one of the rare times where I feel like the MDL comment section has the most reasonable takes. the number of bad takes i've seen across social media slutshaming Shen has been horrendous. sometimes i have to ask myself if it was really the same reality i've living in, if these people slutshaming Shen was even watching the same show that we're all watching.
Tang really died saving that awful kid Nannam. He was too good for this family. I understand Fakfah but she really has chosen to protect the wrong person and I feel like she's going to lose both her husband and kid because of all the drama coming for her.
Currently the ongoing lakorn with the highest TV rating. Shelved dramas really don't affect the reception of a show, even if the plot is outdated because the perception of the average audience is rather outdated as well =)))))))))))
Questions to the ones who had finished it... how is the drama? I wanted to watch it for Tate Henry and Film, but…
It's fun and engaging. There is infidelity but it happens in a logical way that the narrative. Worth it just to watch Film give a phenomenal performance, Tate improves immensely from his last role in Jaiphisut.
Adrien caught that it's on VIU. You'll need a VPN set to Thailand. There are English subtitles already.https://www.viu.com/ott/th/en/vod/3100909/คุณปู่วุ่น-Y-หลานชาย-Y-วุ่นI…
I've been wondering why Thai PBS have been attending the international film markets in the past two years. So international licensing must be a new option for their works.
So, I still doesn’t understand the beef between Perm and his father. Why did he go to him and tell him about…
The dad probably set out some conditions for inheritance which led to Phoem and Toem constantly competing for who gets to have the firstborn child of the family
sorry everyone, took a bit longer time to resync the subs for ep 3 and 4 bc youtube full ep trim down the really explicit scenes, they didnt cut any dialogues but mostly shortened the nc scenes so i had to resync the subs to fit it.
Let me just say as a Vietnamese, I'm annoyed that they used the spelling "Lhan" when it's clear to me that as a Vietnamese, her name would be written as Lan =)))))))))))))
Westernization PeriodDuring the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization.…
What is Lakhon? Terms similar to “lakhon” are found in many Southeast Asian cultures, each varying in spelling and slightly different in meaning. In Java, for example, the term ‘lakon’ refers to the plot of a story, while in Cambodia, ‘lakhon/ lakhol’ refers to theatrical drama. In Bali, the term “legong” refers to a type of dance with refined and intricate gestures. All of these terms point to a commonality involving performance art. In Thailand, “Lakhon” refers to the many types of classical dramatic theatre that depict narrative stories. This is in contrast with Ram and Rabam, which refer to dances with no storyline. Unlike modern theatre forms, which rely on realistic acting and dialogues, most forms of Lakhon rely heavily on dance and music to convey the story. Thus, choreography in Lakhon must be painstakingly executed to deliver the characters’ inner thoughts and emotions. This has led many to describe Lakhon as “dance dramas”. However, there are also forms of Lakhon that do not rely heavily on choreography, such as Lakhon Phud (Speaking Lakhon). Other important aspects of Lakhon include acting, costumes, stage design, script, as well as spiritual rituals.
Types of Lakhon There are types of Lakhon, which can be grouped into three categories: Lakhon Ram (ละครรำ), or “Dance Dramas”, focusses on telling the story through dance movements accompanied by vocal and instrumental music. Choreography is used to portray characters’ emotions and thoughts. Lakhon Rong (ละครร้อง), or “Musical Dramas”, focuses on using singing to tell the story. Lakhon Phud (ละครพูด), or “Spoken Drama”, focuses using spoken dialogue with true-to-life acting that allows audiences to connect with the characters.
Lakhon Ram is the genre that Mala pursues. Lakhon Rong is the genre that Soi currently pursues.
The show gets more and more fascinating with each episodes. I'm glad to see how the political elements are gradually…
Westernization Period During the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization. Western theatrical elements made their way into the Thai performance art scene, making Thai dance, theater, and music more diverse and popular. As such, the development of Lakhon was heavily influenced by Western ideals of theater.
King Chulalongkorn (Rama V), who reigned from 1853-1910, and his courtiers played an important role in creating new forms of theaters for both private and public entertainment. These included Lakhon Dukdamban, Lakhon Sepha, and Lakhon Phanthang. The creations could be seen as a response to the new lifestyle and the changing tastes of audiences. These modern Lakhons were inspired by Western opera while still retaining elements of traditional Thai theater. For instance, Lakhon Dukdamban still adheres to traditional verse narrative, but it might incorporate elements of realism from Western theaters, such as the use of scene design and realistic costumes. Adaptations of Western plays were also grown in popularity.
Golden Age of Theater King Vajiravudh (Rama VI), who reigned from 1910-1925, was a truly passionate dramatist. His reign was regarded as the Golden Age of Theater, with more rising forms of theaters in the court and the public. His great contribution to preserving theatrical art was the establishment of the Royal Entertainment Department responsible for all traditional performance activities under his close supervision. The department went on to establish the first official traditional performing art school: Rongrien Pran Luang. There was also a school for his scouts to learn music and drama with a built-in theater.
The king was a gifted writer. He wrote more than hundreds of plays and translated countless literary works from other languages, including William Shakespeare's English plays and Émilie Fabre's French plays. When translating Shakespeare's blank verse, the king localized it into the form of Thai octameter poem, while adding puns without making the meaning any different from the original work. Such was the literary mastery of King Rama VI.
Many of his works were featured in Lakhon Phud, a popular form of theater that is characterized by its exclusive use of dialogues, with no dance or singing interspersed. Lakhon Phud originated during the previous reign of his father, King Chulalongkor, but was later popularized with more diverse plays through Rama VI's contribution.
Studies from the Journal of Humanities by Surapone Virulrak suggest that dramatic literature in each era reflects not only the differences in the monarch's taste but also the policies and values he wants to promote. Rama VI's translated works reflected his promotion of the English language and foreign cultures. The works also promote patriotic sentiments. Huajai Nak Rob (A Warrior's Heart), for example, was a play performed to promote the chivalric role of soldiers, encouraging the Thai people to protect their country.
Revival Age of Thai Classical Theater Performing arts had always been under the royal patronage, however, they were passed into the hands of the civilian government when the country underwent threats from the Second World War. In response to the economic recession in the early 90s and the emergence of movies as a new source of entertainment, traditional performance arts of the royal court was financially limited and eventually declined in popularity.
The show gets more and more fascinating with each episodes. I'm glad to see how the political elements are gradually coming to the forefront and act a driving force for the actions of these characters and how they drastically affect the relationships of these characters (especially between Phrom & Mala and Soi & Mala)
I won't spoil for those who are not watching but it's a bit helpful to have this background on the historical setting of the story. --------------------------------------- During the reign of reformist rulers at the end of the 19th century, traditional Thai theatre came up against competition from spoken drama and even Western opera. Admiration of Western art introduced realism and naturalism, undermining even more the role of traditional stylised Thai theatre, especially as Western-type stages, illusionistic sets, and lighting effects were adopted.
During the reign of King Rama VI (1910–1925) Western influence increased further. The English-educated king was a real theatre aficionado and spent much of his energy, as well as of the state budget, on his passion. He translated Western dramas into Thai and wrote dozens of plays himself. He built several Western-type stages and, as a shock to many, also appeared publicly as an actor.
While busy with lakhon phud or the new Western-type spoken theatre, Rama VI also revived traditional forms of dance-theatre. As in many other Asian countries, Thai theatre at the turn of the 20th century became a platform for patriotism and nationalistic ideology. Western-influenced realistic theatre was seen as the most suitable medium for these aims but, at the same time, traditional forms were partly reshaped to fulfil their new task.
Under Rama VII (1925–1935), traditional Thai theatre found itself in a serious crisis. The main reason was an economic depression, which limited the court’s resources for maintaining expensive forms of theatre. Around this time, the cinema, the modern rival of traditional theatre, gained popularity, and the first commercial movie theatre was established in Bangkok.
A decisive turn of events occurred in 1932, when royal power was limited, and Thailand became a constitutional monarchy. This signified the final break between the court and traditional theatre, which was now under the authority of the government’s Fine Arts Department. The old traditions gradually came to be regarded as national art instead of the art of the court which they had been created and developed as.
1 
Thai PBS most recently attended Asian Filmart in Singapore and presented their 2 series Hard Nights, Sanctuary (currently filming) and two documentaries.
https://web.archive.org/web/20260225024853/https://thai.film/website/company.php?id=44
Ep 2: https://nekocap.com/view/xHPzOUFphP
Ep 3: https://nekocap.com/view/rF9HPvBc2R
Ep 4: https://nekocap.com/view/UmDsxCeouU
Ep 5: https://nekocap.com/view/ZJO6WZMwzv
Ep 6: https://nekocap.com/view/ZOA5tMe2Fr
Ep 7: https://nekocap.com/view/T6jz64I41U
Ep 8: https://nekocap.com/view/o9pWWeq3Sd
Ep 9: https://nekocap.com/view/tjZDAe4KCL
Ep 10: https://nekocap.com/view/hQOgeXq2Sf
EP 1: https://nekocap.com/view/AXEslxvUUm
EP 2: https://nekocap.com/view/j4oz4jgKo2
EP 3: https://nekocap.com/view/JfCzcxSUZm
EP 4: https://nekocap.com/view/lrOCe5NRF1
EP 5: https://nekocap.com/view/YboX3RFrJz
EP 6: https://nekocap.com/view/XZUbIewT7x
https://www.oned.net/video/6391441815112
sorry everyone, took a bit longer time to resync the subs for ep 3 and 4 bc youtube full ep trim down the really explicit scenes, they didnt cut any dialogues but mostly shortened the nc scenes so i had to resync the subs to fit it.
EP 1: https://nekocap.com/view/mynScPNC3F
EP 2: https://nekocap.com/view/oMEg7IgMHg
EP 3: https://nekocap.com/view/iiJLR1tn98
EP 4: https://nekocap.com/view/ABY1BGAsFQ
but i think youtube auto english subs are even more accurate.
for manual human subs, maybe will be released in a few months on viki after it finishes airing
Terms similar to “lakhon” are found in many Southeast Asian cultures, each varying in spelling and slightly different in meaning. In Java, for example, the term ‘lakon’ refers to the plot of a story, while in Cambodia, ‘lakhon/ lakhol’ refers to theatrical drama. In Bali, the term “legong” refers to a type of dance with refined and intricate gestures. All of these terms point to a commonality involving performance art.
In Thailand, “Lakhon” refers to the many types of classical dramatic theatre that depict narrative stories. This is in contrast with Ram and Rabam, which refer to dances with no storyline. Unlike modern theatre forms, which rely on realistic acting and dialogues, most forms of Lakhon rely heavily on dance and music to convey the story. Thus, choreography in Lakhon must be painstakingly executed to deliver the characters’ inner thoughts and emotions. This has led many to describe Lakhon as “dance dramas”. However, there are also forms of Lakhon that do not rely heavily on choreography, such as Lakhon Phud (Speaking Lakhon). Other important aspects of Lakhon include acting, costumes, stage design, script, as well as spiritual rituals.
Types of Lakhon
There are types of Lakhon, which can be grouped into three categories:
Lakhon Ram (ละครรำ), or “Dance Dramas”, focusses on telling the story through dance movements accompanied by vocal and instrumental music. Choreography is used to portray characters’ emotions and thoughts.
Lakhon Rong (ละครร้อง), or “Musical Dramas”, focuses on using singing to tell the story.
Lakhon Phud (ละครพูด), or “Spoken Drama”, focuses using spoken dialogue with true-to-life acting that allows audiences to connect with the characters.
Lakhon Ram is the genre that Mala pursues.
Lakhon Rong is the genre that Soi currently pursues.
During the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization. Western theatrical elements made their way into the Thai performance art scene, making Thai dance, theater, and music more diverse and popular. As such, the development of Lakhon was heavily influenced by Western ideals of theater.
King Chulalongkorn (Rama V), who reigned from 1853-1910, and his courtiers played an important role in creating new forms of theaters for both private and public entertainment. These included Lakhon Dukdamban, Lakhon Sepha, and Lakhon Phanthang. The creations could be seen as a response to the new lifestyle and the changing tastes of audiences. These modern Lakhons were inspired by Western opera while still retaining elements of traditional Thai theater. For instance, Lakhon Dukdamban still adheres to traditional verse narrative, but it might incorporate elements of realism from Western theaters, such as the use of scene design and realistic costumes. Adaptations of Western plays were also grown in popularity.
Golden Age of Theater
King Vajiravudh (Rama VI), who reigned from 1910-1925, was a truly passionate dramatist. His reign was regarded as the Golden Age of Theater, with more rising forms of theaters in the court and the public. His great contribution to preserving theatrical art was the establishment of the Royal Entertainment Department responsible for all traditional performance activities under his close supervision. The department went on to establish the first official traditional performing art school: Rongrien Pran Luang. There was also a school for his scouts to learn music and drama with a built-in theater.
The king was a gifted writer. He wrote more than hundreds of plays and translated countless literary works from other languages, including William Shakespeare's English plays and Émilie Fabre's French plays. When translating Shakespeare's blank verse, the king localized it into the form of Thai octameter poem, while adding puns without making the meaning any different from the original work. Such was the literary mastery of King Rama VI.
Many of his works were featured in Lakhon Phud, a popular form of theater that is characterized by its exclusive use of dialogues, with no dance or singing interspersed. Lakhon Phud originated during the previous reign of his father, King Chulalongkor, but was later popularized with more diverse plays through Rama VI's contribution.
Studies from the Journal of Humanities by Surapone Virulrak suggest that dramatic literature in each era reflects not only the differences in the monarch's taste but also the policies and values he wants to promote. Rama VI's translated works reflected his promotion of the English language and foreign cultures. The works also promote patriotic sentiments. Huajai Nak Rob (A Warrior's Heart), for example, was a play performed to promote the chivalric role of soldiers, encouraging the Thai people to protect their country.
Revival Age of Thai Classical Theater
Performing arts had always been under the royal patronage, however, they were passed into the hands of the civilian government when the country underwent threats from the Second World War. In response to the economic recession in the early 90s and the emergence of movies as a new source of entertainment, traditional performance arts of the royal court was financially limited and eventually declined in popularity.
Source: https://thailandfoundation.or.th/th/lakhon-thai-classical-dramatic-theater/
I won't spoil for those who are not watching but it's a bit helpful to have this background on the historical setting of the story.
---------------------------------------
During the reign of reformist rulers at the end of the 19th century, traditional Thai theatre came up against competition from spoken drama and even Western opera. Admiration of Western art introduced realism and naturalism, undermining even more the role of traditional stylised Thai theatre, especially as Western-type stages, illusionistic sets, and lighting effects were adopted.
During the reign of King Rama VI (1910–1925) Western influence increased further. The English-educated king was a real theatre aficionado and spent much of his energy, as well as of the state budget, on his passion. He translated Western dramas into Thai and wrote dozens of plays himself. He built several Western-type stages and, as a shock to many, also appeared publicly as an actor.
While busy with lakhon phud or the new Western-type spoken theatre, Rama VI also revived traditional forms of dance-theatre. As in many other Asian countries, Thai theatre at the turn of the 20th century became a platform for patriotism and nationalistic ideology. Western-influenced realistic theatre was seen as the most suitable medium for these aims but, at the same time, traditional forms were partly reshaped to fulfil their new task.
Under Rama VII (1925–1935), traditional Thai theatre found itself in a serious crisis. The main reason was an economic depression, which limited the court’s resources for maintaining expensive forms of theatre. Around this time, the cinema, the modern rival of traditional theatre, gained popularity, and the first commercial movie theatre was established in Bangkok.
A decisive turn of events occurred in 1932, when royal power was limited, and Thailand became a constitutional monarchy. This signified the final break between the court and traditional theatre, which was now under the authority of the government’s Fine Arts Department. The old traditions gradually came to be regarded as national art instead of the art of the court which they had been created and developed as.
Source: https://disco.teak.fi/asia/the-twentieth-century-thailand/