Fondueforkharpoon

Hop on, I'll take you anywhere you want to go!

This show was such a delightful surprise.
Many Thai dramas tend to fall on the raunchier side of the spectrum (which is not necessarily a bad thing, mind you) so this story made for a delightful change of pace. It is almost entirely character driven rather than plot driven and really takes the time it needs to develop everyone's personal character arcs fully, never rushing yet never slowing down either.
There are no sudden plot twists, no dramatic misunderstandings (at least none that don't get resolved almost immediately via the revolutionary method of Clear Communication) and at 10 episodes the story is perfectly paced.

I especially loved the show's varied depictions of queer people's lives. This is the first time I've seen an elderly queer couple depicted in a drama and I am so grateful for their inclusion here. Not only do those two serve as an endless well of support and advice for Mork and company, they are also plenty fun to watch just on their own.
Mork's tentative steps towards exploring his sexuality are incredibly lovely to watch and pleasantly devoid of any "gay for you" nonsense (although I did at one point find myself swearing at the screen for someone to just say the word "bisexual" already)
I also deeply appreciated the show's approach to Tawan's character who, while entirely comfortable and certain in his sexuality, is still new to relationships and physical intimacy and refuses to do anything but going at his own pace.
Given how, in depictions of relationships where one person is just discovering they may not be entirely straight, it's usually the openly queer person who is more assertive and sexually experienced, this was a refreshing twist on a well-established dynamic.

In short: If you're looking for a calm, low-drama show with good acting, a great cast of supporting characters, and a pleasantly diverse range of queer characters, then this one is for you.

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A Worthy Succesor

I liked this one even more than the original! The comedy is just as clever, the acting is just as good, and the commitment to the bit has only gotten stronger.
There is a touch more emotional depth to this one compared to its predecessor but that does nothing to detract from the punchy humour or to change the well-established format.
I also am an even bigger fan of this season's opening number than I was of the previous one. The heavily stylised greaser look just works really well, what can I say. Some of the segment transitions are also truly excellent this time around.

If you liked the first season and want more of exactly that, then you will love this. If you haven't watched the first season but want something short and highly entertaining to while away an hour or so, then this season also stands up really well on its own and I'd recommend giving it a shot.

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Noone deserves to be lonely, we are all worthy of love

I think this show may have been written specifically for me.
A quiet, tender tale of finding human connection after an extended period of loneliness and learning to find joy in little things each and every day? Yeah, I fell absolutely head over heels in love with this story. The fact that it was also heavily themed around food was just the cherry on top of the absolutely glorious sundae.
The cast were all truly pitch-perfect in bringing this sweet little slice-of-life drama to life and displayed an unbelievable chemistry with each other that made the bonds between all the characters feel breathtakingly loving and achingly real.
If you want a show that teaches you about finding connection, leaving behind loneliness, coming out of your shell, and learning to fall in love with the world and the people in it again and again and again, then Bokura no Shokutaku is most definitely what you're looking for.
Even if you're just after a warm comfort-watch to pass some cozy evenings, this show is for you as well.

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Charmed the socks off me!

I started watching this after a long string of incredibly written and mature K- and J-Dramas and was immediately reminded of why classic Thai dramas hold such a firm place in my heart.
This show is zany, over the top, and filled with an irreverent charm that leaves you wanting more at the end of each episode.
It has an interesting plot but keeps its focus firmly on developing a slow and gentle romance, allowing the characters all the time they need to grow both as people and as partners to each other, which lets the viewer form a closer bond with the characters and lets them (the viewers) get invested in these characters' lives which makes the whole story, ridiculous as it may seem on the surface, a lot more grounded and makes every single emotional scene all the more impactful. This is still quite a rarity in queer dramas and makes for a refreshing change of pace.

Now beware, slight spoilers ahead.
Some personal highlights (aka Things I Loved):
- The loving attention to detail the writers and directors clearly paid while designing the alternate universe. These details range from the simple (e.g. cone bread), to the hilarious and silly (e.g. off-key singing as an art form), to the genuinely meaningful (e.g. the legalisation of same-sex marriage) and cheekily remind the viewer every now and again to expect the unexpected and stay on their toes
- The bond shared between Puen, Talay, Up, and Aou, and later on Kita and Fuse as well. They are the boys, the lads, the gang, utterly inseparable and always, always there for each other. I'm a sucker for good depictions of (queer) friendships and these fellows delivered big time. This show says hug your homies, hold their hand, kiss their cheeks, tell them you love them, let them know how important they are to you, and they are so right about that actually! I will die on this hill!!
- The pacing and development of Puen and Talay's relationship. As I already mentioned the buildup to every major step in their relationship is very well handled and given ample time to unfold at a slow but steady pace, but it's not just that. The way the show approaches their connection to each other hit me like a thousand bricks and made me shed actual tears a lot more often than I'd like to admit. From almost the beginning of the show these two are incredibly fond of one another and their friendly bickering becomes increasingly gentle and tender until it becomes a dynamic of "I love you so much, so there, take that you idiot, I'm expressing my genuine affection for you, suck it nerd!" at which point I think I lost my heart to this show for good.
- Dol and their understated defiance of gender norms and expression. Dol may not have been explicitly written as a trans character, but their character serves to gently question what gender identity really is and what it means for our lives but also to us personally. I absolutely adore them and wish we'd gotten to see more of them, although they do play a significant role in developing several important plot points.
- The show's approach to love in all its forms. This story boldly and deliberately blurs the lines between platonic, romantic, and queer love and emphasizes the importance of true human connection over trying to force a relationship along a predetermined course. Sometimes love means getting to know somebody over the course of several years until you've come to adore every single facet of their being and it doesn't even matter what type of love you're feeling for each other as long as you get to stay together. At the same time love can also mean the specific labelling of feelings and relationships and the boundless joy and excitement that come with being officially "in love" or "best friends" or "the most important person in each others' lives". This show says "No matter what happens, I'll go through it with you". "Remember, where there's you, there's me", it says, "Thank you for teaching me not to be afraid of tomorrow".

Some personal lowlights (aka Things I Didn't Like):
- How quickly Talay manages to resolve all the problems Tess created after returning to his own universe. I'm glad there were no great, drawn-out conflicts, but I did find myself thinking "Boy that was fast" every time Talay magically fixes whatever Tess broke. A very minor gripe in the grand scheme of things.
- How unresolved Tess and Tun's story felt by the end of the show. I know they weren't the focus of the show, but all the plot threads of Tun's unrequited love for Tess, Tess and Tun's reconciliation and subsequent separation in the alternate universe, and Tess' eventual return to his original universe, were all just barely touched on before being dropped completely. I know they play relatively minor roles in the story as a whole, but given the interesting dynamic that was hinted at between them and how solid the chemistry between Ohm and Nanon (their actors) is as we all know, I wish we'd gotten to see just a little bit more of these two.

In conclusion: A slow-paced, charmingly written and acted story about love, love, and once again love. If you want a show that provides a window into the lives of ordinary people in extraordinary circumstances who come to love each other deeply and fully while tugging at your heartstrings with how achingly gentle and real it feels, then this one is most definitely for you.

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An understated landmark in queer Asian cinema and here's why

Now let me start off by answering some questions you may be asking yourself: Is this the greatest story ever told? No.
Is there anything particularly standout or special about any of the plot points, or characters, cinematography, literally anything at all? No.
But what makes it so incredibly enjoyable (and honestly objectively good in my opinion) is the way the show chooses to engage with its own genre. The whole things starts, as we know, with a fairly ridiculous plot by the university head to blackmail two of her students into producing shippy BL content and promote the university. This could have easily been stupid and downright problematic (kind of, more on this later), but the show holds absolutely nothing back in showcasing exactly why and how the entire thing is awful and problematic. Literally both goofy-ass, idiot main characters listen to the university head inform them of her plan and immediately go “Mam this is unethical as all hell”, with one main point they raise being that these sort of publicity schemes do nothing to actually help queer people or further queer liberation and both of them take issue with that big time.
This theme of calling bullshit on the fetishization of queer lives continues throughout pretty much the entire show, with a highlight being a montage of the two main characters working their way through a list of cheesy cliches to make content out of except every sappy and ridiculous moment devolves into all-out war (read – a slapstick level of physical violence) every time the camera turns off, funny and an incredibly clever and direct interrogation of almost every stupid, contrived trope this genre has ever seen.
The show also emphasizes the importance and beauty of authentic queer relationships by very deliberately juxtaposing them with the over the top, manufactured ship nonsense the characters have to crank out and they keep those themes going solidly even after the whole “we must make this BL content” storyline ends, which is fairly quickly (which I personally also found quite refreshing, I generally felt the pacing of the show was very well done)
Now why was I so blown away by this? Haven’t other shows done this exact thing except better, more in-depth, and more central to the plot? Why yes, they have, but the reason why this show sticks out is because a thoughtful analysis and deconstruction of a serious issue isn’t central to the plot or the themes whatsoever. What these showrunners have done is put all their energy into making a classic uni setting comedy-drama and then just casually tossed in some incredibly succinct and nuanced commentary on the realities of queer love in a time where such love is frequently and almost gleefully exploited for financial gain.
Combine that with some of the best and healthiest depictions of (queer) friendship I’ve seen in a long time (seriously, all six main characters support the hell out of each other and actually teach each other how to communicate, how to set boundaries, how to figure out who and what you want to be. They feel like real people with real thoughts and opinions who have things to say, want to learn and be better, and also happen to care about each other deeply. I may or may not have teared up a few times) and what you’ve got is a whole new standard for queer dramas going forward.

A quick list of negatives:
- As much as the show calls out the actions of the university head as being problematic, she still faces essentially no consequences in the end, and after she lets the boys off the hook and doesn't force them to produce more content for her, everyone just sort of has a collegial chuckle, going "Oh you, what a little scamp you are, uni head" and that's that. Compared to how well the aforementioned themes are handled during the rest of the show this just falls really flat for me.
- The show's one grand pitfall: the dreaded separation. Why do we still choose to do these, they are godawful, they make no sense, can you tell I'm just personally salty about it

In conclusion: An entertaining and sweet standard university drama that packs a little extra punch. If this is an indicator of what the average queer romance drama will look like from now on, then the future of the genre looks bright indeed.

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I'm not trapped in here with you, you're trapped in here with me

What an absolute thrill ride. I went into this expecting a fun, romantic romp disguised under the thin veneer of an action thriller and boy oh boy did I get more than I bargained for. What should, by all accounts, have been a slightly over-the-top, fanfiction-esque (which is not a bad thing, by the by, just a comment on the suspension of disbelief needed to enjoy certain types of stories) plot, somehow evolved into a fairly grounded and serious exploration of familial bonds and how they influence our lives, the concepts of forgiveness and betrayal, and the quiet deceptiveness of unsolicited acts of love. All this without ever losing its charm and comedy or its heartfelt, upbeat core message.
And now off we go into the (mild) spoiler territory.

Some personal highlights (aka Things I Loved):
- The relationship between Shao Fei and Tang Yi. This may seem like an obvious one, wow you watched a romance show and liked the two main leads, what a hot take. But what makes these two so compelling and sympathetic to me and what makes their dynamic stick out against many other pairings in romances, is how honest and direct these two are with each other.
From the beginning there is respect and fondness between them, buried under a healthy amount of animosity though it may be. That fondness and respect grows and evolves as the show goes on, developing at first into unconventional but genuine friendship and then into a mature and, dare I say it, healthy relationship. As soon as Shao Fei realises his feelings he is upfront with Tang Yi, pursues him openly while still respecting his boundaries and giving him time to reciprocate or pull away. There is no dramatic jealousy, no endless waffling about, no will-they-won't-they. These are two people who decide to love each other and support each other and damn everyone who tells them they shouldn't, destiny is what you make it and problems are best tackled together rather than apart and I am so on board with it.
- Jack and Zhao Li An. While I do have some personal gripes with Jack (such as wanting to come after his kneecaps with a baseball bat for the way he sometimes acts but we're letting that go for now) I do find him a very interesting and compelling character (morally grey, true neutral bastard my beloved) and I absolutely adore his relationship with Zhao Li An. Their dynamic is funny, charming, and their connection seems genuine. I do wish we had seen a bit more of their character growth during the last episodes but I still feel the two have been set up for a happy future in which they can grow together.
- The ending. A happy ending that feels truly earned and makes a point about the importance of facing up to past mistakes and choosing to move forward together with your partner. That is pretty much all I have to say about that.
- Tang Yi's relationship with his fathers. I can't go into detail at all here or I'd end up spoiling big parts of the show, but whoo boy was that whole plot fascinating and the way it all wraps up gave me goosebumps with how serious and just plain good it is.
- Zuo Hong Ye. An interesting female character with a rich and complex inner life who is absolutely badass but is still allowed to be a real human being, warts and all, in my gay romcom?! It's more likely than you think.

Some personal lowlights (aka Things I Didn't Like):
- Gu Dao Yi and his whole plotline. To be fair this isn't so much a "thing I didn't like" and more of a "thing I liked sometimes and then disliked sometimes and felt neutral towards on the whole". I appreciate the important part he plays in driving the plot forward and enabling Tang Yi to have some character growth but something in me just does not like this man.
- Some of the more explicit scenes are a bit gratuitous and unneeded in my opinion, but for what it's worth these two do have great chemistry and the intimacy between them feels both touching and real.

In conclusion: If you are looking for an intelligent drama that explores some interesting and somewhat dark themes but won't drag you into any pits of despair and tragedy and will even make you laugh sometimes then you should definitely give this one a go.

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Some conflicting feelings

Watching this directly after seeing the finale of the show was definitely the right choice - seeing just how strong and steady their relationship had become was the perfect ending to the story.
The frank discussions of marriage equality were also greatly appreciated!
However the point where it goes awry for me and the reason I've taken off such a large amount of points (for me anyway) was the idea that keeping their relationship completely secret is the right choice.
"Marriage equality is important and the way to achieve it is to live in secret and wait until it happens on its own." What kind of message is that?! Not one worthy of an otherwise queer drama, I'll say that much, and one that left a bad taste in my mouth.
Of course being openly queer and actively fighting for change isn't possible for everyone, nor should be expected of them, but Jin and Haruki could at least have come out to their friends, or even tried to find connections to the queer community to create a space where they could publicly be themselves.
I hope to see future shows do better!

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A great show that went off the rails somewhere along the line

Boy oh boy am I conflicted about this one! There are some things I adore about it, some things I absolutely hate about it and on the whole I suppose I'm just not quite sure where I stand.

Let me start off by saying that the acting and cinematography in this show are phenomenal, the soundtrack absolutely slaps, and best of all: it has some of the most realistic and multidimensional depictions of queer people and their lives I've ever seen in a Thai show.
Relationship boundaries are complex and shifting, sexual roles and preferences are fluid, and monogamy is often not all it's cracked up to be. For that alone the series scored big points with me.
Unfortunately though, they completely flubbed the ending in my opinion.

This story could have had the perfect three act structure: the building of relationships, then the complete breakdown of those relationships, before finally rebuilding connections and salvaging whatever possible from the wreckage.
And for a while it really looks like that's where the show is going. I absolutely adore the first third of the series and am very much on board with the sheer chaos of the second third (I especially love the twist to Mew's character and think this could have been the perfect set-up for a truly interesting and subversive character arc).
But by the last third I was so furious about some of the writing choices made that all that goodwill pretty much went out the window.

I strongly dislike the way Mew and Top's relationship rekindling is handled (I think it's a great disservice to both characters to be honest) and I just couldn't get invested in their dynamic anymore.
Boston also gets done pretty dirty in that the show frequently blurs the line between "this character is a complete dick who is unrepenting and pretty much irredeemable" and "this character is simply polyamorous/prefers open relationships" which plays into negative and antiquated stereotypes.
And then there is Boeing whose inclusion is as unnecessary as it is deeply irritating. It detracts focus from two of the most important relationships in the show and pretty much ruins several character arcs in my opinion.

That being said the series does still have a great deal to offer: it is raw, touching, and real. It subverts a lot of tired old tropes of the genre while also skillfully addressing several important issues like consent and addiction. It is incredibly sex-positive and unabashedly queer and features several loving lesbian and trans couples (though none of them really get enough screentime).
And most importantly it's pure, chaotic fun.

In short I hope to see this production team create more shows like this in the future and hopefully learn from some of the mistakes here too.
I also would like to take this opportunity to grab GMM by the proverbial collar and inform them that they better wise up and make space for more authentically queer productions going forward without leading good projects awry due to unexpected audience demands dammit!

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Domesticity - The TV Show

I am a sucker for good, wholesome slice-of-life stories and this show most certainly delivers.
It's not exactly a ground-breaking tale but it does what it sets out to do really well - It has charming and likeable characters (very much including the side characters, shout-out to Haruna my deeply beloved), a solid and compelling dynamic between the two leads, and the occasional moment of added depth to elevate the story above mindless fluff.
The romance is slow but sweet and the characters communicate very openly and respectfully with one another. There is little to no unnecessary drama or conflict, just the simple and calm everyday lives of two people who become increasingly irreplaceable to one another.
Sometimes some of the performances can be a little stiff and the ending feels ever so slightly anti-climactic, but all in all there is pretty much nothing to detract from the impeccably lovely and wholesome vibes of this show.
If you're looking for something calm and sweet with solid editing, pacing, and cinematography as well as some truly adorable character colour-coding, then this one is for you.

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Not quite 1000 stars

So I finally got around to watching this classic recently and it was... fine. It has parts that I loved, parts that I hated, and on the whole I feel surprisingly neutral about the entire thing.
It starts of really well with great performances, solid cinematography and editing, and an interesting premise, but unfortunately loses its way somewhere towards the end.

The climactic conflict centers around the difficulties of living life on your own terms but rather than actually making a compelling point about self-determination, the story inexplicably does a hard turn in the opposite direction and completely muddles its message.
I strongly dislike characters martyring themselves for one another but here it could have worked really well if we'd gotten to see Phu and Tian communicate with another and actively work to resolve their problems both with one another and in regards to their respective personal circumstances.
The dreaded 2-year separation cliche could even have fit perfectly for the story if the whole thing had been Tian's choice, but no.
Instead we get a lot of incredibly hollow feeling rhetoric about valuing and living life for yourself all the while watching everyone around Tian make his every decision for him, often going against his explicit wishes.
The fact that Tian's parents face zero repercussions for their actions and that the damaging effect their behaviour has clearly had on Tian's mental well-being is never once addressed honestly made me so furious I couldn't even really enjoy the final episode, despite how delightful the ending is.

Mostly I'm just disappointed with how little this feels like a P'Aof show.
His projects usually skillfully address themes of class difference, privilege, and the everyday struggles of queer people, but here these themes are barely present, if at all.
There are also barely any female characters and those that do appear are pretty much exclusively used as plot devices before being discarded. (Poor Torfun deserved better)
There's also an incredibly off-putting scene in which the characters spy on a young couple during their wedding night which feels entirely unneeded and out of place.

I wouldn't go so far as to discourage anyone from watching the show - for what it's worth the first 7 or so episodes are genuinely enjoyable and are objectively quite good, both from a technical and a story-telling perspective.
As a whole, however, the series feels sadly hollow and lacking. Sort of like shiny, appealing packaging wrapped around an entirely empty box.
I'd recommend maybe watching it once if the premise particularly appeals to you, before moving on to other, better pieces of media.

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The bare bones of a good show

There's the foundation of a genuinely good story in here somewhere, but unfortunately you have to dig through a lot of meaningless-at-best, annoying-at-worst filler to get to it.
But let's focus on the positives first. This show genuinely has a lot going for it, the cinematography is good, the pole and aerial silk performances are surprisingly great, and most of the characters are genuinely likeable, realistically flawed human beings.
My personal favourite being Wela, who honestly could have been milestone for the genre on top of being incredibly charming, if only the script had been, well... better.
There are also middle aged lesbians in a thriving relationship as well as polyamory representation which we love to see. Yes, the latter could have been handled a bit more smoothly and I think that plot line would have benefited from more of a romantic buildup between Pan and Ken as well, rather than just between Seji and the other two individually, but all in all it still works surprisingly well and I am hopeful that this casual inclusion will open the door for more series and films to showcase healthy, loving polyamorous relationships.
Finally, and arguably most importantly, the show focuses on sex work and sex worker's daily lives which is an incredibly mis- and under-represented group of people, so I was understandably excited for this story.

Unfortunately, however, this is where the series really crashes and burns.
It does treat its characters with the respect they deserve and even tries to address certain topics like social and systemic discrimination of sex workers, or the fact that sex work is a paying job like any other which pays the bills and puts food on the table (which is quite an important point to highlight seeing as, statistically speaking, quite a high percentage of Thai sex workers actively use their income to support family in their home towns). But any deeper exploration of these topics is hindered by bad writing, a meandering, unfocused plot, and So. Much. Product. Placement.
There is a certain point in the series at which I thought the story was going to address the vicious cycle of repeat criminalization which allows corrupt government forces to profit off the sex work industry endlessly while publicly condemning it, but no. To my great disappointment it's just another opportunity for the almost offensively cartoonish female villain to do her thing.
The series also spends way too much time on people making out with one another and while yes, the portrayals of physical intimacy are very good and yes, I understand this can be a draw for some viewers, these scenes take up vital screen time that could have been much better spent on more important things like fleshing out the plot and weaving more cohesive storylines.
Personally I also really dislike the ending of Wela's character arc, it feels completely contrary to his previous actions and kind of devalues most of the show's core messages.

All in all, this show tries, in its own convoluted way, to offer a nuanced and respectful portrayal of sex work and shine a light on the serious issues facing people working in that industry, and for that it is to be commended.
It does, however, mostly fail to achieve what it sets out to do, making it quite difficult for me to wholeheartedly recommend watching it.
Instead I would recommend doing your own research on the issues of sex work in Thailand and around the world before watching the show and forming your own opinion :)


P.S.:
If you don't know where to start you could, for example, read some articles published by EMPOWER, a Thai sex workers' advocacy group and non-profit, or by the NSWP, a global network of human rights organisations advocating for sex workers worldwide, which offer some highly educational material.
Hell, even just reading through the wikipedia entry on sex work in Thailand can offer some reasonably nuanced insights on the topic.
For any visual learners I recommend watching John Oliver's segment on sex work (it's available on youtube for free) - it does strike a fairly satirical tone and focuses mostly on America and other western countries but a lot of the points made are universally applicable and it covers a lot of ground in a relatively short time span, so I feel it could work well as an introduction to the topic.

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A diamond in the rough? Almost! Kinda...

I have crawled out of my hibernation hole back into the weird and wonderful world of Asian dramas and what am I greeted by but this show - simultaneously a welcome surprise and a massive letdown. Let me explain.
Let's start with the positives:
While it is plenty obvious that the show didn't have a particularly high budget, the audio quality is occasionally poor, and the subtitles are sometimes just plain broken (this, to be fair, is not the show's fault as much as the studio's/distributor's), there is a familiar sort of cheesy charm to the series that the show-runners use to great effect.
The many flashbacks, soft filters, and extensive staring sessions that can be so deeply grating in lesser shows are given new life here, used as they are to tell the story of a man who is absolutely *haunted* by his first love and former best friend.
During the first episode particularly we see Ji being constantly bombarded with images and memories of Achi, desperately trying to escape from them only to bump into Achi by accident, meeting him again after a literal decade.
Cue the cheesy music, sparkly lights, and Achi's thousand watt smile.
Excellent use of time-honored cliches, this show has a Vision, it has Vibes, 10/10.
Later on these same tactics are used to showcase how much Achi has been haunted by Ji for these past ten years as well, which serves as a lovely balance for the first few episodes and provides deeper insight into the characters' motivations and general state of mind.
Furthermore, simplistic as the overall story may be, it takes the time to explore some real world issues - such as grief, loss, and some of the difficult realities of working in the medical industry - with surprising sensitivity and insight and even perfectly sets itself up to tackle complex topics like internalised homophobia and and the politics of para-social relationships ... only to utterly fail to follow through.

Yes, this is where we come to the negatives. This show was so close to telling a fantastically grounded, touching, and relevant queer story. So close and yet so far.
The series tiptoes around the realities of queer relationships , the complexities of self-image and social expectations versus internal desires and then just keeps tiptoeing, never committing to those plot lines even in a subdued show-not-tell kind of way.
Sweet as Achi and Ji's story may be, the lack of follow-through makes the resolution feel utterly anti-climactic, no matter how happy an ending we are provided with.
After a while even the previously so cleverly used flashbacks and filters lose some of their focus and effectiveness.
The show also tries to tell the side couple's story through the same visual tricks as the leads', which simply doesn't work.
Sickeningly adorable though they may be, these characters don't have a shared history, no complicated past between them to warrant such levels of cheesy drama.
You can't simply slap some sparkly effects on your show and call it romance, that's not how it works.
Then there are things like the completely unexpected and unnecessary parental abuse which rears its ugly head some time towards the end of the story and is then never addressed again.
Or the forced kiss in episode one which the show acknowledges as harassment only to then, once again, never bring it up again.
All in all, after I had finished watching I was left with a profound sense of... absolutely nothing. Of "Okay, and? Is that it?"

This is not say I wouldn't recommend watching this show at all. Give it a go, form your own opinion. For all my complaining I can't deny that it has lovely visuals, solid performances from the whole cast, a central queer relationship pleasantly devoid of hetero-normative dynamics, and some genuinely great portrayals of intimacy.
Also there is a very good dog if that tips the balance for you either way.
If you're looking for something sweet and light that won't take too much time to get through, then you might like this one.
Personally though, I'm just too hung up on what it almost was. Always the damn almost...

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The boys are back! Kind of...

This special feels like someone wrote 50% of a good follow-up to The Eclipse, someone else wrote 50% of a pretty bad The Eclipse fanfiction, and then they stitched it all together, electrocuted it, and produced whatever frankenstein-esque script spawned this show.
Seriously, I feel like I got whiplash from how tonally dissonant so many of the scenes here are. Some of them are genuinely good, enjoyable to watch, and the actors clearly had a lot of fun filming them.
The rest of them are uncomfortable, extremely out of character, and just plain weird. They really did my boy Aye so dirty with this, it's almost offensive.
That being said, if you're willing to stick around despite the bad, there is still a very sweet epilogue to the series to be found here. The final scene especially made me tear up with how lovely it is, so for that alone I'd suggest watching at least once.

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A queer twist on a classic crime thriller

I liked this one! It's different, intriguing, and on the whole pretty good fun.
The acting, cinematography, and pacing are all solid and make for an enjoyable whodunnit thriller experience.
The murder mystery is, for the most part, very well executed and fun to guess along with and is balanced quite well with the romance elements.
The characters are largely well-written and feel fully fleshed-out and three dimensional. My personal favourites are Sorawit and That, my beloved itty bitty gay sleuths, but the rest of the cast is, if not likeable, then at least interesting and compelling to watch as well.

This show isn't perfect by any means; in keeping with classic crime drama tradition it is more concerned with aesthetics and style, as well as making the viewers *feel* something rather than with telling an entirely logical and coherent story.
This to say there are several plot holes (although how bothersome these are is entirely subjective) and the story side-lines character development and gets a little too wrapped up in its own twisting, turning mystery for my personal taste towards the end.
I also wish there had been more plot-relevant female characters who don't wind up dead or otherwise disposed of, but for what it's worth the women of this story all get plenty of screen-time and agency, which sadly isn't a given in many male-centric queer media, or even in crime dramas for that matter.

All in all though, Manner of Death, despite its shortcomings, represents a step in a new direction for the genre and likely helped pave the way for later shows to deviate even further from well-established tropes and plots and for that alone I appreciate it greatly.
So if you're interested in watching a little piece of queer film history, or are looking for a well-paced thriller that is neither afraid of exploring some very dark topics nor of casually incorporating queerness into its characters and plots, then you should definitely give this show a try.

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Quiet, sweet, but nothing special

I actually really like this show. I'm not going to claim it's a particularly *good* show by any means, but it is very pleasant to watch.
It's got a very calm, gentle atmosphere about it, a sort of warm mellow quality that I really enjoyed.
The plot is paper-thin, but the characters are charming and believable to the point where the actual story almost doesn't matter - you just want to keep watching these people living their lives.
The story could have explored alcoholism and Korean drinking culture and it is indeed disappointing that it fails to live up to that potential (oh the things that could have been).
Personally though, once I lowered my expectations a bit, found a lot to like about the series just as it is. The friendships depicted are wonderful, the humour is often understated but works very well with the story, and the pacing and relationship progression are absolutely perfect.
There is no huge drama, no pre-finale curse, there's honestly barely any conflict at all. I can understand why a lot of people lost interest in the show because of this, but I find it a refreshingly realistic take on a budding relationship that makes for a good palate cleanser from more intense dramas.
If you're interested in a low-angst, slice-of-life type drama about people appreciating good food and good company, which features a very wholesome, gentle slow-burn romance, then I'd recommend giving this series a shot.

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