guys I want to know why this cp is nowhere to be seen…Aston does live and we seem him here and there…. but chokun , where he is¿ is he taking a break or what?
Pob has suffered more than Thin. Whether people agree with that or not is another matter entirely.
Thin is emotionally weak by nature, and if that is how his character is written, I can understand it. His sheltered upbringing, his fear, his hesitation, even his inability to immediately understand Pob's perspective, all of that makes sense within the character.
But what I cannot understand is the overall vibe / attempt to somehow justify Pob's enslavement.
No one wants to be a slave. There is no amount of kindness, comfort, protection, affection, food, money, or privilege that can explain away depriving another human being of their freedom. Pob has the right to live freely, to pursue his own dreams, to make his own mistakes, to fail, to succeed, or simply to live the most ordinary, mundane life imaginable. Those choices belong to him.
It doesn't matter whether a servant is treated well or badly. The moment that person says, I want to be free*, freedom is their right. No one owns another human being. Status, wealth, title, lineage, none of these things make one person's freedom more valuable than another's. Of course, people are unequal in wealth, opportunity, ability, circumstances and countless other ways. But in their fundamental worth as human beings, they are equal.
Thin may technically be under Pob's care, but sometimes it feels as though his blue blood has blinded him just as much as his constant tears have clouded his judgment. Yes, he acknowledges that Pob's views are right. And no, I don't expect Thin to automatically understand Pob or the lives of ordinary people. Thin himself admits that he barely knows the world outside his own. But he is educated. He is intelligent. He has sensitivity. Had he genuinely tried to look beyond the world he was born into, he could have understood Pob much sooner and much more deeply.
That is why watching Pob being blamed for their tragedy is mind-boggling to me.
Pob did not create the system that placed them on opposite sides of an enormous divide. He fought to have one, and he succeeded in doing so, even if that system is flawed and offers no excellent results.
He did not choose to be born without Thin's privilege. He did not choose servitude. Wanting freedom is not betrayal. Wanting dignity is not ingratitude. Wanting ownership of your own life is not selfishness.
And Pob's mother, God, her mentality makes the whole thing even more tragic. Her understanding of gratitude has been distorted to the point where thanking someone for helping you apparently means surrendering your life to them. Gratitude should never require servitude.
A debt of kindness is not a transfer of ownership.
Perhaps that is one of the saddest things about this story: oppression becomes most powerful when the oppressed have lived with it for so long that they begin to mistake it for duty, loyalty, gratitude, or even love.
Thin's pain is real. His tears are real. His love is real too. But so is Pob's suffering, and Pob is fighting for something even more fundamental than love: the right to belong to himself.
And I will never understand how he became the one people decided to blame.
Thin has done very little to understand Pob and had any real conversation with him about his FREEDOM, INDEPENDENCE, WILL, CHOICE and live as equal as HIM and that frustrates me the most.
NO LOVE CAN HOLD IF MUTUAL RESPECT AND STATUS IS NOT THERE. PERIOD.
Artistically, this was something extraordinary. The production, the sets, the costumes, the locations, the air, the flowers, the mountains, the forests, the bamboo groves, the ghost flower, and then Qinglan, Qingtian, Xu Chang… everything seemed to carry the touch of its creator. Nothing felt merely placed before the camera; it felt imagined, loved, and breathed into existence. Somehow, what came from the heart of its creator reached us without losing that feeling along the way. At least, it reached me.
For three months, we witnessed something increasingly rare: a work that seemed to listen to its own heart. It allowed emotion to lead, beauty to linger, silence to speak, and feelings to unfold without constantly asking whether they were convenient, conventional, or commercially safe.
And at its heart was something devastatingly simple, a man who loved another man so deeply, so passionately, and with such unwavering devotion that everything he did only made that love more eternal. A love that did not need to announce its greatness, because every sacrifice, every glance, every silence, every act of faithfulness had already said enough.
Perhaps that is what made this different for me. It did not feel like a product engineered to manufacture emotion. It felt like an artist's expression, something created because there was a feeling that needed to exist somewhere outside the person who felt it. And when art is made that way, something inexplicable happens: what belonged to the artist begins to belong to us too.
The lush imagery, breathtaking cinematography, exquisite production design, the freedom given to the actors, the unshackled performances, and that incomparable chemistry… it was a joy simply to watch this world breathe.
I don't know when I will experience something quite like this again.
And strangely, I don't think I want to watch it again. Some things are too precious in the form in which you first experienced them. I want to leave this exactly where it is in my memory—untouched. I don't want another viewing to alter a single feeling, impression, ache, or moment of wonder that these three months gave me.
So I will remember it as I saw it the first time: beautiful, imperfect, intimate, free—and alive.
Farewell, Xu Changyan and Feng Qinglan.
May you remain forever where the most beautiful stories eventually go - not on a screen, but somewhere in the heart of the person who once believed in you.
Apart from chemistry, I didn't like anything, but my expectations stopped way earlier so I was happy what followed. Its a wattapad story, so I treated it as such!
sorry but dropped, I am too old for the same concept with average everything...I feel like ABH trying too hard to get no 1 position, nothing in wrong that, but it is too obvious not to notice.
it not I don't like it, it just this type of plots tires me now. they are too predictable, and simple copy paste wuth 1-2 twist doen differently but the samething. I hope she bounce back with a bangger project, I would consume Camilla love blooms type series any time.
It is disgusting to see how many people are planning, scheming and plotting against a women, a harmless person for no reason whatsoever, evilness and money has no boundaries.
this kind of love I don't want it, LQ is no better than anyone around FanFan, he behaves the way he wants, he wants to be sweet, he is kind, otherwise he acts as he pleases, he looks down on him, just used him for his sexual desire, and when he was engaged to that man? and last I saw he was roaming with a girl not a boy, but in EP they mentioned he broke with LWX and LQ said he is no wearing ring...WTH is this...the only thing that keeps me going forward is acting of these poeple...plus the lives of two leads and the 360 change in the dynamic of their personalities.
In series it is XF that is submissive and LQ is tsuandre, but in real life lol Ning Jia doesn't get to say a word in front of Guang Ye...this change is very appealing, as in TV you get frustrated watching such a doormat character, then in reality you enjoy his alpa power....
The tragedy isn't that he betrayed the man he loves. The tragedy is that every word he says afterward is true.
He never wanted to hurt him. He loves him more than himself. I don't doubt any of that.
But love doesn't erase betrayal, and regret doesn't rewrite choices.
Whether he did it for his country, duty, or a cause greater than himself is another debate. The fact remains: when the moment came, he chose to use the person he claimed to love the most as a means to an end.
That is why every confession now feels painfully hollow. Genuine? Yes. Sincere? Probably. But also tragically shallow, because love loses its weight the moment it asks the beloved to unknowingly pay the price for someone else's ideals.
Ongsa sang the OST so beautifully he should be full time singer, doing concerts and all.
p.s. I know many people know, but people who don't should know that it was all real and all the events that is shown in toppling absolute monarchy to semi is known as 1932 Siamese Revolution and they used the events as what happened in real life.
All I know is that whoever greenlit this project was either extremely wealthy, had limitless creative freedom, or genuinely believed in telling LGBTQ stories. A plot like this could easily have been wrapped up in eight episodes—or fewer. Yet the creators poured an extraordinary amount of time, money, and artistic craftsmanship into something that most traditional television wouldn't dare finance.
I'm not criticizing that choice. If anything, I respect it. My only observation is that the visual language, the cinematography, production design, and camerawork, is often far more compelling than the narrative itself. At times, it feels less like a story driving the performances and more like the performers being given complete artistic freedom to exist in front of the camera, with the plot simply following them afterward.
I don't think Fluke is the problem at all. I actually liked him with Ohm. My comment is specifically about this pairing. Chemistry and visual compatibility change from partner to partner, so disliking one ship doesn't mean the actor shouldn't have one.
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2 
1 
1 
Thin is emotionally weak by nature, and if that is how his character is written, I can understand it. His sheltered upbringing, his fear, his hesitation, even his inability to immediately understand Pob's perspective, all of that makes sense within the character.
But what I cannot understand is the overall vibe / attempt to somehow justify Pob's enslavement.
No one wants to be a slave. There is no amount of kindness, comfort, protection, affection, food, money, or privilege that can explain away depriving another human being of their freedom. Pob has the right to live freely, to pursue his own dreams, to make his own mistakes, to fail, to succeed, or simply to live the most ordinary, mundane life imaginable. Those choices belong to him.
It doesn't matter whether a servant is treated well or badly. The moment that person says, I want to be free*, freedom is their right. No one owns another human being. Status, wealth, title, lineage, none of these things make one person's freedom more valuable than another's. Of course, people are unequal in wealth, opportunity, ability, circumstances and countless other ways. But in their fundamental worth as human beings, they are equal.
Thin may technically be under Pob's care, but sometimes it feels as though his blue blood has blinded him just as much as his constant tears have clouded his judgment. Yes, he acknowledges that Pob's views are right. And no, I don't expect Thin to automatically understand Pob or the lives of ordinary people. Thin himself admits that he barely knows the world outside his own. But he is educated. He is intelligent. He has sensitivity. Had he genuinely tried to look beyond the world he was born into, he could have understood Pob much sooner and much more deeply.
That is why watching Pob being blamed for their tragedy is mind-boggling to me.
Pob did not create the system that placed them on opposite sides of an enormous divide. He fought to have one, and he succeeded in doing so, even if that system is flawed and offers no excellent results.
He did not choose to be born without Thin's privilege. He did not choose servitude. Wanting freedom is not betrayal. Wanting dignity is not ingratitude. Wanting ownership of your own life is not selfishness.
And Pob's mother, God, her mentality makes the whole thing even more tragic. Her understanding of gratitude has been distorted to the point where thanking someone for helping you apparently means surrendering your life to them. Gratitude should never require servitude.
A debt of kindness is not a transfer of ownership.
Perhaps that is one of the saddest things about this story: oppression becomes most powerful when the oppressed have lived with it for so long that they begin to mistake it for duty, loyalty, gratitude, or even love.
Thin's pain is real. His tears are real. His love is real too. But so is Pob's suffering, and Pob is fighting for something even more fundamental than love: the right to belong to himself.
And I will never understand how he became the one people decided to blame.
Thin has done very little to understand Pob and had any real conversation with him about his FREEDOM, INDEPENDENCE, WILL, CHOICE and live as equal as HIM and that frustrates me the most.
NO LOVE CAN HOLD IF MUTUAL RESPECT AND STATUS IS NOT THERE. PERIOD.
Artistically, this was something extraordinary. The production, the sets, the costumes, the locations, the air, the flowers, the mountains, the forests, the bamboo groves, the ghost flower, and then Qinglan, Qingtian, Xu Chang… everything seemed to carry the touch of its creator. Nothing felt merely placed before the camera; it felt imagined, loved, and breathed into existence. Somehow, what came from the heart of its creator reached us without losing that feeling along the way. At least, it reached me.
For three months, we witnessed something increasingly rare: a work that seemed to listen to its own heart. It allowed emotion to lead, beauty to linger, silence to speak, and feelings to unfold without constantly asking whether they were convenient, conventional, or commercially safe.
And at its heart was something devastatingly simple, a man who loved another man so deeply, so passionately, and with such unwavering devotion that everything he did only made that love more eternal. A love that did not need to announce its greatness, because every sacrifice, every glance, every silence, every act of faithfulness had already said enough.
Perhaps that is what made this different for me. It did not feel like a product engineered to manufacture emotion. It felt like an artist's expression, something created because there was a feeling that needed to exist somewhere outside the person who felt it. And when art is made that way, something inexplicable happens: what belonged to the artist begins to belong to us too.
The lush imagery, breathtaking cinematography, exquisite production design, the freedom given to the actors, the unshackled performances, and that incomparable chemistry… it was a joy simply to watch this world breathe.
I don't know when I will experience something quite like this again.
And strangely, I don't think I want to watch it again. Some things are too precious in the form in which you first experienced them. I want to leave this exactly where it is in my memory—untouched. I don't want another viewing to alter a single feeling, impression, ache, or moment of wonder that these three months gave me.
So I will remember it as I saw it the first time: beautiful, imperfect, intimate, free—and alive.
Farewell, Xu Changyan and Feng Qinglan.
May you remain forever where the most beautiful stories eventually go - not on a screen, but somewhere in the heart of the person who once believed in you.
this series is filled with so many understated gestures and non verbal communication that sometimes beauty that holds altogether starts shaking!
In series it is XF that is submissive and LQ is tsuandre, but in real life lol Ning Jia doesn't get to say a word in front of Guang Ye...this change is very appealing, as in TV you get frustrated watching such a doormat character, then in reality you enjoy his alpa power....
He never wanted to hurt him. He loves him more than himself. I don't doubt any of that.
But love doesn't erase betrayal, and regret doesn't rewrite choices.
Whether he did it for his country, duty, or a cause greater than himself is another debate. The fact remains: when the moment came, he chose to use the person he claimed to love the most as a means to an end.
That is why every confession now feels painfully hollow. Genuine? Yes. Sincere? Probably. But also tragically shallow, because love loses its weight the moment it asks the beloved to unknowingly pay the price for someone else's ideals.
Ongsa sang the OST so beautifully he should be full time singer, doing concerts and all.
p.s. I know many people know, but people who don't should know that it was all real and all the events that is shown in toppling absolute monarchy to semi is known as 1932 Siamese Revolution and they used the events as what happened in real life.
I'm not criticizing that choice. If anything, I respect it. My only observation is that the visual language, the cinematography, production design, and camerawork, is often far more compelling than the narrative itself. At times, it feels less like a story driving the performances and more like the performers being given complete artistic freedom to exist in front of the camera, with the plot simply following them afterward.