Yesterday (2026)

First impression: a bold series that may grow stronger as its narrative pieces fall into place

The narrative of the first episodes of Yesterday dives into a world shaped by power, trauma, and deeply unbalanced relationships. Instead of building a traditional romance, the story seems more interested in exploring obsession, control, and the emotional consequences of a violent family past. This choice makes the premiere intense and intriguing, but it also demands a lot from the viewer, who must navigate a deliberately unstable storyline.

One of the elements that helps carry these early episodes is the presence of FortPeat. The chemistry between them works as one of the series’ main driving forces, especially in scenes filled with emotional tension. Even when the narrative becomes confusing, the interaction between the two leads keeps things engaging. Peat, in particular, stands out in his portrayal of Kelvin as a cold, obsessive, and emotionally distorted character. It’s a risky role, and his performance helps make the character unsettling and hard to ignore.

The narrative structure, however, is where some of the show’s biggest issues appear. The story relies on constant jumps between past and present to gradually reveal how Kelvin and Veir’s relationship changed over time. In theory, this approach could deepen the mystery of the plot. In practice, the frequent shifts end up making the narrative feel fragmented, especially in the first episodes. At times, the transitions feel too abrupt, which makes it harder to emotionally connect with certain moments.

The central relationship itself also raises important questions. The series moves into the territory of what is often called “dark romance,” but it does not always find the right balance between narrative provocation and emotional coherence. Kelvin emerges as a deeply problematic figure, someone who confuses love with possession and care with control. This characterization creates a character who is disturbing, yet dramatically fascinating. Even so, the intensity of his behavior can make it difficult to see the relationship as a romance in the traditional sense.

Despite these irregularities, Yesterday still stands out for attempting something different within the Thai BL landscape. Its heavy atmosphere, psychological tension, and moral ambiguity create an experience that sparks curiosity, even if it does not always work perfectly. Between genuinely engaging moments and questionable storytelling choices, the premiere leaves the impression of a flawed but bold series that may grow stronger as its narrative pieces begin to fall into place.

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not feeling it as a romance

Overall: there is no redemption arc after what we saw in episode 4 unless several things were much different than how they appeared. My rating will be higher if we don't get a happily ever after that I'm fairly sure we'll get. 10? (says 11 on WeTV but maybe there is a special episode) about 1 hour each. Airing on WeTV https://wetv.vip/en/play/obtd828nav226mm/e4101k2fgrj-EP01%3A_Yesterday_(Uncut_Ver.)

Content Warnings: attempted murder/murder?, sexual assault, implied rape off screen, blood, kidnapping/held against will, stalking, manipulation, beaten up, near suicide off screen, blackmail, self harm, non con kissing, past death, gaslighting

What I Liked
- chemistry/intimate scenes done well
- different type of plot
- styling
- two smart and capable women

Room For Improvement
- the continuous time jumps back and forth made it confusing/choppy even with over an hour per episode (finally more clear in episode 4 but that is way too long to be confusing)
- after a character who supposedly loved another character (attempted to murder, I can't believe he said "I tried to hold him back") his best friend, put money over rescuing him and then raped him in episode 5, the romance was ruined, there is no redemption arc that could make me want that character to be in a romance with anyone, he belongs in jail for the rest of his life
- nonsense stuff, a character didn't find it odd he had no communication from a certain person, turns out he had his phone the whole time?!, cameras are everywhere until they aren't

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A Hopeful Start for “Yesterday” probably gone WRONG !

I was extremely excited for this series, and thankfully, the first episode truly lived up to my expectations. It delivered exactly the kind of intensity and emotional pull I was hoping for. Now, I just sincerely hope the drama maintains this pace and quality until the very end.

There’s still a bit of uncertainty in my mind — it feels like a real conundrum because I don’t want to get my hopes too high. But despite that, I’m genuinely determined to stay with this series and see where it goes.

As always, their chemistry and visuals are absolutely on fire. I’ve always admired this couple, and once again, they prove why they’re so captivating on screen. The story is decent so far, and I sincerely hope it improves as it progresses.

Here’s hoping “Yesterday” becomes just as good — or even better — than I’m expecting.

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Yesterday (2026) – Episode 7

This episode left me with one big question:
Who actually killed Rarit?!

At this point, the story is becoming less about romance and more about a corporate power struggle, and honestly… I’m not mad about it.

Weer is arrested as the prime suspect in Rarit’s murder, but things quickly escalate beyond what was expected. Kelvin, who usually calculates every move with precision, seems unpredictable this time. Whether this outcome was part of his plan or not is unclear — and that’s exactly what makes him so unsettling.

Behind the scenes, it looks like Kelvin’s foolish older brother Ken and his father-in-law, Licht (the head of Lloyd Group), are pulling the strings. Their goal is not just to trap Weer, but to take over both the King Group and Weer’s father’s company.

The only one who might truly understand what’s happening is Rarin. As the eldest daughter who was denied succession simply because she’s a woman, she shares Kelvin’s intelligence and composure.
It almost feels like only a “psycho” can truly understand another psycho.

What surprised me most is how strongly the business takeover plot is taking over the story. The romance is still there, but it feels like everything is heading toward a devastating confrontation — I can already picture Kelvin and Weer standing alone in the ruins of everything.

Peat’s performance as Kelvin is outstanding. His portrayal is the reason this drama remains so compelling.

With only a few episodes left, the tension is rising fast.
This is definitely building toward something explosive.

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watching all of this with dropped jaws and incredulous laughter

Initial Considerations

When I finished the second episode, I could not stop thinking about those who, in one way or another, criticized *To My Shore*.

My apologies in advance. There is no ill intent here—only an uncontrollable reaction to the contrast between what we are witnessing now and what *To My Shore* once delivered.

Let me be clear: I loved *To My Shore*. Perhaps that is precisely why I have never written about it. I intend to rewatch it calmly and only then share my thoughts on MDL.

That said, even having seen only two episodes, *Yesterday* cannot be postponed.

The narrative duality presented in the first two episodes borders on the absurd. The discrepancy between timelines is striking, and the excessive, poorly positioned time jumps do not enrich the plot; instead, they disorient the viewer, leaving us suspended in a constant state of bewilderment—confused, adrift, and repeatedly asking ourselves: *what exactly is happening here?*

In the first arc, set one year earlier, we are introduced to Veir: a wealthy, handsome, intelligent young man, apparently well established within his family’s business empire. As the only son, he is portrayed as the natural heir, fully supported by his father, a powerful and successful businessman.

Veir presents himself as polite, refined, and ostensibly principled, openly claiming to despise lies and injustice. Yet this moral posture proves to be conditional. His “good man” façade lasts only as long as it serves his interests. Kelvin is one such interest. Once the conquest is achieved, Veir wastes no time in clarifying his emotional detachment: no commitment, no emotional ties, only casual sex. For him, intimacy is transactional, stripped of affection or consequence.

Parallel to Veir, we meet Kelvin—the marginalized, humiliated, submissive, and undeniably gentle figure of the story. The second son of another magnate, Kelvin exists in a paradoxical position: despite his status, he functions almost as a servant within the household. His suffering becomes a silent catalyst for Veir’s attention. Veir, perhaps unconsciously, begins to offer subtle support, while simultaneously orchestrating a seduction devoid of responsibility or emotional accountability.

The first episode also introduces two other key characters. Ken, the eldest son of the Kim family, is portrayed as morally bankrupt and utterly incompetent—a character defined by cruelty. He persistently humiliates Kelvin, his younger brother, and aspires to an arranged marriage with Lalin, another central figure. Lalin remains largely unreadable at this stage, but one thing is clear: she despises Ken and resents the obligation imposed by her father, yet another powerful patriarch in this narrative of wealth and control.

Then comes the second episode, where the story takes a far more disturbing turn.

One year later—an interval that feels narratively insufficient—we encounter a Veir who is almost unrecognizable. The confident, arrogant heir has been reduced to a fearful, emotionally needy man on the run, fleeing desperately, “like the devil fleeing the cross,” now inexplicably trapped under Kelvin’s control. He becomes the victim of kidnapping not once, but twice, and yet responds with a disturbing passivity. Even more troubling is his submission to sex as a means of securing financial leverage for his father—a choice presented without sufficient psychological grounding, rendering it unsettling rather than tragic.

Kelvin, in turn, undergoes an equally radical—and far more alarming—transformation. The once gentle, oppressed figure emerges as an executioner: obsessive, sexually coercive, and deeply toxic. Now armed with power, he intimidates and dominates the very man who once held emotional and social advantage over him. What was previously subtextual suffering becomes overt cruelty, and the dynamic shifts from imbalance to outright abuse.

And that is where we stand. Two episodes that are undeniably intense, yet frustratingly opaque, offering little indication of whether redemption—moral, emotional, or narrative—is even possible for either protagonist.

I confess my curiosity remains intact. Had this drama been produced in China, it would almost certainly have been halted by censorship.

And here we are—whether admirers or critics of *To My Shore*—watching all of this with dropped jaws and incredulous laughter.

Sorry, everyone.

Enjoy the ride. Watch it.

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Confused

Just finished episode 4 of Yesterday the Series, and honestly I have very mixed feelings so far. I’m not sure what will happen in the next episodes, but the first four episodes have been quite confusing for me.

The biggest issue I’m having is with the timeline and sequence shifting. In the first three episodes especially, the transitions between time and scenes felt very unclear. Sometimes it felt like the story was jumping between moments without properly explaining what was happening. Because of that, it was hard for me to stay fully connected with the plot.

Kelvin’s character is also quite mysterious, but in a way that feels inconsistent. At some moments he seems like a nerdy person who is scared of everything, almost fragile and unsure of himself. But then suddenly he gives off this strong alpha energy, which makes it hard to understand his real personality. It feels like the character is switching between two completely different sides without enough explanation.

Veir’s character also gave me a similar feeling. In the beginning episodes, I thought he would be someone mentally strong and confident, someone who has control over situations. But as the story continues, he sometimes comes across as very emotional and almost like a puppy who cries easily. Because of these shifts, the emotional tone of the scenes feels a bit mixed and confusing.

All these changes in tone and character behavior make the series a little difficult for me to follow. Sometimes I feel like I can’t fully keep up with the story or the emotions the show is trying to deliver.

That being said, I’m still continuing the series mainly because I like Fort and Peter. Their presence and performances are the reason I’m still giving the drama a chance, and I’m hoping the next episodes will make the story clearer.

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The Tragedy of Kelvin's "Love"

Kelvin is the perfect example of how untreated trauma turns a person into a monster. He claims to have a deep bond with Vier, but his attachment is actually a dangerous obsession. The irony is clear: Kelvin is the one who desperately needs a psychiatrist, yet he’s the one holding the person he loves captive.

He’s so terrified of being abandoned again that he’s turned his love into a cage. If Vier ever truly walks out that door and never looks back, Kelvin won't just lose his mind—he'll be forced to face the hollow, broken person he’s become. It’s a chilling look at what happens when possessiveness replaces genuine.

Character Warning: Extreme "Black Flag" behavior. Kelvin is 100% the one who needs the therapy couch.
⭐ Rating: 9/10 for the psychological tension (and 0/10 for Kelvin's "boyfriend" skills)

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Looking at everything that acting should have from many angles, unfortunately Peat Wasuthorn Chaijindar is a very bad actor, you can read his face in advance what he will do or say. It can be seen that he did not graduate in acting, but was trained. Fort Thitipong Sanggey is solid.
As for the script and the series itself, there are many ambiguities, the director thinks that we are in his shoes and that we know what is happening, it is so confusing and he runs from stage to stage in a period of a month, 6 months and even a year, so it is very confusing to watch. We don't know what the director had in mind, we are not in his head.

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