Shine (Orchestric Ver.) (2025)

Passionate Piece of work

It’s clear that Shine is a true success in terms of writing and depth. The work on the characters, both main and supporting, is remarkable and makes them both interesting and memorable.

The five main characters are all very different, but they are united by common circumstances. I particularly liked Trin, Krailert, and Victor, who, despite the trials they face, continue to fight and do their best.

I found the historical context very relevant, as the series highlights the protests in Thailand and the weariness of a youth suffering from political corruption and deprived of their freedom and money. This subject, unfortunately, remains current even in 2025.

I would have liked the series to explore the potential love triangle between Trin, Tanwa, and Victor more deeply. Victor was rejected too soon. I also felt that the relationship between Trin and Tanwa deserved more development. Their couple doesn't exude great passion; it feels more like two people just having a good time together without worrying about tomorrow, even if Trin tries to clarify things. Tanwa's indecision and his inhibited side don't help.

In contrast, the relationship between Krailert and Naran is much more intense and passionate. They understand each other without needing to speak, but they have a lot to lose. Both are already in relationships, making their homosexual love impossible to live out in the open, which makes them very complex characters.

My favorite characters remain Krailert and Victor.

Krailert leads a difficult life. As a soldier, he is a victim of blackmail and repeatedly loses people he holds dear. He tries to do his best, but fate is against him. Furthermore, he suffers in silence from not being able to openly live his homosexuality. This is reflected in his personality: he is constantly on guard, as if he expects to be attacked at any moment.

As for Victor, he brings a breath of fresh air to the series. However, his character, initially described as a determined activist aiming to start a business, was relegated to the role of a student madly in love with his teacher whose love is unrequited. I like him a lot, because he represents what many young people should do: fight for their rights.

I would have loved if the politics on the show were not toned down but hey it is what it is. They take a side.

To conclude, Shine is not a classic BL. Far from being a simple romantic comedy, its political approach and authenticity set it apart from other series in the genre, and I wonder if the usual BL audience will appreciate it for what it is.

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The moon has never disappeared; it is simply that the Earth has never ceased to turn.

No one can know what lies on the far side of the moon; we only know that when humans look up at the sky, the moon they see is in its most radiant state. And it will not cease to shine, whether on this side or the other.

This is a magnificent film in terms of the art of storytelling. Even if there are still imperfections within the movie, the narrative technique and storytelling alone deserve a perfect ten, easily placing "Shine" at the top of my personal rankings. Almost all philosophical messages and ideologies are conveyed through the first or second-person perspectives of the characters. The mere fact that the script strips away preachy, expository dialogue while still allowing the viewer to read the ideological subtext behind the details is a major plus worthy of praise. I love how the film tells its story through every detail—using a "show don't tell" approach that is indirect yet surprisingly frank, blunt, and even nakedly honest. The narration is gentle and sophisticated, like a caress, yet it crashes down like a wave to topple established values. It is a description very much like love. Before even touching on the content, "Shine" reached me through this art of suggestive yet direct narration. And truly, human spoken language is never enough to fully express any soul; that is why we need soliloquies in diaries, dialogues through letters, journalism, music, cinema, body language, and physical touch. Humans crave connection and communication as a primal instinct for survival. We always harbor a desire to converse with one another at a level deeper and further than the surface. And we are never satisfied, even when speaking, seeing, or touching with our own sensory organs. We find every way to communicate—with others, with the world around us, with the depths of the soul, with the universe, and with all things unknowable.

"Shine" opens by introducing an event that marks humanity's new step toward objects they have never known but always yearned to know. Armstrong’s first steps marked humanity's need to explore the world and the universe, the need to grasp and understand the unknown, even if it is mysterious, potentially dangerous, and full of uncertainty. But at the same time, it is a temptation, the light for a swarm of moths. Humans fear what they cannot see clearly, yet they cannot stop themselves from diving headfirst into it. Humans stepped on the moon, and then they asked what lay on the other side. Like a persistent thirst, they are never satisfied; facing the moon, the universe, others, and themselves, they want to understand it all, but they are never content and never stop asking for more. Because they will never fully understand. Unintentionally, that is how the world operates; just as the Earth orbits the sun and rotates on its own axis, human thirst will never be quenched. Does this mean humanity spends its entire existence seeking an answer that never appears, and that the search leads nowhere? Then what is the meaning of living if we cannot find our destination?

At the beginning, "Shine" poses the question about the far side of the moon, only to spend its entire remaining runtime answering it. By the end, we learn that the answer to this riddle is a philosophy that has existed for ages: Life has never told us what is on the other side of the moon. But the act of daring to step over and look is the most beautiful part of living. Just like every choice we make—no choice is guaranteed to lead us down the right path, because essentially no question has only one answer. The important thing is that we chose something rather than nothing at all. It is like a matchstick that has struck a flame; even if it burns out, at least it burned, rather than lying dormant in the box. The matchstick burns itself up and shines because of it.

And that is the beauty of living.

Although the film dedicates the majority of its plot and runtime to history, politics, uprisings, the dirty tricks of the ruling class behind the curtain, and how people overthrow them, the ultimate ideological issue posed at the end is not a lesson in military strategy or history. Ultimately, the core issue remains a human one—a voice for humanity, both in the abstract and the specific.

The world of "Shine" is a world of countless colors, countless paths, and countless individuals. I encountered romanticism interwoven with realism, primarily shown through the two central characters. While Trin, an economist, represents those who dare to look deep into reality to reform it, Thanwa is a man of romance, of flow, moving from escapism to facing reality and embracing it. But romance and realism are not strictly separated; they can exist simultaneously within anyone, in any aspect of life. Victor carries the ideals of a student with a liberal, liberating philosophy, wanting to save himself and society from the gears of a long-rotten system; he is a man of ambition and dreams, using his actions, and even his life, to realize those dreams. Yet, simultaneously, he holds a negative and rigid view of people. Krailert is a Lieutenant serving in the army, forced to use a pseudonym, using the piano and the pen to speak for his personal self, so that at the very end, when he dares to voice the faint thoughts in his head, however late, it is just in time—it is the moment he truly lives. And Naran, a journalist with the true mission of reflecting society, a loudspeaker for the people. Rather than a mere reporter, Naran seems more like a revolutionary, a stubborn soul who never submits, fighting with his pen—only for us to see his sole moment of helplessness in the face of his forbidden love. In short, the characters appear as representatives of every stratum of Thai society during a chaotic wartime period under oppression, yet they remain individuals with their own existential pains, worries, flaws, and sins. Each story told carries its own hue, like an oil painting reflecting every shade—incomplete, perhaps, but creating a picture as beautiful as a legend, however chaotic and mad.

Beside these universal human themes, love, fortunately, does not slip away or get pushed to the margins of a film laden with meaning. Without needing to dig too deep, love is actually expressed quite directly and frankly. Viewers can clearly see and feel the current of love between the characters; it is not hidden but appears clearly, affirmed by every language within the film. Like Sarasawadee's final words: although no question has only one answer, in the end, love is never the wrong answer. One cannot stop waves with one's hands, for how can tangible matter block a force many times more powerful than human strength? Ultimately, while reason and responsibility can separate two people, they cannot force them to stop loving each other.

A massive bright spot in the romantic storyline lies with the Lieutenant and the Journalist—two artists who used art to speak for their hearts. Of course, the main couple has their own color—an "opposites attract," enlightening, healing love that guides one to be more human, almost opposing mirrors illuminating each other. It is interesting, but I still felt it lacked something. Perhaps a bit of naturalness, a deeper sense of connection and empathy. Conversely, Krailert and Naran gave me everything I need and hope for in any romance. Words of love were never spoken aloud, yet no one could mistake what was between them for anything but love. The feeling of intense passion seemed to spill out of the frame, yet flowed silently underneath like an undercurrent. Love was transmitted through music, through letters to readers in the newspaper columns, through codes only the two of them understood, through quotes about love from library books, through the piano keys that allowed Krailert to find his voice, and similarly through Naran's typewriter... All combined to create a secret world for just the two of them. A space continuously screaming the word "romance" and shouting the name of "love," even though neither ever let the word pass their lips. I was obsessed with the sensation of electric sparks flying—the madness, the push and pull, the suppression, the lingering torment, the fleeting glances when two people crash into each other in the dark, the stimulating ambiguity between them. Even a single look searching for the other's silhouette in a crowd was enough to make me exclaim—this is an affection too intense to bear. And God, though I am not religious, their first kiss in the early episodes contained everything I needed and wanted to see in a scene of physical intimacy, so much so that I had to rewind it more than three times for its sheer perfection. The lighting, the context, the characters, the breath, the camera angle, the sound of silence—all created one of the most beautiful kisses on screen. It held hatred, hesitant conflict, yearning desire, and the helpless surrender of reason to love. Ah, they wanted to devour each other alive, to embed the other into their flesh and blood, to be together in the most complete way. Additionally, there was the fleeting forbidden love of Veera and his mistress, or Victor's unrequited love—a sentiment I respect deeply: blunt, clear, bordering on admiration and worship. Though unreciprocated, I believe that whether or not we call it romantic love, that feeling had a certain impact on everyone around it (making Victor look handsomer and creating some great chemistry scenes for the viewers, for instance).

And finally, I want to talk about the "revolutionary" ideals of the characters, or rather a whole class of people in the film—a pivotal element. It has been years since I watched a film with revolutionary elements that addressed politics so directly, specifically since "Not Me"—one of my highly-rated favorites. The rebellion, the image of burning torches, the cheers on the streets, the protest posters never cease to evoke in me a sense of poignancy, nostalgia, and emotion. Because they evoke a sense of bravery, showing the extraordinary within a small human being trying to rise up against a force infinitely stronger than himself. Undeniably, he does not stand up to fight for profit, except that his "profit" is to satisfy his own illusory ideal. "The people who are crazy enough to think they can change the world are the ones who do." In a dark society, there will always be those who light torches. A torch may not illuminate the whole forest, it may be extinguished, but as long as it creates a spark, leaves a lingering ember, one day the forest will burn in its place and light up the sky. Victor's death was one I did not foresee, despite my suspicions. But ultimately, that death was the turning point that made me view the film through different eyes. I didn't know if "Shine" would end as a film about naked reality as it is, or if it would carry the romantic, optimistic tone it always aimed for. In the end, it remains an oil painting.

"Shine" does not change history; the film only retells history, romanticizing it to reflect and contemplate. There were indeed bloody scenes, there was pain, there were infinite regrets, people who fell, things that could not be undone, loves buried deep in the hearts of lovers, but all were directed toward the future. Just as Thanwa rewrote the ending for his mother's story, just as the box no longer opened to emptiness but was filled with hope. The film's ending is not about two lovers ending up together, but about life going on. Even when people thought it was the end, the apocalypse, the living continued to live, year after year. The Earth keeps turning, and the moon remains there, whether it is this side or that; all experience both day and night, receiving both light and darkness, just like every other planet orbiting the sun, carrying mysteries that humanity will forever yearn to explore.

Indeed, "Shine" is a film worthy of its reputation—a quality production compared to the general standard of the genre, to the point where people often call it an LGBTQ+ film rather than a BL film with old tropes serving fan demands. It is true that the film is incredibly invested in visuals, cinematography, polished in creating a historical atmosphere, recreating the context of Thailand in that era, and effectively conveying messages with depth. The actors fulfilled their roles, embodying their characters and shedding their off-screen personas; the shift in positions within the couple also emphasized free will.

However, there are still some very clear minus points that prevent the film from receiving a perfect score from me. The first six episodes were not truly effective for me—especially regarding the main couple; I couldn't deeply feel their love. Sometimes I thought the film had two main CPs because the screentime for the secondary couple was very fitting, fluid, and natural, with superb chemistry that somewhat overshadowed the main pair. The arrangement of Apo as Krailert's nephew was a bit hard to accept at first, and I liked Victor too, resulting in a bit of "Second Lead Syndrome." Because the main couple didn't resonate with me effectively, I wasn't swept along by the plot initially. Even though the color grading and setting suited my taste, my emotions weren't too intense, almost entirely focused on the secondary couple. Later, as their connection deepened, it improved, but Mile's character truly felt somewhat detached from the main narrative track of the film.

Another regret is that while the spirit of resistance—progressive and future-oriented—was very clear, especially with the youth and students striving to debate and care for the country, the film's revolutionary atmosphere didn't truly reach a "peak." It wasn't until the final episodes before Victor's death that I caught a glimpse of this feeling. Compared to "Not Me," clearly, this film didn't delve as deeply into this issue, perhaps because people in this era were still confused and finding their way, their revolutionary consciousness not yet clearly defined. They seemed to oppose capitalism to ensure benefits for the people and uphold democracy, but hadn't determined specific steps for the future—everything stopped at resisting the government and villains. Therefore, instead of being specific and micro, the film expanded to a macro level of upholding humanity. Meanwhile, the pioneers were still struggling to find the path. Of course, the avant-garde and rebellious quality was still very clear, but it didn't create a distinct revolutionary atmosphere (not necessarily a communist revolution, but class revolution in general). The final regret is Dhevi's ending. After everything she and Moira did to prove the role of women in history, ultimately, this character still became a villain dependent on her family. I expected better development for the female characters.

In general, "Shine" is a film meticulously invested in every aspect: setting, characters, script, message... Everything shows that the filmmakers truly put their heart into the movie. The soundtrack, editing, lighting, and imagery are crucial prerequisites that create the sophistication and detail of the film, allowing viewers to feel its depth. Most notable is the art of narration and storytelling, threading the story from beginning to end (the corresponding beginning-and-end structure creates a great lingering effect). Despite some regrets, the film truly "shone" and fulfilled its mission well. A final word of praise for BOC: keep up this form and continue making films with depth, on unique, distinctive topics with your own style—intense, liberal, dark, but always striving for the light.

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not final rating?

i don't want to review/rate it fully yet (warning: this will most likely go lower. not higher.) cos i'm gonna have think about this show more. i watched half of it falling asleep unsober but...i really fucking wish these shows would consult with people who aren't basically radical liberals. not going to super elaborate but the amount of culling and defanging, whitewashing, and honestly lying, about what it takes to remake (burn) society and the structures we are in—what comes from the ashes; the necessity of risk and sacrifice and clarity; the love that goes into violence—is GRATING and pisses me off. what's worse is the audience reaction. there isn't enough clarity and understanding for people to think of it as hegemonic bullshit. which it is (ideologically/content wise). that aside, besides the weird acting of the light(skin) one, it was alright. definitely one of the better (quite good, and not astronomically cringe) actually sexy sex scenes; at least acknowledging the different way of being even within this genre because bisexuality seems to be very scary for people. haven't seen many speak on that one and i want to but idk. i want to talk abt this politically a lot more. (fuck the military, fuck the police, and fuck rich people.)

apo has gotten way better at acting! kp was a bunch of bullshit to me, made me want to punch him, so it's promising to see this growth. i can see why people enjoyed the show! at least it's different. however i can also see how its wanting. i can't knock the attempt tho bc they went beyond what is typical. i think this is probably one of the better shows of this genre yet and i actually really mean that. this company is at least trying i guess. at the very least they own some great cameras, have good colorists, and directors and crew (and cast but shout out to the film workers!)

i think this genre is oversaturated and real fucked up now but i like it when they come out with things that attempt to be thoughtful. unfortunately they fumble the political aspects heavy along with certain romantic ones yet it gets solidifed as iconic and meaningfully deep with regards to the world, "progress", and queerness but it fails to truly politicize it and antagonize the audience. oh well i guess this my cross to bear lmao

also all these women were beautiful jesus

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“When Love Meets History: Reflecting on Shine”

When I first started Shine, I honestly didn’t know what to expect. I kept asking myself, what would this story really be about? Then I saw the timeline — from the late 1960s to the 1990s — and realized it wasn’t just romance, but a love story deeply tied to politics and history. That era was tough, and no matter your background, life had its struggles.

Let’s talk about the characters. Trin Suwannapas is an economist with a brilliant mind and strong ideals. He wants to learn more about people, explore life, and push for change. But because of his painful and traumatizing past, he avoids protests and political confrontation as much as possible.

Then there’s Thanwa Chatbodi — the free-spirited musician. His whole life revolves around music, partying, smoking, and living without stress. He doesn’t care for politics or protests; he just wants to enjoy life on his own terms.

Among the supporting cast, we see Krailert Suwannapas, the police captain whose discipline and sense of duty clash with the chaos around him. There’s also Naran Pitayatorn, the passionate journalist working at a newspaper, always chasing truth. And of course, Victor Boonterdtoon, the fiery student activist whose courage and stubbornness lead him down a dangerous path. Characters like Mondira Techasawet, bold and extravagant, and Dhevi Suwannapas, more traditional and restrained, add richness to the story’s world.

What stood out to me the most is how being with someone can change you in ways you don’t expect. But at the same time, misunderstandings can break a bond that once seemed unshakable. If you don’t look deeply into Shine, you might miss its real message: even when betrayal or cheating seems obvious, there’s always more to the story than what appears on the surface. Without the full truth, you’ll stay lost.

It was almost heartbreaking that it took Trin and Thanwa so many years to finally reconsider their love — all because of one devastating misunderstanding. And then there’s Victor’s death. It wasn’t exactly unpredictable; after all, Thanwa had warned him about the danger. But Victor’s strong-minded, fearless personality made him accept whatever fate life had for him. His death shows how easily tragedy can turn into misplaced blame — and how that blame can destroy people’s lives long after the moment has passed.

In the end, Shine is more than just a BL. It’s a layered story about love, politics, personal choices, and how the world around us shapes the relationships we hold dear. It reminds us that life is fragile, love is complicated, and the truth — no matter how painful — is always worth knowing.

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I took me 4 days to get over the end and 1 week to finally write a review.
How to say... I did expect them to die but it was worst than dying... Being forced to live in a relationship you don't want, not being able to tell the one you love why you can't runaway with him...

I'm actually sad for the two women who got cheated on. Even though being a gay in the 60's must have been hard, getting cheat on and on top of that get "abandonned" by your boyfriend would be hard for a woman in the 60's. I don't know how woman were percieved in thailand in the 60's but in my country, women were see as nothing without a man, no bank account, no job, no propriety.

I loved how they talk about politicts first and then homosexulaty but still in a politic way.

Thank you Shine to showing us a great lovestory and politics information about thailand.
And thank you Slot Machine for the two ost. But the others singers too.

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Dare to be Different

One of the most anticipated BLs of the year, the comeback series of ApoMile. Visually, it did not disappoint. The cinematography was absolutely stunning, every frame felt like it was pulled straight from a high-fashion editorial. The production design was rich, layered, and clearly expensive—like, you could feel the budget in every scene. It had that glossy, cinematic sheen that made it stand out from the usual BL fare. What really set it apart was how bold it was. It felt more like an art film than a typical BL series. You could tell the creators wanted to push boundaries and elevate the genre. That said… the storytelling didn’t quite match the visual ambition. Some scenes dragged on way longer than they needed to, and the emotional beats—while intense—sometimes tipped into melodrama. There were moments where I found myself wishing for tighter pacing or more dynamic dialogue to keep things moving. It’s like the show was so focused on being beautiful that it forgot to be engaging in parts. Still, it’s a solid watch. ApoMile’s chemistry is undeniable, and the ambition behind the project deserves props. I’d give it a respectable 3.5 out of 5 stars—worth watching, but not quite the masterpiece it could’ve been.

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Well written storyline and Krailert as character

Incredible series until the last scene where it falls down. The storyline was so well written and the characters as well, Krailert was by far the best written one. His growth as a characters is beautiful and how he gained courage after years of hiding in the shadows avoiding conflicts. That last episode when he stood in front of those journalists i just know which path he chose. It was such a privilege to see him on my screen.

As for his wife... I have never seen someone that selfish and that manipulative, it's actually sickening especially because she knew what she was getting into. She was not supposed to be a villain, but they just had to add a plot twist and ruin a relationship that was supposed to be. If anyone should have gotten together it was Krailert and Naran. Both if them deserved a happy ending together even if they had to stay hidden in the shadows. Big part of me wished he just ran away...

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Another Masterpiece done by BOC

This tackled some heavy topics that caught me off guard. It’s not just about romance – it actually shows struggles that feel real, and that makes the story hit harder. Mile and Apo did such a great job – their chemistry carried the whole series and made even the simple moments shine. I didn’t expect to enjoy Son and Euro this much, but they honestly shocked me with how natural and engaging their performances were.
And the ending… wow. It was shocking and not at all what I expected. It left me thinking long after the final episode. Definitely not a fluffy series, but if you’re ready for something with weight and emotions, this one is worth watching

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Left me feeling broken. /Switch representation / Mature love

I seldom write reviews, but I had to for this series. It was absolutely brilliant in every way, the acting was out of this world. The chemistry was so natural and beautiful between the couples. The story was complex and thrilling.
The last three episodes devastated me and my friends so much though that some of us were crying and all of us agreed we could not watch the series again. It's a testament to how heavy it felt, how much this series managed to make us care about it and it's characters.
(If you watch this, make sure you're in the right mental state to do so!)

I think it's worth pointing out that this series has showed us something that should be commonplace, but isn't in this type of media - a couple that switches positions in bed. This is the reality a big chunk of the queer community practices and it's high time we got to see it in screen.

//Slight spoiler//
I'm also a big fan of the fact that they let a fixed pair like MileApo switch top/bottom positions in this series. Another way in which they broke those tired tropes open.
I'm very thankful they made this series.

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