Wow a wall of text looking intellectual but isn't...It's a fact that girls and young woman are drawn to this show...Just…
"ALL BLs are catering to female viewers"
Again, what of it? The appetite for tales of affection and courtship is, by a great measure, a "feminine" one. This is no isolated idiosyncrasy of BL/gay romance fandoms. The romance genre, in its totality, owes its existence to the creative and consumptive might of women
Were it not for the unspoken misogynistic verdict of society, which holds that tales of affection and courtship are beneath the serious attention of men, the romance genre would be shared equally among both sexes
The masculine disposition, swayed by disdain for the feminine, regards BL/gay romance with condescension. Absent this disposition, men would no less than women be counted among its creators and consumers
"... extracting as much money out of their fans as possible and what the ethical implications are"
Has not the marketplace claimed every rite? The cradle is a nursery of future laborers and consumers, the school an assembly line of human capital, the workplace a grinding mill of perpetual value/revenue extraction, and the grave a franchise of grief and mourning. Not even our final moments escape commodification. The funeral is a service sold by monopolies, its dignity measured in square footage and floral arrangements
The whole of existence is profitable and transactional. Yet, when the currency flows from the hands of women, you cry foul
You are gatekeeping profitability
"And because so many shows are crap and are liked, such crap is produced"
Be that as it may, I venture to assert that "Duang with You" is not the "crap" you suppose
Wow a wall of text looking intellectual but isn't...It's a fact that girls and young woman are drawn to this show...Just…
To be light-hearted is not to have known no pain. The sunniest tales may touch upon sorrow or past afflictions, yet do so with such brevity and restraint that the overall impression remains one of mirth or solace
In its wisdom, "Duang with You" chose not to linger in dolorous places, lest its spirit be weighed down. The brevity with which darker matters were treated, seldom exceeding a brief span of ten minutes, betrays the tale's intent to outwit life and dance lightly through its trials
"... and of course heteropatriarchal worldview does not apply to me"
How so? A man, though he love men, may still harbor within him the venom of misogyny, homophobia, or male privilege
"It's a fact that girls and young woman are drawn to this show"
That girls and women revel in the drama, what of it? Is the heart of boys and man so frail, they must shun that which delights the hearts of girls and women?
I didn't get it either, why is one type of cringe better than the other? Either both are shit or both good lol.…
"All I know is that both these shows don't deserve such high ratings"
It was during a period of utter despondency that "Duang with You" raised my spirits and brought me unexpected cheer. This restorative power, in my estimation, justifies a high rating. Verily, I hold the drama in such high regard as to merit a score of 9.5 out of 10. I cannot but conclude that a deficiency in aesthetic judgment is the explanation for its detractors/non-fans
Behold the hypocrisy of the so-called critic/connoisseur, who, with a sneer, pronounces a work of art "mostly suitable for (teenage) girls." That is not a neutral observation but an act of symbolic tyranny wherein the natural divergences of age and sex are fashioned into instruments of moral censure
By associating the art in question with a young female demographic long barred from the intellectual, cultural sovereignty to create and consume the fruits of their own imaginative labor free from the dread of censure, they denigrated both the "feminine" mode of creation and the delicate sensibilities of those who, in its embrace, sought a fleeting refuge for the broken self. This, too, they cast down with derision
That which is deemed trivial or inferior when associated with the "feminine" is often that which resists heteropatriarchy and its preferred genres of violence and existential dread. Indeed, it is those most entrenched in hierarchical systems of value who perceive threat in the simple, joyful affirmation of the gay experience
Mainstream heteropatriarchal discourse assigns to the gay subject a position of deficit, one bereft of societal acceptance, laden with loss, and shrouded in secrecy, thereby inscribing upon it an incompatibility with the state of happiness
Contrariwise, the unassuming affective architectures of light-hearted BL/gay narratives, exemplified by "Duang with You," enact a quiet subversion and reclaim the mundane. Through the repetition of simple gestures, the glance that lingers just beyond propriety, the dates that follow no grand design, the laughter exchanged among friends, they destabilize the hegemony of melancholic performativity and construct a counter-epistemology. Here, happiness is not granted by normative institutions. It is an immanent mode of being that affirms the simple or the unexceptional as sufficient ground for the epistemological visibility and recognition of gay lives. It is not requisite that non-straight journeys be burdened with sorrow or convoluted tribulations
The scorn of the so-called critic/connoisseur, then, reveals not the poverty of "Duang with You." Rather, it reveals the poverty of a heteropatriarchal worldview that cannot tolerate the simplicity of gay joy as an end in itself
I am of the opinion that "Duang with You" suffers no deficiency, even should it find favour among girls and women
The artistic brilliance of the current poster demands that it remains the official representation of the project. It surpasses the trailer in quality and creative expression: https://imgur.com/KvTuGHX
The men in the poster melt into each other, so much so that they seem to become one. Close enough to feel warm breath brush against their lips, the truth of their feelings settles gently between them. The steady hand resting at the waist, the meeting of their foreheads as if they're sharing a secret meant for no one else, symbolizes the promise of hope, trust, and something beautiful in the making. I look forward with anticipation to watching them dance and fall in love
Shse being canon doesn't change anything about the drama. They were in love from the beginning and Sieun spend…
"Sieun spend the whole 2nd season mourning Suho like a husband he lost in a war"
His world was shattered and he was paralyzed in every way, chronic insomnia, loss of appetite, etc. He became a widower of sorts, mourning the loss of his fallen companion, visiting him in the hospital each night, pouring out his heart in a one-sided conversation, and recounting the day’s events as if whispering sweet nothings to the other man he loves. It was a bittersweet romance in the making that needed but a touch of daring, a hand of a production team and audience unafraid to guide it from potentiality to reality
Not everything can turn into a GL. Based on their pilot, I think the storyline is good enough. And everyone has…
I'll attend to your comments once you have instilled in most actresses and actors the courage to abandon the claustrophobic confines of "straight" roles and play gay roles with the same measure of regularity
Not everything can turn into a GL. Based on their pilot, I think the storyline is good enough. And everyone has…
Insisting that one should endure hours of "straight" drivel to determine its quality is akin to insisting that, "you should get married to know if the person is right for you" or "you should try heroin to know if it's a good drug." You're excusing the hours of your own life wasted languishing in mediocrity
It's best to save ourselves the misery, to use our common sense and values instead. I don't agree with the "straight" lifestyle. Any literary work or media containing "straightness" is defiled and unfit for consumption. It's reasonable to denounce their existence
"Entrapping" actresses and actors in GL and BL roles respectively is not so much a literal incarceration as it is a dismantling of the walls that have for too long limited actresses and actors to "straight" roles and identities. It's not a diminishment of their "freedom," it's a radical expansion of their possibilities
If the story presents even a passing moment of "straightness" between the male and female characters, I will forego the experience of watching it altogether
Not everything can turn into a GL. Based on their pilot, I think the storyline is good enough. And everyone has…
One need not have directly experienced something to form a well-reasoned, valid opinion on it. It's because of the knowledge that such a project will be of poor quality that one might choose not to "watch" it, as it were
Not everything can turn into a GL. Based on their pilot, I think the storyline is good enough. And everyone has…
Actors and actresses are generally entrapped in "straight" bubbles. Their craft is built on the foundation of the ability to inhabit characters outside the boundaries of personal experiences, yet they cower in the comfort of "straight" roles. Do you urge them to burst free from their shackles and embrace the possibilities of non-straight storytelling? Why do you discourage the daring few who flout the norms of the stage? You'll be shackling them once more
"Not everything can turn into a GL"
You're mistaken. The mind is an alchemist of great power, capable of transmuting the dullness of "straight" stories into a glittering goldmine of stories that celebrate the tenderness of gay love. Anything can be reimagined and "turned into a BL/GL"
Not on the surface. The producers intended to replace closure with conflict, romance with adventure. The conflict…
The "bromance" was strong, its strength manifesting as a happy and fulfilling resolution for the central male characters (season 1 and 2). Their combined efforts and investigative skills unraveled the mysteries of the missing persons' circumstances and provided the bereaved families of the missing with the solace and closure they needed to move forward with their lives. It was a happy ending for them as well
wrestling is a sport of buff, sweaty men grappling each other in close proximity. sounds pretty gay to meunfortunately,…
(Gay) romance occupies a plateau above the superficial platitudes of friendship. Friendship is encumbered by a sense of aversion to physical proximity. Romance is a sanctuary where a e.g. man unveils the misconstrued or maligned physical facets of his being to a e.g. male companion. He traverses the vicissitudes of existence with him. It is within this alchemy of stronger, more meaningful affection that they evolve from transient users to enduring partners in shared exploration and growth
Society limits members of the same-sex to the constricting boundaries of platonic exchange. Fiction urges me to imagine narratives that transcend the limitations of the ordinary
The predominant narrative pervading the media landscape is that of "straight" courtship and matrimony. It is peculiar that you take umbrage at us revering and advocating for expedition into the realm of romantic possibilities between two men or two women
Please redirect your critique towards the scarcity of media depictions of friendships between men and women
i would say it depends on the viewer's interperation,personally i 100% think it was strongly hinted as GL others…
The presence of a love confession at the 1:33:15 mark, and a physical display of affection in the form of a kiss on the forehead and lips at the 1:45:56 mark, establishes the unambiguously romantic nature of the relationship between the two female leads
Society downplays the significance of same-sex intimacy. "They are just friends." They presume a level of "more than just platonic" involvement between a woman and a man, and "just a platonic" involvement between two women or two men. This discrepancy reveals the deep-rooted nature of homophobia in human societies
"The Dream Songs" falls under the classification of GL, yes. There's a love confession (1:33:15 mark), and a display of affection in the form of a kiss on the forehead and lips (1:45:56 mark)
4 
1 
Again, what of it? The appetite for tales of affection and courtship is, by a great measure, a "feminine" one. This is no isolated idiosyncrasy of BL/gay romance fandoms. The romance genre, in its totality, owes its existence to the creative and consumptive might of women
Were it not for the unspoken misogynistic verdict of society, which holds that tales of affection and courtship are beneath the serious attention of men, the romance genre would be shared equally among both sexes
The masculine disposition, swayed by disdain for the feminine, regards BL/gay romance with condescension. Absent this disposition, men would no less than women be counted among its creators and consumers
"... extracting as much money out of their fans as possible and what the ethical implications are"
Has not the marketplace claimed every rite? The cradle is a nursery of future laborers and consumers, the school an assembly line of human capital, the workplace a grinding mill of perpetual value/revenue extraction, and the grave a franchise of grief and mourning. Not even our final moments escape commodification. The funeral is a service sold by monopolies, its dignity measured in square footage and floral arrangements
The whole of existence is profitable and transactional. Yet, when the currency flows from the hands of women, you cry foul
You are gatekeeping profitability
"And because so many shows are crap and are liked, such crap is produced"
Be that as it may, I venture to assert that "Duang with You" is not the "crap" you suppose
In its wisdom, "Duang with You" chose not to linger in dolorous places, lest its spirit be weighed down. The brevity with which darker matters were treated, seldom exceeding a brief span of ten minutes, betrays the tale's intent to outwit life and dance lightly through its trials
"... and of course heteropatriarchal worldview does not apply to me"
How so? A man, though he love men, may still harbor within him the venom of misogyny, homophobia, or male privilege
"It's a fact that girls and young woman are drawn to this show"
That girls and women revel in the drama, what of it? Is the heart of boys and man so frail, they must shun that which delights the hearts of girls and women?
It was during a period of utter despondency that "Duang with You" raised my spirits and brought me unexpected cheer. This restorative power, in my estimation, justifies a high rating. Verily, I hold the drama in such high regard as to merit a score of 9.5 out of 10. I cannot but conclude that a deficiency in aesthetic judgment is the explanation for its detractors/non-fans
Behold the hypocrisy of the so-called critic/connoisseur, who, with a sneer, pronounces a work of art "mostly suitable for (teenage) girls." That is not a neutral observation but an act of symbolic tyranny wherein the natural divergences of age and sex are fashioned into instruments of moral censure
By associating the art in question with a young female demographic long barred from the intellectual, cultural sovereignty to create and consume the fruits of their own imaginative labor free from the dread of censure, they denigrated both the "feminine" mode of creation and the delicate sensibilities of those who, in its embrace, sought a fleeting refuge for the broken self. This, too, they cast down with derision
That which is deemed trivial or inferior when associated with the "feminine" is often that which resists heteropatriarchy and its preferred genres of violence and existential dread. Indeed, it is those most entrenched in hierarchical systems of value who perceive threat in the simple, joyful affirmation of the gay experience
Mainstream heteropatriarchal discourse assigns to the gay subject a position of deficit, one bereft of societal acceptance, laden with loss, and shrouded in secrecy, thereby inscribing upon it an incompatibility with the state of happiness
Contrariwise, the unassuming affective architectures of light-hearted BL/gay narratives, exemplified by "Duang with You," enact a quiet subversion and reclaim the mundane. Through the repetition of simple gestures, the glance that lingers just beyond propriety, the dates that follow no grand design, the laughter exchanged among friends, they destabilize the hegemony of melancholic performativity and construct a counter-epistemology. Here, happiness is not granted by normative institutions. It is an immanent mode of being that affirms the simple or the unexceptional as sufficient ground for the epistemological visibility and recognition of gay lives. It is not requisite that non-straight journeys be burdened with sorrow or convoluted tribulations
The scorn of the so-called critic/connoisseur, then, reveals not the poverty of "Duang with You." Rather, it reveals the poverty of a heteropatriarchal worldview that cannot tolerate the simplicity of gay joy as an end in itself
I am of the opinion that "Duang with You" suffers no deficiency, even should it find favour among girls and women
The men in the poster melt into each other, so much so that they seem to become one. Close enough to feel warm breath brush against their lips, the truth of their feelings settles gently between them. The steady hand resting at the waist, the meeting of their foreheads as if they're sharing a secret meant for no one else, symbolizes the promise of hope, trust, and something beautiful in the making. I look forward with anticipation to watching them dance and fall in love
His world was shattered and he was paralyzed in every way, chronic insomnia, loss of appetite, etc. He became a widower of sorts, mourning the loss of his fallen companion, visiting him in the hospital each night, pouring out his heart in a one-sided conversation, and recounting the day’s events as if whispering sweet nothings to the other man he loves. It was a bittersweet romance in the making that needed but a touch of daring, a hand of a production team and audience unafraid to guide it from potentiality to reality
It's best to save ourselves the misery, to use our common sense and values instead. I don't agree with the "straight" lifestyle. Any literary work or media containing "straightness" is defiled and unfit for consumption. It's reasonable to denounce their existence
"Entrapping" actresses and actors in GL and BL roles respectively is not so much a literal incarceration as it is a dismantling of the walls that have for too long limited actresses and actors to "straight" roles and identities. It's not a diminishment of their "freedom," it's a radical expansion of their possibilities
Without a doubt, the inclusion of GL or BL elements would lend a dazzling brilliance to any story
"Not everything can turn into a GL"
You're mistaken. The mind is an alchemist of great power, capable of transmuting the dullness of "straight" stories into a glittering goldmine of stories that celebrate the tenderness of gay love. Anything can be reimagined and "turned into a BL/GL"
Go Soo (Kim Wook), Joon Ho (Pan Seok), Ha Joon (Joon Ho) and Dong Hwi (Il Yong) in season 2
The drama's highlight is Han Gyeol (Ha Ram)'s relentless pursuit of Hyun Min (Lee Jun) that dismantled the barriers of their initially hostile dynamic
It deserves a rating of no less than 9/10
Society limits members of the same-sex to the constricting boundaries of platonic exchange. Fiction urges me to imagine narratives that transcend the limitations of the ordinary
The predominant narrative pervading the media landscape is that of "straight" courtship and matrimony. It is peculiar that you take umbrage at us revering and advocating for expedition into the realm of romantic possibilities between two men or two women
Please redirect your critique towards the scarcity of media depictions of friendships between men and women
Society downplays the significance of same-sex intimacy. "They are just friends." They presume a level of "more than just platonic" involvement between a woman and a man, and "just a platonic" involvement between two women or two men. This discrepancy reveals the deep-rooted nature of homophobia in human societies