Stove League', unlike the famous Seo Joon, lives with his back to the world of celebrities. Employed in his friend's cafe, he is actually a talented chef, but his culinary skills are not shown to the public of large hotels and luxury restaurants.
Pretending to get along with the roommate, Seo Joon insists on befriending Ji Woo and spending time together. Those beings with two very different personalities will little by little get to know each other and enjoy each other's company.
As the days go by, the camera captures the moments of the two boys getting closer. Through silence, abstract soundscapes and textured cuts, the intimacy between Seo Joon and Ji Woo is conveyed in a visually striking way, resulting in genuine and authentic performances that resonate with audiences.
Although it does nothing new or innovative with the premise, the diversity of conflicts they face, their psychological complexities, and the emotional evolution of the characters, add layers to the narrative and weave an intriguing web that keeps viewers in suspense.
'To My Star' explores the idea that true intimacy can be found in the simplicity of sleeping next to someone, in sharing those small moments and spaces of everyday life, transcending the physical act of sex, even if it is artistically fine. recreated, shown.
The film challenges social norms and invites the viewer to question their own perceptions of intimacy and love, while presenting a snapshot of the complexity, tenderness and vulnerability that people experience in unconventional circumstances, such as living together and the relationship between people from two different worlds.
The direction and cinematography contribute to its artistic and visually appealing quality. The deliberate use of images and narrative style create an atmosphere that demands the viewer's attention and encourages introspection and invites reflection.
With a fairy tale ending and a clear resolution for its characters, 'To My Star' successfully captures the beauty and power of love, and serves as a reminder that true intimacy can be found in unexpected places and that love transcends social expectations.
With the final credits, I was able to conclude that I was looking at an audiovisual full of conceptual proposals related to gender identity, personal and social psychology, and the configuration of individual and collective destinies, in a country where today LGBT+ people continue to be discriminated against, and whose paths today, in the 21st century, cannot end up united in a marital alliance, as the refusal to legalize marriage between people of the same sex by a conservative society persists.
In this sense, the series contributes to the struggle of the members of that community in the defense of their trampled rights.

Note: The review of the series of the same name can be found, in MDL, on the page dedicated to the series on the platform.

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Opposites attract and create very deep love stories

Strange strength is that of love that transcends the barrier of distance and time, mocks prejudices of all kinds and also manages to perpetuate itself in art as an inspiring paradigm for future generations.
But there are loves that break, in addition to social and temporal molds, those of carnality and logic. How, why, for what, are just the first questions in the face of the inevitable evidence of these powerful attractions.
We don't know if it's because of something in physics or chemistry, but it's no lie that opposites attract and create very deep love stories. Perhaps it is these differences that make them feel a strong attraction towards each other and, what's more, if they complement each other healthily, they will be able to have an almost perfect relationship for life.
However, patiently overcoming obstacles to get to that point will not be an easy task!
When a series becomes a mass phenomenon, regardless of whether or not it has its cinematographic values, it is because it touches some intimate fiber of that audience that occupies their armchairs in front of the television to enjoy it. With '나의 별에게' ('Naui Byeolege, Na-ui Byeol-e-ge, Naui byeorege'), English title 'To My Star The Series I', from 2021, which has only already been seen by millions of viewers in everyone, proves the axiom.
Because? Its theme, which was evidently the driving force behind its success: the differences between the two characters, one of them a famous celebrity and the other an ordinary chef, in addition to telling about a homosexual relationship. Their lives will be shaken when one of them, who flees from the press and his followers after being involved in a media scandal, is forced to leave his comfort zone and will cross paths with someone who does not want to leave it.
The Korean BL drama, in 9 episodes, revolves around Kang Seo Joon (Son Woo Hyun), a famous free-spirited film and television celebrity who goes into hiding after being implicated in a public scandal. At his hideout he meets Han Ji Woo (Kim Kang Min), his new roommate, an introverted and conservative man who leads a modest and unpretentious life.
Forced into an uncomfortable situation, they begin to share their personal stories, fears, and dreams. Despite his fall from grace and not having started the relationship on the right foot, Seo Joon believes that his luck changes when he meets and falls in love with the boy who represents his antithesis. While they spend time together, between the actor and the chef, who move in two very different social spheres, a romance arises,
Seo Joon is not only famous at the peak of his career, playing the leads in hit dramas and television variety shows, as well as high-profile advertisements, he is also outgoing, extravagant and very charismatic. Accustomed to being the center of attention, his personality is pure magnetism that attracts other people to his presence; while Ji Woo, who always tries to go unnoticed and not experience any upheavals in his life, represents the humility and simplicity of a down-to-earth boy who prefers a quiet lifestyle with simple pleasures, such as cooking or hiking.
And against everything predictable, one falls in love with the other and what is worse... it is reciprocated.
The series, by director Hwang Da Seul, who took her time to weave the story, with the meticulousness that characterizes her, worked like a craftsman in her eagerness to recreate every detail about a topic that she is passionate about: boy love, as he did with two other dramas: 'Where Your Eyes Linger' (2020) and 'Blueming' (2022), and the short film 'Inner Me'.
With a simple, but captivating and visually emotional plot, the novice filmmaker, recognized for her creative abilities, shows that it was no coincidence that she won the Award of Excellence at the V Catholic Film Festival for her 2018 short film 'Spring That Summer' .
To do so, it was based on Park Young's script about a romantic relationship between two initially heterosexual boys. The film exposes prejudices about homosexuality in Korean society and, above all, in the world of arts and culture, reflected by Jeon Jae Yeong (Kim Pil Hyun), Seo Joon's crisis and talent manager. , upon discovering the budding romance between the two protagonists, but later he will become an accomplice of the two lovers. The series also reflects the role of the media and social networks in the public's perception of youth idols.
Emotionally charged, 'To My Star' captures the essence of intimacy, vulnerability and unconditional solidarity within the queer community, with two young people navigating their gender identity and cultural background as its narrative heroes. Through an under-researched focus on BL storytelling and powerful performances, the series explores the complexities of human connection and challenges conventional notions of love and intimacy.
The chemistry between the actors is palpable, allowing the depth of their relationship to shine on screen. As the story unfolds, their interactions are conveyed through silence, abstract soundscapes, and textured cuts, creating a captivating visual experience that immerses the audience in their emotional journey of self-discovery and acceptance.
With good intentions, successful gags and sharp dialogues, the series immerses us in the relationship between two young people that, due to misunderstandings, does not start well, but as they live in the same apartment and enjoy cozy and intimate moments together, they will open their hearts.
Since Freud we know that sexuality develops together with subjectivity. It has to do with the pleasure that can be experienced in the body from the bonds built with another.
This reality does not escape the director. While they got to know each other, See Joon and Ji Woo began to learn to enjoy themselves and each other, that experience that shapes our relationship with pleasure, that of each one of them and that which we share.
Soon Woo-Hyun, the actor who plays See Joon, and who worked with the director in the short 'You Ghosted Me for a Week', from 2021, is usually worried about work and the mess in which he finds himself involved, But he tries his best to spend time with Ji Woo.
This, despite the seriousness of his character and overwhelmed by the presence of a being as overwhelming as his roommate, is the first to fall in love. The way he initially builds a wall of protection around himself in front of the other, the glances he steals from Seo Joon in the first episodes, the intonation of his voice and the strange blink when he doesn't quite know how to act when Seo Joon He moves around her, his facial expressions, his gestures, his entire body, express that he likes her. However, he is cautious, as he suffers from disappointment in love in the past and does not want to be hurt again.
Kim Kang Min, the actor who plays the character of Ji Woo, and whom we know from his debut in 2019 with the SBS series 'Stove League', unlike the famous Seo Joon, lives with his back to the world of celebrities. Employed in his friend's cafe, he is actually a talented chef, but his culinary skills are not shown to the public of large hotels and luxury restaurants.
Pretending to get along with the roommate, Seo Joon insists on befriending Ji Woo and spending time together. Those beings with two very different personalities will little by little get to know each other and enjoy each other's company.
As the days go by, the camera captures the moments of the two boys getting closer. Through silence, abstract soundscapes and textured cuts, the intimacy between Seo Joon and Ji Woo is conveyed in a visually striking way, resulting in genuine and authentic performances that resonate with audiences.
Although it does nothing new or innovative with the premise, the diversity of conflicts they face, their psychological complexities, and the emotional evolution of the characters, add layers to the narrative and weave an intriguing web that keeps viewers in suspense.
'To My Star' explores the idea that true intimacy can be found in the simplicity of sleeping next to someone, in sharing those small moments and spaces of everyday life, transcending the physical act of sex, even if it is artistically fine. recreated, shown.
The series challenges social norms and invites the viewer to question their own perceptions of intimacy and love, while presenting a snapshot of the complexity, tenderness and vulnerability that people experience in unconventional circumstances, such as living together and the relationship between people from two different worlds.
The direction and cinematography contribute to the artistic and visually appealing quality of the series. The deliberate use of images and narrative style create an atmosphere that demands the viewer's attention and encourages introspection and invites reflection.
With a fairy tale ending and a clear resolution for its characters, 'To My Star' successfully captures the beauty and power of love, and serves as a reminder that true intimacy can be found in unexpected places and that love transcends social expectations.
With the final credits, I was able to conclude that I was looking at an audiovisual full of conceptual proposals related to gender identity, personal and social psychology, and the configuration of individual and collective destinies, in a country where today LGBT+ people continue to be discriminated against, and whose paths today, in the 21st century, cannot end up united in a marital alliance, as the refusal to legalize marriage between people of the same sex by a conservative society persists.
In this sense, the series contributes to the struggle of the members of that community in the defense of their trampled rights.
Note: The review of the film of the same name can be found, in MDL, on the page dedicated to the series on the platform.

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Otomo Kyoichi (Okura Tadayoshi- '100 Times of Crying',) works at an advertising company. He has an indecisive personality. Despite being married, he repeatedly has affairs. After seven years, he meets his college freshman classmate, Imagase Wataru (Narita Ryo- 'Katsuben!'), who reveals that he was hired by Otomo Chikako (Sakihi Miyu- 'The Man Who Can') , his wife, to investigate his infidelity, but also confesses that he is gay and has been in love with Kyouichi since the first day he met him.
Given the confusion created in Kyoichi, Imagase promises not to reveal his infidelities in exchange for a kiss. Kyouichi accepts the proposal, hoping it will save his marriage, but their secret relationship begins to escalate and eventually becomes sexual.
Isao Yukisada's 2020 live-action film 'Kyuso wa Cheese no Yume wo Miru' (窮鼠はチーズの夢を見る) is based on a Japanese manga series 'The Cornered Mouse Dreams of Cheese', written and illustrated by Setona Mizushiro, serialized in the josei manga magazine Judy from 2005 to 2006. The book was followed by a one-volume sequel titled 'The Carp on the Chopping Block Jumps Twice' (俎上の鯉は二度跳ねる, Sōjo no Koi wa Nido Haneru).
This is a fascinating and heartbreaking film that deserves much more than being classified as BL, as well as better attention from the public.
The two protagonists are joined by Yoshida Shiori ('Chihuahua-chan') as Okamura Tamaki, Sato Honami ('Lupin's Daughter') as Natsuo, and Ohara Noriko ('Disturbed by Gymnopedie') as Ide Ruriko, whose characters they vividly embody. and compelling the idea that no matter who you are, once you fall in love with someone, your world will be turned upside down and there is nothing you can do about it.
The acting of the actresses allows human relationships to be more interesting than in a typical romantic film.
Tadayoshi Okura as Kyoicho shows talent and instincts, while Ryo Narita brilliantly plays the role he has been waiting for for a long time. The looks, gestures, words and silences of the two actors, sometimes playful and sometimes passionate, make this work even more realistic. The performances of the protagonists are especially good and indisputably express the heartbreaking but endearing love story.
The character played by Ryo Narita portrays with grace, naturalness and a certain sexual appeal the subtle changes in his emotions, which oscillate between arrogance, vulnerability and impatience on the screen.
Imagase transmits power and shows beautiful gestures that I have never seen before, but also despair and suffering. It's painful to be with him, just as painful to be away from him. His raw emotions make the viewer feel suffocated. He achieves the audience's empathy, and at times they forget the other characters present. He is the person who leaves the audience spellbound. His charm could perfectly work in the world of Wong Kar-wai or Lou Ye.
For his part, Tadayoshi Okura, with his passivity, boredom and rootlessness, also contributes to the creation of the atmosphere that the film tries to convey. Although natural, it exudes a certain air with elegance and seductive charm.
In particular, the scene in which while Kyoichi claims to be planning to marry a woman, Imagase begs him to allow her to continue seeing him, whether once a month or every six months, just to see his face, is very heartbreaking. At that moment I thought of the main characters of the American movie "Brokeback Mountain."
In this triumph of compatibility between director Yukisada and the actors, phrases said by Imagase will resonate over time, such as "When you fall in love with someone from the bottom of your heart, that person is the only one in everything", or "You have a weakness for the people who love you, but in the end, you don't trust that love and you keep sniffing out the feelings of the people who get close to you. Because of their power, these words impact and move.
Although Isao Yukisada set the standard within the Japanese and world seventh art with films such as 'Crying Out Love, in the Center of the World' (2004) and 'Year One In The North' (2005), creating an aura of mysticism, there came a period of stagnation from which only minor works emerged. But for the good of his followers, it also meant a time of meditation and intellectual growth.
We see the result in 'Kyuso wa Cheese no Yume wo Miru', a film with which Isao Yukisada returns to the path of success and expectations surrounding his productions, bringing us solid visual expression and human representation, making his narrative heroes play ruthlessly and skillfully.
The above is demonstrated when it seemed that the film was running out of breath after the first 40 minutes of its more than two hours of duration, Yukisada's virtuosity and professionalism refloated to achieve a convincing work.
While the two main characters cannot be happy, neither can the women around them. The four women who have been interfering in Wataru and Hyoishi's romance end up acting in a resigned or useful way for the development of the plot, which is probably why the director and screenwriter criticizes their characters from a feminist perspective.
In this kind of unrequited love, the film has the fascination of surpassing the original work. When one finishes watching it, one is impressed by its beauty and the helplessness it leaves in the viewer.
I leave for last my impression of the final scene of the film. When filming began, the two characters are on the shore of a calm, serene sea, but suddenly the wind blew and became intense. Someone asked to stop filming, but Okura Tadayoshi, Narita Ryo and Isao Yukisada, some in front of the cameras and the other behind it, stood firm, giving us a pulsating scene that leaves us with a lasting impression for life.

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A torrid sex scene is not enough fuel to get a plane or a car off the ground

The University of Technology and Innovation (UIT) opens its doors to receive new entrants every year. Its strict rules establish that future graduates, all male and interested in engineering careers, have to live on campus. It is divided into six buildings, and each one represents a group, according to the intellectual and physical qualities of its occupants.
Ai (Nuttawatt Thanathaveeprasert - Bank) and Songkhram (Chitsanupong Soeksiri -Earth) are two of the first-year students who will have to participate in multiple tests in an initial day of university orientation.
The striking physical challenges and artistic and mental competitions that they will undergo during the official reception ceremony provide a score that will define which dormitory building they will live in for the next four years.
By being elected leaders of university residences that have historically been involved in a continuous dispute, exacerbated each year with the arrival of new tenants, the two protagonists, without intending it, will end up being rivals, since each one will have to defend the interests of their respective campuses. .
While Ai, the automotive engineering student and car lover, commands building number 3, where the "handsome ones" live, Songkhram, the future aerospace engineer, who dreams of being an aviation pilot, is the guide of dormitory 2, where The "strong and athletic" ones are grouped together.
Bank, who we already saw in the drama 'Friend Forever', but with Ai makes the leap to the leading role in his first BL project, is a reliable boy who is always willing to help others, and shares a room with Touch, his best friend since the day he entered university.
This last character is played by Supanut Sudjinda (Tong), who we saw in the 2022 BL 'Unforgotten Night' in a supporting role.
For his part, Earth, also in his first leading role in BL, but with demonstrated artistic qualities appreciated in the series 'That's My Candy' and 'Even Sun', both from 2022, plays an intelligent and self-confident young man, who enters into frequent pungas with Ohm, (Bhurichon Khumsiri - Neptune), one of the occupants of bedroom 4, who has a close relationship with Ai as he is her cousin and childhood friend.
This is the fertile ground for the relationship between Ai and Songkhram, two “sworn enemies”, to flourish in the last year of their studies. The bitter conflicts and friction accumulated during the race will cause these two people, so different from each other, to first begin a friendship relationship that will soon become love.
To the aid of the two young people, indirectly, will come an assignment that they must present before graduating. They will have to form a team, along with other students, to prepare a project proposal to present to a panel of investors. This task, in addition to uniting them in complicity and romance, will also serve as a pretext to try to deceive their friends.
Despite having treated each other as adversaries, both will admit their secret feelings for each other. Songkhram is the one who will little by little stop fighting with his rival, after confirming that his suspicions that Ai is interested in Meen (Nattapat Suwanich - Pre-Saint) are not true. He will lose his fear and will be forced to reveal his love, realizing that his best friend, the athletic basketball player Bright (Natthaphon Musikanan - Boss), also loves Ai and tries to win him over.
Meen, one of the characters to take into account, is Ai's friend and has problems with class attendance and academic performance, since, along with his studies, he works as an actor in a popular television drama.
Meen and Bright used to be high school friends. However, they have grown apart and barely speak to each other at university.
Pluster (Chawanakorn Donmongkol – Po Te), and Nano (Sarin Rungkiatwong – Rim), are two first-year students who will bring new conflicts and tensions when they join the cast late in the series.
When love surprises the two main boys, they will have to contrive in front of the rest of the students to try to hide the fact that they are no longer rivals, but lovers.
In a script that reflects a weak and boring love story, Songkhram and Ai cannot show off their potential as a BL couple, despite their attractive looks and charming smiles. Embodying well-developed characters, I have no doubt they can become one of the most seductive couples within the genre.
Both the romance of the main couple and that of the secondary couples simmer and take time to develop, causing misunderstandings between them, and annoyance in the public, eager for the timid sighs of adults who act like teenagers to become hoarse. grunts of sexual enjoyment.
The adaptation of the novel "ราชาวิหค" (Racha Wihok) by Chiffon Cake lacks a compelling plot and shows little imagination. The only incentive we have, as the public, is to wait for the octane rating, that scale that allows us to rate the anti-knock power of a fuel when the latter is compressed in the cylinder of an engine, to be higher, and so on, Ai and Songkhram, like combustion generated, start flirting and kissing and thinking about a life together.
While the viewer waits for the couple to begin their journey in a stagnant plot, the repeated clichés, boring scenes and the actions of the characters, a kind of meaningless childish pranks, populate the episodes of 'Destiny Seeker'.
Only after the protagonists become adorable boyfriends with cute flirtations and romantic scenes in which there is no shortage of fun teasing and erotic games, while they hide their love from their friends and other students, the hitherto hidden BL material gains intensity and explodes with the essential fuel to get both cars and airplanes off the ground.
With a narrative that finally takes shape in the bodies of the two boys, the series enters, with plenty of momentum, into the last episodes, allowing visibility to a tender romance between two attractive young people who flirt deliciously.
The climax is reached in the passionate encounter of the young people in the final episode, in an act that borders on wild eroticism, but artistically polished like an exquisite jewel.
A hot sex scene will make even the viewer most accustomed to strong erotic images blush, due to how few they are in BL genre series.

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The gong/seme strives to recover his shou/uke by repenting of his mistakes

What is reincarnation? According to its definition, reincarnation is the belief that the individual essence of people begins a new life in a different body or physical form after biological death. That is, it is the belief that, after dying, each of us will begin a new life in a new body.
Of course, in both film and television, this idea, this belief, has been explored from all angles: horror, comedy, suspense and also romance.
When we talk about reincarnation, this possibility of living a new life in a new body after death, is presented to the stuntman named Joe (Poom Phuripan Sapsangsawat - 'Bake Me Please', 2023; 'Saneha Stories Season 4: Saiyai Saneha', 2022), who, after a fatal accident, in a trick of fate, suddenly comes back to life but in the body of another person of the same name who had suffered an accident on the same day.
The LGBT+ themed romantic drama 'My Stand-In' (ตัวนาย ตัวแทน/Tua Nai Tua Thaen) revolves around Joe's new life after his reincarnation. When he wakes up, Joe finds himself immersed in what seems to be the same world he has just left, with the same people around him and the same destiny as before, since both his professional career and personal life remain identical: he is the substitute by the young and famous actor Tong (Mek Jirakit Thawornwong - 'Star and Sky: Sky in Your Heart', 'Star and Sky: Star in My Mind', both 2022; 'Kiss Me Again, 2018').
With the possibility of accessing the memories and knowledge of his past life, Joe meets Ming again (Up Poompat Iam-samang - 'Lovely Writer', 2021; 'Club Sapan Fine Season 2', 2022), with whom he had a relationship. deep relationship in the afterlife. Joe will remember that his death is the result of an accident during filming that took place after discovering that Ming has always considered him as his second choice. After learning this painful truth, Joe is forced to work on a film set abroad where tragedy occurs.
However, in this life, Ming wants Joe to return to his side like before and Joe doesn't know why, because the relationship they both had was always toxic and suffocating. Ming, who has retained all his memories of old Joe, tries to find the truth about his new life to finally offer him the explanation he was never able to give him.
Now, in a new existence full of uncertainties, Joe will have the opportunity to reflect on himself and his place in the world, which has never been free of the shadow of being a stuntman.
Will Joe escape his tragic destiny as a substitute? Will Ming manage to rekindle the love between the two through a plan as crazy as it is imaginative? Can Ming redeem himself for the suffering caused to Joe in the afterlife through repentance and rectification? Will the relationship between the two have, like Joe with his reincarnation, a second chance?
From directors Khom Kongkiat Khomsiri ('KinnPorsche', 2022, 'The Promise', 2023) and Pepzi Banchorn Vorasataree ('Dark Blue Kiss', 2019, 'KinnPorsche'), the series 'My Stand-In' is the Thai adaptation from the popular novel "Professional Body Double" (职业替身), by Chinese writer Shui Qian Cheng.
If someone asked me: what is so special about the series?, I would answer:
- The captivating story of romance, fantasy, mystery and the power of love throughout lives.
- The idea of twists of fate and the possibility of second chances.
- Revitalizing the theme of reincarnation not only in the concept that the protagonist reincarnates, but also that he can access the memories and knowledge of his past lives. This helps in character and story development.
- Reincarnation as a concept or idea that, after death, we can return and get a second chance, takes the vertigo away from the finitude of human life.
- Addressing an attractive and complex topic such as reincarnation, which oscillates between the fun suggestions of the fantastic imagination and the sacredness of Eastern religions.
- Be adapted from a novel of the danmei genre which in turn is based on the "scum gong/crematorium" dynamic, in which gong is a term used to identify the seme, and crematorium means "crying for the lover who is gone ". In this perspective, when the gong/seme realizes his mistakes too late and has to make an effort to recover the person he loves, that is, his shou/uke, at any cost.
The series is just beginning. We will have to closely follow Joe, Ming and Tong, characters who have captured all our attention.

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A story closer to real life than the usual BL and an ode to indie cinema

Hope (Night Yodsakon Khamnang) is a fried dumpling seller. Nine (Kong Chindanai Boonruang) is an actor from the Chiang Mai BL production company, who reluctantly accepts a leading role in a new boy love series. The young man is reluctant to the proposal of York (Sak Kidtisag Makongrach), the director of the company, to be part of a new couple to replace the one formed by the main cast, whose members were forced to abandon the film project after the expiration of their contracts.
The worlds of Hope and Nine intersect when the former parks his sales cart in front of the production company and in one of those turns of life the young people meet. The two begin a journey when they realize that they are united by unexpected and uncontrollable feelings.
I highly value series like 'My Star', from Wayufilm Production, for the same reason that others will surely deny it: good execution, level of acting, filming and production, despite its low budget; characters far from the clichés of attractive boys that populate BL series, many of them with nothing to contribute other than their beautiful faces and contoured bodies; simple stories that are much closer to real life, truly passionate actors and a production team in each installment, and a firm determination not to kneel before the giants of the entertainment world with their very common mediocre stories interested only in making money, and whose proposals frequently fail, among other reasons, for not taking their fans seriously.
We are faced with a Thai BL that is not cheesy and unpleasant. The couple has very good chemistry. They are actors who have starred in other projects, such as 'LGBTQ+ Dramas Season 2', 'Our First Time' or 'Midnight Love', among others, and they know each other well.
Furthermore, the editing team chose exceptional music to accompany the miniseries.
I also appreciate the tenacity of the creators to not succumb to the dictates and whims of commercial companies, eager to contribute funds to the production of many BL audiovisuals in exchange for advertising their products, something that we frequently criticize in other series of the genre, thus respecting Wayufilm Production its ethics and principle of being a production company that is committed to indie cinema.
'My Star' can be considered within the name of independent cinema because it has a low budget, is made in more precarious conditions than the so-called official cinema, deals with everyday themes and is closer to the public, lacks mass distribution and, therefore, having fewer possibilities of obtaining large income and being made by a director outside the world of large production companies.
Being able to film without falling into the rigid schemes of the studio system is one of the highest aspirations of every director.
Written and directed by Thai filmmaker Nitchapoom Chaianun, CEO of WayuFilm and founder of MongKlong Studio and GoodJob VDO, 'My Star' joins other dramatized films of his authorship that address issues related to sexuality and gender identity, such as since he debuted with his first short film 'Fresh' (เฟรชเฉิ่ม), in 2006, which was followed by 'Fresh Cool Story 2' (เรื่องเฟรชเฉิ่ม 2).
Determined to delicately portray the diversity of human relationships, dismantling the prevailing stereotypes regarding what is "normal", and contributing to the struggle of Thai LGBT people, Nicchi, as he likes to call himself, has obtained popular recognition with his films and series BL-themed feature films such as the feature film 'My Bromance' (พี่ชาย, RTGS: Phi Chai), 'My Bromance 2: 5 Year Later: The Series', 'My Bromance: Reunion', 'Key Love', 'NightTime', ' The Rain Stories', 'Yantra' (อาถรรพ์ยันต์มหาเสน่ห์), among others.

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Two opposite poles, an unlikely romance, an unexpected union

From the first scene, 'Wandee Goodday' makes viewers fall in love with it. In a beautiful, dimly lit room, a young orthopedic surgeon seeks to ease the pain of having been rejected by his platonic love... by having sex with a virtual stranger.
Wandee, the name of the risky and irreverent protagonist of the Thai series of the romantic comedy genre with an LGBT+ theme, after being rejected decides to go crazy and drink away his sorrow. Drunk, on his way home, he meets Yoryak (Gigante), a Muay Thai fighter, and decides to propose to him to have revenge sex. Wandee and Yoryak spend a passionate night together, after which they agree to become friends with benefits.
However, things change when Wandee lies to her colleagues and tells them that she is dating someone. As the official synopsis points out, Wandee then asks Yoryak to pretend to have a romantic relationship with him for four months. The couple goes from being friends with benefits to being fake boyfriends, but little by little, their relationship transforms into something much more meaningful and substantial. Moments of emotional connection, in addition to the physical connection that already exists between the two, will allow you to develop deep feelings.
The fuse of the series lights at a good speed through a give and take of more or less witty replies and counterreplies. The quick transition from scene to scene makes BL lovers jump for joy.
Inn Sarin Ronnakiat ('Miracle of Teddy Bear') and Great Sapol Assawamunkong ('Manner of Death'), in the roles of Wandee and Yoryak, respectively, star in this series in which the limits of love and friendship are not at all clear. The audiovisual promises that between sexual appointments, the doctor and the fighter will experience a rollercoaster of emotions, dramas and personal crises. And this is exactly what viewers expect.
Seeing both actors in action is super hot, and yes, the story tells us that love comes even if you are not looking for it, even better! They are both single and meet after one of them gets drunk, have sex and decide to repeat it several more times without any commitment. But who wouldn't fall in love with them?
Not being emotionally available is the excuse that many people use to start a strictly sexual relationship, but what if your heart really wants something else? That is not the worst scenario for Wandee, but the fact of having run into Yoyak, a boy who will soon be open to taking the relationship to another level.
The always necessary figure of the "killjoy" does not take long to appear, this time assumed by Ter Kawin, played by Pod Suphakorn Sriphothong ('Dark Blue Kiss'), the attractive, serious and responsible doctor, who after rejecting Wandee for considering that he is "too vanilla" for his taste, he has come to the conclusion that Yoryak is a bad influence on Wandee, and that he does not deserve to be with someone as good as him, so he will try to separate them, causing problems and discord between the three.
Golf Tanwarin Sukkhapisit, the non-binary actress, filmmaker, writer and politician, directs this tongue-in-cheek comedy adapted from Nottakorn's novel Y 'Wandee Witthaya', with a slight title change by GMMTV.
Characterized by an attractive visuality in its artistic conception, the series surprises us with something more than just a new ship. Because, I can't hold back: what chemistry between Inn and Great. Because if the series manages to surpass others in the romantic comedy genre, part of the blame lies with these two actors in an absolute state of grace. The romantic and sexual vibrations between its characters immediately infect the most cautious viewer, creating a strong empathy with protagonists infinitely better written than the secondary ones.
The verbal humor and the witty retorts and counter-replies that they throw at each other are fabulous. Added to this is the restless and aggressive air of Bangkok, which seduces the viewer, with the background music, the crowds, the monks walking the streets, the historical monuments, the social and cultural landscape of the days and nights of the capital thai, and the boxing matches that promise action and scenes of pure adrenaline.
But to the magic of addressing another historical, social and cultural context, is added the literary basis that inspired Yokee Apirak Chaipanha, who has been an ally of Golf on multiple occasions, to once again put a text with his name in his hands to be brought to the screen.
In addition, other series by the renowned director are also represented in one way or another, including 'Our Skyy 2', 'Moments of Love', 'The Eclipse', 'The Bedtime Story'. Golf's narrative fiction and its recurring themes, such as sexual diversity, the complexity of homosexual characters, family relationships, sex, and others, are mixed with Thai authenticity, both in the boxing ring and in consultations and rooms. surgical rooms of the hospital where Wandee works, as well as in her cozy home, all main settings of the series.
At the same time, other attractive stories take place, such as that of Plakao (Drake Sattabut Laedeke), known for his participation in other BL, such as 'Bad Buddy', an interesting character who, in addition to being Wandee's friend, is a person who does not want experience sexual contact with other boys.
Likewise, the story of O-ye and Cherry, Yoyak's brother and coach, and her boyfriend will be interesting, an always-awaited second couple that increases tensions and conflicts, roles assumed by Thor Thinnaphan Tantui ('The Warp Effect') and Fluke Nattanon Tongsaeng ('Ai Long Nhai'), respectively.
The cast includes AJ Chayapol Jutamas as Ohm, Ployphach Phatchatorn Thanawat as Taemrak and Emi Thasorn Klinnium as Khwan.
The nuances of these and other secondary characters, all good actors and actresses in their respective roles, will be discovered as the episodes progress. Her performances, along with those of the main protagonists, the locations, and that tone that the director knows how to give to the story, is what makes 'Wandee Goodday' a series that could have been excessive and routine, becomes a pleasant, fun, entertaining and very addictive product.
It's true, 'Wandee Goodday is not the height of originality. Nor does it intend to provide a definitive anthropological approach to friendship and love relationships. I highly doubt that he intends to change television. It's not in their plans. But from the little that I have been able to appreciate up to this moment, it seeks to contribute something to the romantic comedy genre, and I mean to be natural and realistic, without completely renouncing romanticism, but without falling completely into the ordinary and vulgar.
I liked how the series set out to achieve what many others of the same genre do not achieve, which is to talk like people today, do the things that people today do and relate like people today do. It is this naturalness that gives Thai drama the freshness it needs to be credible, the freshness that any comedy would need. Its script and editing become true weapons in favor of the story and its tone, something that is appreciated.
And as I have already said in some way, the great success of 'Wandee Goodday' is its leading couple. In the same way we expect special effects to work in a science fiction series; or that true emotions are what drive a drama, for a romantic comedy to be crowned with applause from the public and critics, its couple has to be credible, compelling, with chemistry. And Great and Inn deliver here exceptionally. The weight of the series falls entirely on their complicity and the nuances of their relationship, something that these two actors do with indisputable charm and charisma.
The series is just beginning. We will have to closely follow Wandee and Great, who promise to make us laugh and cry with their love dilemmas, but above all make us reflect on whether there is that person who stays with you through thick and thin, even if at first it seems like just a game .
Because, in addition to entertaining, the series confirms that even when there is no commitment in a relationship, there are attitudes and actions that generate intimacy and emotional ties between two people despite not wanting it, resulting in uncontrollable love. Open relationships can be chaotic, but some have happy endings, so don't stop believing.
We are faced with an unbeatable example that two people can have an open relationship and later fall in love. So don't lose hope if you have a friend with benefits. Whoever said that starting a relationship with sex is wrong is wrong.
But now that I think about it, 'Wandee Goodday' is not exactly a story about friends with benefits. Although it all begins with a sexual encounter, the relationship between Wandee and Yoyak is about the power of destiny and the way it manages to bring two people together.

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From BL as a social and cultural phenomenon to Thai series and their hidden meaning

With dozens of productions each year, Asian BL dramas have skyrocketed international audiences, winning the hearts of global audiences.
From the bustling streets of Taipei to the no less noisy universities of Bangkok, passing through El Nido beach, on the Philippine island of Palawan; bordering the Han River, on foot or by bicycle, before flowing into the Yellow Sea, or exploring the luminous avenues of Shanghai or Hanoi, the series from that distant continent transport us to a world full of drama, romance and intense emotions.
But what is it that makes these television productions have captured the attention and obsession of people from all over the world?
Convincing performances that touch the heart, acting talent as a strong attraction, ingenious scripts that combine romance with other genres, actors and actresses recognized for their convincing and emotional performances that manage to connect deeply with the public; The use of popular idols, the skills to transmit emotions, whether love, hate, rage, joy or sadness, make viewers feel part of the story and become emotionally involved in each chapter.
High quality works that rival the best produced in other latitudes, Asian BLs have raised quality standards in the television industry. With high budgets in most cases, and a passionate dedication to excellence, these productions manage to compete with European, Australian, Latin American, North American and Canadian homosexual-themed series.
From the stunning cinematography to the detailed sets and impeccable production techniques, each episode can be a visually stunning experience. On the other hand, they also stand out for their focus on cultural diversity and the representation of different ethnic groups and religions.
The visual aesthetics and attention to detail in each scene transport the viewer to a fascinating world, presenting characters and plots that reflect the rich diversity of Asian societies, connecting with audiences from different backgrounds.
For many, perhaps, it may seem like something totally new and strange, but it is not for millions of young consumers of these series around the world. With production companies in charge of creating and adapting literature in live action, BL series emphasize the not-too-distant cliché scenes of love between heterosexuals seen in novels and television series from any country.
The contrast arises when on this occasion the story is transferred to a different social context. One, due to its geographical and cultural position distant from many of the spectators. And two, because it deals with romantic relationships between young men (particularly high school or college students).
The representation of lesbian love is practically non-existent on the television screens of BL-producing countries. There has not been the same interest and dedication on the part of manga and anime authors, as well as television screenwriters and directors, to reflect these stories, as there has been with the romance between boys.
However, GL series (i.e. Girls Love), which feature romance between women, have slowly made their way in recent times. To do this, first a couple of loving girls were inserted as friends or study partners of the male protagonists, within a BL series. We can now count on dramatizations where they are the true protagonists.
The interesting thing about these works is that they address a theme as universal as love, which resonates with a global audience. Very everyday themes that show youth, disappointments in love, fictitious loves, the bad boy, the family, interest in sports or the arts, studies in secondary schools or universities, entry into the world of work after graduation, office work or love, friendship, cooking and typical dishes, fantasy, the supernatural, the dynamics of youth, first loves, the discovery of sexuality, power, political and administrative corruption, and fight for justice are just some of the recurring themes that run through these productions.
With their universal stories, people from different cultures and nationalities make us identify with the characters and immerse ourselves in the complexities of their lives, no matter how foreign they may seem to us at first glance.
There is no doubt that the Asian BL drama fever is a social and cultural phenomenon that was born at the beginning of this century.
The BL inside
At the beginning of the 1970s, BL content could only be found in Japanese anime, manga, or novels. At an accelerated pace, this genre spread to other Asian countries, mainly South Korea, the Philippines, Vietnam, Thailand, China and Taiwan, and has led to new formats and fashions.
Its objective is to represent the romantic relationship between two male characters. Generally, the profiles of the main character are that of the high school student, university student, or young heterosexual professional who meets love for the first time in a boy of the same sex. On many occasions, they exhibit social differences.
With the premiere of a weekly episode, lasting approximately half an hour to an hour, Japanese, Thai and Taiwanese television has broadcast popular BL dramas. Other countries spread the word through online platforms, as this phenomenon also comes to life on social networks, when millions of followers from all over the world share their opinion on X, Instagram, YouTube and Facebook, adding new followers as these discover the works.
Most BL are written from a female perspective. They reflect everyday problems, such as the stereotypes that exist in society about homosexuals, the complexities of gay men when coming out of the closet, the fear of rejection from family and society, the representation of women (familiar or close to the protagonist). in the sad role of decorative object in the home, in the role of being a mother or dedicated to domestic tasks.
Due to the conservative social atmosphere, the discrimination that still exists towards the LGBT+ community, the series rarely mention the problems and conflicts of its members and the struggles for their rights. However, the popularity of these dramas has promoted society's openness to BL culture and understanding of the situation of the LGBT+ community.
Despite BL being mostly known for content created in Japan, it is in Thailand that it has had the greatest boom. While in many nations it remains taboo, in the Thai kingdom it is quite normalized and consumed. This is mainly due to the fact that a very significant sector of the LGBTI+ community resides or is passing through this nation.
The reality is that, despite homosexuality appearing to be such a normalized issue in audiovisual media and in everyday life, legally it is not. Issues such as same-sex marriage or adoption between people of the same gender are not legalized in Thailand. On the other hand, these programs serve to promote sales of items from companies, such as those dedicated to the cosmetics and beverage business, responsible for providing money for serial productions, thus imposing their interests, as well as promoting the country as a destination. paradise tourist.
Its plots do not escape a certain homophobia or misogyny. The above is confirmed when one of the protagonists believes he is heterosexual until he meets the other and realizes that only with that male character does he feel happy and fulfilled. It is also very common to find characters who justify their sexual orientation based on their dislike of women after having been deceived by them.
On the other hand, it is extremely common to encounter clichés that also occur in series and movies whose main characters are a heterosexual couple, only, for some reason, this predictable plot is mostly accepted by the public when the genre is BL. For example, the romanticization of violence between partners.

Cooking Crush
Unlike audiovisuals from other latitudes in which the acting couple rarely meets again in another program in the same role, Thai BL series usually pair the actors, especially when there is chemistry and they are popular with the public.
This is the case of Jumpol Adulkittiporn (Off) and Atthaphan Poonsawas (Gun). With the formation of OffGun, both have participated in numerous projects, from the first of them in 'Senior Secret Love: Puppy Honey' (2016) and 'Senior Secret Love: Puppy Honey 2' (2017), 'Theory of love' ( 2019) and the critically and fan-acclaimed 'Not Me' (2021), and in the special anthology of couples boys love titled 'Our Skyy', from 2018.
With the drama 'Cooking Crush', of the romantic comedy, food and BL genre, released in November 2023 on the GMM25 network, the two reappear. Like good wine, both actors, now 33 and 30 years old, respectively, underpin their artistic talent and consolidate themselves as ships within the BL universe.
The series reminds me of one of the most famous romantic comedies in history, 'Pretty Woman', from 1990 and directed by the American Garry Marshall. In it, the protagonist (Richard Gere) hires a prostitute (Julia Roberts) to accompany him for a few days, and they end up loving each other.
In 'Cooking Crush' the characters also come from two different social strata: Ten (Off), a rich medical student, hires Prem (Gun), a humble cooking student, to teach him how to prepare exquisite food dishes.
Prem dreams of becoming a chef who revolutionizes the culinary art. Determined to compete in a reality show that will choose the best chef in the nation, he must improve his culinary skills. That is the reason why he accepts Ten's proposal. Prem uses this as an opportunity to make money. The clash between both worlds will end up causing both of them to end up deeply in love.
A skilful script written by Pong Pattarawalai Wongsinwises, Noolek Sureechay Kaewses, M Rittikrai Kanjanawiphu and an effective staging, in addition to the good work of the two protagonists, allows us to find ourselves before a sentimental and romantic comedy with a lot of fairy tale and little of everyday reality.
The main characters add depth and emotion to the plot. The series promises a mix of touching moments and immersive drama, as both boys navigate between Ten's causes of stress and Prem's desire to overcome challenges.
The Thai setting adds a unique cultural backdrop to the seductive love story between medical consultation rooms and kitchens, offering viewers a captivating journey through the complexities of discovering sexuality and romance. While the information provided provides insight into the series, watching it will certainly offer a more complete and immersive experience.
'Cooking Crush' stands out with its tone of sentimental and romantic comedy and a talented cast, also composed of Pakin Kunaanuwit (Mark) as Dynamite, and Jaruwat Cheawaram (Dome) as Samsi. These two, along with Prem, will make a trio of friends. It also features Trai Nimtawat (Neo) as Fire and Warawut Poyim (Tum) as Metha, who make up the other friendly shortlist.
The members of these groups, who are not united by anything at the beginning, will not only find love in each other's members, but also strong ties of friendship and companionship. Together they will contribute humor to the program.
Rounding out the cast are Chatchawit Techarukpong (Victor) as Changma, Bhasidi Petchsutee (Lookjun) as Jane, Sukhapat Lohwacharin (Suam) as Bun, Pimwalee Phunsawat (Pim) as Paeng, and Lapisara Intarasut (Apple).
The trust in the ability of each of the members of the main couple in the other, and the way in which they promote each other, is striking. An example of this can be seen in the fact that Ten does not believe he has what it takes to succeed as a doctor and Prem encourages him. Prem, for his part, operates in a very competitive world such as culinary art, and if he has any doubt or circumstance, Ten supports him. Ten's love for Prem's cooking is what finally convinces him to sign up for Super Monster Chef.
Without being the best in the filmography of this acting duo, 'Cooking Crush' is a visual delight and fulfills its purpose as a romantic comedy, showing Off and Gun's undeniable chemistry while Ten and Prem flirt adorably in every interaction. . Theirs is a charming, beautiful, fun, natural and wonderful couple.
Although dynamite is so stable that generally new dynamite cartridges in good condition do not explode even if exposed to fire, Dynamite will not need a detonator and detonator to explode as soon as he meets Fire and encourages a fun game of cat between the two. and the mouse with a slight and subtle harassment on the part of the former at the beginning of the plot.
Without a doubt, 'Cooking Crush' is guaranteed to be popular for various reasons. The breadth of social media, such as YouTube and others, allows more people to connect with this and other BL series. The Western mentality is today much more open to viewing (without prejudice or hatred) content that is part of the LGTBIQ+ community. And finally, a growing need for the viewer to have the possibility that all sexual diversities can be expressed through the artistic formats within their reach.
Just as 'Cooking Crush' is another successful Thai BL by being a media product with an undeniable communication effect, we, as viewers, must be able to appreciate the content without ignoring its hidden meaning.
However, I must add the following criticism: throughout the history of film and television, homosexuals have been portrayed in a stereotypical way or in roles of ruthless killers, disturbed suicides, caricatures of human beings. On many occasions their effeminacy was exaggerated so that an audience could distinguish the gay characters without words. In this way, the audience could easily identify them as homosexuals because they reflected the clichés that still existed in society towards them. These consisted of portraying them as extremely mannered, prim characters, with thin mustaches and often grotesquely made up. In addition to repudiating this “perverted behavior,” filmmakers and television channels or film companies seek to provoke laughter in the viewer, since in comparison to them, men could feel more masculine and women more feminine.
This has been the case since the short film 'Lot in Sodom', by James Sibley Watson and Melville Webber, produced in 1933, which treated homosexuals as depraved sex-hungry satyrs. A film like 'Brokeback Mountain', by Ang Lee, from 2005, had to arrive, already in the 21st century, to present homosexuals to the general public as "common" men, with traditionally masculine appearance and without any type of pathology. that justified the presence of the character himself in the film.
This situation has been gradually transforming to the present day in which the major film and television production companies, especially European ones, pioneers in this subject, make films and series aimed almost exclusively at the LGBTIQ+ audience, showing more realistic characters and settings, films that are shown in commercial theaters or in the numerous film festivals on this theme that are held on all continents, or series broadcast on television channels in much of the world.
Although these current audiovisuals show how difficult it is to “come out of the closet” and project to the viewer the reality in which homosexuals find themselves, series like 'Cooking Crush' do not escape from reveling in stereotyping queer characters. Thus we see how Prem's three fellow students and also participants in the culinary contest, only with competitive, malicious objectives, are able to constantly harass and mock another member of that human collective.

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Yawn generator, its main feature

Again hugging a tree that draws attention because "my mom said." Again talking about photography. Again, agreeing on whether to let the two strange boys into the house when they are left without a hotel reservation. Once again imposing rules of coexistence. Again speaking badly about a person without realizing that they are listening to us. Once again the overwhelming fatigue of everyday life. Again the same formulas seen in… so many other times. But we have already seen this, in other scenarios and with other actors. Where did the magic and surprise travel? Where did they hide? Or are they scarce and exhausted goods?
I am not given to expressing opinions, much less in the form of a review, when it comes to a series, film or short film that does not catch my attention, but with 'Kiseki Chapter 2', the BL drama from 9NAA, a romantic comedy between four handsome men set in Tokyo, the Japanese capital, made me break with self-imposed things.
With this premise, to which is added the fact that it is a series with the protagonist of P Ekkapop Tata (P), Nanthakorn Sringenthap (Beboy), Jirachot Chotticomporn (Pan) and Chattrin Chotticomporn (Plai), the last three protagonists of 'Beyond the Star', I was curious.
I like the idea of ​​a romantic story (I prefer this term to the usual gay love or homosexual love or simply BL) that takes place "far from home" for the protagonists. But I immediately objected to being from the same company that produced 'Check Out' and 'My Blessing', so I was suspicious from the first moment.
And since I learned about the synopsis about a romance between Thai boys visiting Japan, it reminded me of that classic film that is 'Present Perfect (แค่นี้ก็ดีแล้ว / Khae ni k dilaew), from 2012 and its sequel , 'Present Still Perfect' (แค่นี้ก็ดีแล้ว Part 2 / Khae ni k dilaew Part 2), 2020.
As in the aforementioned films, the boys meet, accidentally, during a trip to Japan. And they will only have the few days (in this case 6) that their stay in the Land of the Rising Sun lasts for P and Beboy to meet and fall in love with the twins Pan and Plai, in that same order.
As they get closer and learn a lot about the meaning of life, their time in the country they visit runs out. Furthermore, one of them, P, has lived there for some years. What will happen then when they have to separate? Will they stay together? Will their feelings survive or will they only be content to store beautiful memories in their hearts?
I said to myself: "If it can be 1 percent as good as the films of Thai director Aaam Soisa-ngim, the series is worth watching. If the four protagonists can be 1 percent as good in their roles as they were Kritsana Maroukasonti as Oat and Tonawanik Adisorn as Toey in the aforementioned films, it would be worth seeing."
But soon my cry of euphoria was drowned in discouragement and dissatisfaction. Yes, we are faced with a BL audiovisual that escapes from those stories focused on teenage or school romance, which is not bad at all, but they can get tiring.
So far, and I doubt it will happen, there is no emotional and visual pleasure. I also don't think I managed to awaken other kinds of deeper feelings and emotions in the audience, despite being able to touch on topics such as self-acceptance, discovery, liberation and the way of seeing life. I don't think I'll find these and other themes mixed with deep messages in the plot.
Contrary to 'Present Perfect' and its sequel, it will not touch the human sensibilities of the spectators, nor will it transport us to a confusing journey full of questions about the essence of oneself, despite having, I do not doubt it either. , a very sweet ending. How I would like to be wrong!
Of course, 'Kiseki Chapter 2' will amaze us with the choice of landscapes, especially monuments, temples and sculptures in parks and streets, that we can enjoy in each scene. Hopefully these will contribute scenarios to the story in accordance with the moment of the series, the message or the emotions transmitted by its characters.
One more story of "strangers to friends" and... yes, I would like romance to break out between the characters, but with a solid script and good performances.
Neither the story nor the characters capture me. Between a lot of boredom and little fun, both in the characters and visually, I would like it, why not? May the instant friendship of the four boys become ever deeper into love.
Something positive is that so far nothing indicates to us that the boys are homosexual. So, it could be a good time for them to discover each other and get to know their sexualities. This could be a strong point of the series. Also, being able to enjoy the atmosphere of Tokyo, especially in the fall season.
The series is a slow story and on many occasions very boring. Everything is told without any emotion. The dialogues sometimes turn out to be absurd and unreal conversations where the thread of who is saying what is often lost. The four characters become unbearable and you cannot empathize with any of them.
No, on this occasion it is not boredom and daily problems that are the worst enemies for the couple's subsistence, as in other dramatized ones, but rather it is the couple's own subsistence, actually two, that promotes boredom without reaching solve everyday problems.
Giving a good rating to 'Kiseki Chapter 2' seems to me to be underestimating many very superior romantic dramas that have been ignored for years.

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It invites us to reflect on homophobia, equality and non-discrimination

'Faded' (淡淡/ Dan Dan) tells the moving story of Tian Yu, a Chinese high school student who lives a secret love relationship with Jun Zhi (Arthur Tan / Jun Yi Tan), a boy with whom he discovered his sexual orientation.
Tian Yu, played by Soo Xu Zhe, a Chinese actor known for his participation in the films 'Do You Love Me as I Love You' (2020) and 'Dear Ex' (2018), is struggling with his sexual identity and finds himself caught between fulfilling his filial duty as an only child and the desire to be honest with himself and his mother (Seck Fook Yee).
Tian Yu's internal conflict worsens when the mother discovers her son's homosexuality, through a photograph that someone secretly sent to her cell phone, and confronts Jun Zhi about the relationship.
However, the mother does not act in a homophobic manner, as she is actually afraid of the repercussions of her son coming out of the closet.
Through his relationship with his mother, Tian Yu will have the courage to face his fears and insecurities, and finally admit to her his homosexuality, in addition to asking her for understanding about his desire to maintain the relationship with the boy he loves.
'Faded' is a small, amateur short film that intimately and emotionally addresses universal themes such as the search for authenticity, personal acceptance and coming of age.
With the message "Love is the same for all genders", it also invites us to reflect on homophobia, equality and non-discrimination.
Released on October 23, 2017 in China, the 15-minute film is written, directed, starring and produced by Arthur Tan Jun Yi Tan, who is also the performer and composer of the eponymous musical theme that serves as the soundtrack. to the short film.

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Film version of 'In a Relationship'

After airing the 17 episodes of 'In a Relationship', between June 10 and July 24, 2022, its 17 episodes (the first fifteen of approximately three to five minutes each, and the last two, lasting between twelve and fourteen minutes), are taken, with the same title, to a film version in an 87-minute format.
This is the result.
Review:
With the speed of survival we have insisted on forgetting the pandemic, focused on the new challenges that life imposes, day by day.
And there is the art to bear witness to how Covid-19 changed the world as we knew it until then, and among these changes stands out the way in which human beings manage to communicate and establish diverse relationships, including romantic ones, amid limitations of not being able to interact face to face with others.
'In a Relationship', the romantic series with an LGBTIQ+ theme, directed and produced by Napat Worakitpunya, allows us to appreciate the emergence of a love relationship between two teenagers, against the backdrop of social networks and the period of incidence of the pandemic in our lives.
This is one of the BL series produced by Jinloe Media Work, the studio that has also made 'Hit Bite Love' (2023), 'What the Duck' (2018) and its sequel 'What the Duck 2: Final Call' (2019 ).
Starring Nine Trin Summasub, as Tono, and Pea Pearanut Athicomnanta, in the role of Boss, the 2022 Thai drama takes us into characters whose existences are affected by the circumstances of a pandemic that disrupts everything in its path. However, in an indistinct manner, but at the same time in close union, each of them manages to recognize in the sad event the possibility of loving each other, growing as people, the power of forgiveness and second chances.
With a script by Chim Sedthawut Inboon, Tono, a teenager with a growing reputation among online video game players, is presented as the central axis of the plot. One day, while he is live streaming and recording one of his videos, a user he later identifies as Boss criticizes his gaming skills in a chat room. Annoyed, Tono confronts him and they both agree to participate in a video game competition to see who is the best.
After losing the game, Tono must fulfill the winner's three demands: The last request is that Tono become her boyfriend! Reluctant to comply with this demand, Tono will be forced to listen to the constant flirting of the person who claims to have been in love with him for some time.
Will Boss manage to change his social media status to "in a relationship"? Will love arise between these two teenagers? Will they manage to nurture a loving bond beyond any screen? Will they be aware that the true essence of a relationship lies in the mutual understanding, support and love that is built day by day, surpassing virtual scenarios?
The truth is that this is how Boss and Tono begin a relationship, friendly first, romantic later, thanks to cultivating meaningful conversations every day, like those of any teenager of our days, building memories and strengthening emotional bonds.
Boss is a well-defined character. For some time now he has been aware of his sexual identity, and he finds himself caught between the desire to be honest with himself and with the boy he loves, as he fears suffering a new love rejection for having his face marked by youthful acne. That is why he has communicated through a filter and hides his true identity from Tono.
But despite this dark side, the character created by Pea Pearanut Athicomnanta turns out to be more than the simple playboy he can seem every time he flirts. He understands when Tono needs space and backs away, but he still shows his love and sends constant signals of support to the teenager in difficult times, such as during Tono's illness, or when he is upset because his friend Jade has decided not to play with him.
Knowing and loving Tono will make him grow as a person and trust in himself.
For his part, Tono is a boy without major conflicts in his life. Busy with video games and virtual classes due to the pandemic, he has only suffered from his parents' divorce. His character goes through several very different moments throughout the series. She experiences intense feelings when Boss confesses his love for her, and emotional stress when she suspects that the young man she loves has been playing with her feelings.
Tono shows maturity when he forgives Boss and by encouraging him to be himself and grow as a person. Through her relationship with Boss, Tono will discover not only her sexual identity, but also her true feelings and first love.
At first, I find his performance a little uncomfortable, but as the episodes progress, we can see an actor who takes on the role of a typical teenager of our days, giving it his own interpretation and meaning, as he focuses on his goal and fight for what he wants.
Isolated from everything and everyone, even his family members, who are never shown on screen nor are there any references to them, Tono navigates between doubts and insecurities, while trying to understand his own feelings. Can a boy fall in love with another boy?
Although sometimes a certain lack of rhythm is felt in the progression, the best moments of 'In a Relationship' are reserved for the final episodes, when the story gains in maturity and complexity by deepening the plot in the themes addressed, managing to enrich the dynamics of the love relationship and add a fascinating growing tension between the characters.
Intimately and emotionally, 'In a Relationship' addresses universal themes such as the search for authenticity, discovery, personal acceptance, second chances, identity, friendship and love, with a refreshing and sensitive narrative. Along the way, both young people discover much more about themselves and what love and friendship really mean.
The two boys will begin a journey that will change their lives forever. During it, Boss and Tono develop an unexpected and deep connection as they share their personal stories, fears, preferences and dreams.
The music of TheMoonwillalwaysbewithme, Foam and Boxx Music Team helps capture the beauty of first love and self-discovery in adolescence, with totally recognizable boys, but at the same time with the pain of lying.
With evocative cinematography limited by the pandemic scenario, the series immerses us in a crucial moment in the lives of its protagonists where emotions are on the surface.
The series explores many of the challenges that we can encounter every day on social networks and messaging applications, such as the possibility of someone lying or hiding their true identity because they feel ashamed of their own life or body, the prospect of closing distances with people who are far from us; the way to understand, approach and expose our personal life and our relationships, or suffer from the FOMO (Fear Of Missing Out) syndrome caused by dependence on social networks.
Likewise, 'In a Relationship' portrays other of the daily challenges faced by people on social networks, who may feel that they are constantly in contact, but the quality and depth of their conversations may decrease. Or what is related to the emotional tone, which is often misinterpreted in texts and messages, which can generate unnecessary conflicts, due to the lack of eye contact and body language, essential for effective communication.
That is the reason why Tono frequently demands the need to complement digital communication through real, in-person connection. That is, being able to see yourself outside of virtual spaces, to be able to openly communicate your feelings, concerns, doubts and insecurities... in short, give free rein to love.
For this reason, I applaud that final scene in which the empty chairs that have always been occupied by our two protagonists prevail, because finally both, after the dangers of the pandemic have disappeared, have met outside the screens of their digital devices.
The review of the series published in MDL can be found at: https://mydramalist.com/731171-in-a-relationship/reviews

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