ariel alba

Zee knows that Sprite likes First. Why then does he act that way. I don't doubt that there are people who like to cause harm, they enjoy the suffering of others. These are people with an antisocial personality disorder, sometimes called sociopathy. This is a mental health illness in which a person fails to demonstrate discernment between right and wrong and ignores the rights and feelings of others. Will Zee suffer from sociopathy?

I have my doubts: Will Zee ask Sprite to hide in a locker room so he can go romance Salmon? Is it more or less something like: “Give me a chance because you already had yours. Now it's my turn. “Go hide in the closet so I can take your place for 10 minutes so I can see Salmon”? Or have they agreed on: “a while for you and another for me”? Doesn't Zee know that Sprite likes First? Didn't Sprite ask Zee to keep up the ruse for a while longer so he could stay close to First? So why is Zee acting so petty? Have the two brothers not been smoothing over the rough edges that it is not known for what solid arguments or reasons have separated the two? “Coincidence” that First has twice in a row demanded an explanation from Zee as to why he hugs Salmon, and on both occasions he has not asked Sprite? What is Zee doing in the locker room when he talked to First? Did he go to change his sweaty clothes? Was he training perhaps? Is Sprite unaware that Zee is leaving his comfort zone where he hides from team members, including management, to go see Salmon? Does Sprite ignore that Zee walks around the volleyball court, in the showers and locker rooms? Isn't there a risk that they will surprise you both together in the same space?

It is very naive and even childish not to denounce Ko and only ask him to resign from the volleyball team because “Salmon is very kind to others.” The situation warrants opening an investigation process with the very likely corresponding judicial process. Ko not only betrayed the trust placed in him by the team members and their managers. Ko committed a crime of sports espionage in favor of an opposing team. Ko will no longer reveal the Zee team's NSU strategy, but will this stop the rival team from continuing their spying on both the Zee team and other teams? Who guarantees that he is not acting or acting in the future in the same way, that is, recruiting players as spies, to filter them into other teams?
Ko sees it from his point of view: he wants to be a starter and the opposing team has promised him this if he reveals sports strategies to the detriment of his own team. Ko's espionage is not as exciting as the plot of a James Bond movie, but the fact is that he has used espionage techniques to gather sports strategy data for obvious motivations as old as sport and espionage themselves: information, competitiveness, money. Sports are multi-billion dollar businesses, and therefore prone to cyber threats and espionage.
Baseball, basketball and other sports teams, such as volleyball, today spend an enormous amount of money on different programs to evaluate players and maximize their performance. Sabermetrics includes all types of internal analysis and feeding of databases with the aim of accumulating information, which is considered an industrial secret. This industrial secret is protected by law. No one should have access to programs, strategies and databases owned by a specific team, since that is why they made the corresponding investment.
Given this, I wonder: what knowledge do the writers of Thai BL series have about the topics they write about? Do you think that putting two boys who meet and end up in a romance in any context is enough? What level of advice from subject matter specialists do you have? Are directors and producers so naive to ignore such important elements around the stories they tell or do they believe that the target audience of audiovisuals is the ignorant one?

The projector turns on. The big screen lights up. The images roll. The movie within the movie begins. The latter is a kind of Filipino-style surrealism that will soon envelop us. “For adults only” can be read on a curtain after crossing the porch. Meeting point for hustlers and scammers. Prostitutes and homosexuals offer sexual services sitting in their seats or in the main lobby. Transvestites and bisexuals kiss or have oral sex with anyone in the dark while the unsurprising gaze of a child on a bicycle. The room remains in darkness with the smell of overflowing semen. There is no celebration of flavors with popcorn, candy or hotdogs. A labyrinthine space with more than one surprise in every corner.
Service (Serbis, in Filipino) is a 2008 independent drama film directed by Brillante Mendoza, leader of a generation of new Filipino filmmakers who leaves a trail of wonder wherever he goes. With this, his seventh film, Mendoza was the first filmmaker from his country invited to compete for the Palme d'Or in the official section of the 2008 Cannes Film Festival. It is also the first Filipino film to compete in that important international film event since Bayan Ko: Kapit sa Patalim, by Lino Brocka, in 1984.
The script, written by Armando Lao and Boots Agbayani Pastor, shows us thieves fleeing from the police roaming the hallways of the theater. Mothers with infants looking for another child, also a minor, who may have entered the dark room to meet with gays. Sellers of flowers or watermelon seeds walking through what was once a prestigious establishment that became a dilapidated movie theater dedicated to presenting double programs of erotic and pornographic films from the 70s, to advertise their products for sale. People going up and down stairs in an endless maelstrom of sound, noise and movement.
Transvestites and prostitutes showing their bodies to the moans of the movie lovers in the background as if they were being exhibited on a catwalk. Homosexual couples at the entrance to the bathroom waiting their turn to let off steam, but not the urge to urinate but the sexual appetite.
Family problems aired in the face of everyone's hatred. Sewer water that floods the bathrooms and nooks and filters down the stairs to the ground floor. Between the stench and the squalor, we will soon learn about the various family plots that will become intertwined with the comings and goings of the public and clients.
Claire Villareal's montage allows us to appreciate the graffiti on the walls of the bathrooms or hallways that display penises or vaginas with the names of their owners along with the telephone number and the price to be paid by the potential client. Layers of paint with a broad brush to hide graffiti. Posters of gay and erotic films hanging on the walls. Lazy people are the only ones who do not have entry permission, as can be read on another sign at the entrance. A runaway goat pacing in front of the projection screen after entering through a hole in the wall. Lights that turn on. The luminosity invades the stalls. Pants that are pulled up in a hurry, zippers that close in an enigmatic frenzy, shirts that hide nakedness are placed again on the unsheltered bodies. The lovers run in terror due to the terror of being surprised. The four-legged animal on the run and in pursuit a herd of two-legged animals that bleat as much as that one.
Two cinemas closed due to the economic crisis and this one, the only one open, does not generate enough income to feed everyone. Rolled films pad the walls before rolling across the floor to the Philippine Rabbit Line bus that links Angeles City to Manila. The city, doors outside, like another spectator of the film that rolls inside the building. People on the streets coming and going and fixing their gaze on the posters to discover that it is not the one showing the film they expect to see.
If viewers have their party at the Family cinema, the Pineda family, a matriarchy around which children, grandchildren, cousins ​​and nephews swarm, also has its treat. Together they run an old, baroque, grimy, decadent and labyrinthine cinema, which in turn serves as the home of the family clan, a kind of microcosm in which women, especially the two mothers, play a central leadership role in all the events. senses, moral authority and control of the property and custody of its members.
Nanay Flor, the matriarch, her daughter Nayda, her stepson Lando and her adopted daughter Jewel are in charge of selling tickets, meals and candy. His nephews, Alan and Ronald, are respectively the painter and the projectionist. While the family members go up and down the stairs in their daily chores, what happens in the living room and the more than populated hallways is foreign to them.
Bigamy, unwanted pregnancy, hasty commitment to silence what others will say, possible incest and boils on the skin are part of the daily challenges faced by this troubled family. And there, before them all, the true “star” of the show: a huge, dilapidated movie theater that serves as a family business and living space.
The exploration of family dynamics, particularly the relationship of Nanay Flor, played brilliantly by Gina Pareño, and her daughter Nayda (Jaclyn Jose), adds depth and emotional resonance to the story. The cast also includes Coco Martín, Dan Alvaro, Mercedes Cabral, Julio Diaz and Kristofer King.
As the film progresses, the plot becomes increasingly absorbing, drawing viewers into the journey of what happens in each space of the film establishment. Gian Gianan's music helps with this. Photographed by Odissey Flores, the raw, arid images, infused with a moving intimacy, enhance the emotional resonance of the story, while subtle touches of ironic humor serve to increase the tenderness aroused by the members of this surprising fallen gang. .
Mama Flor under the clock that relentlessly rings, with her best clothes, waiting for the curtains to come down. The cinema is silent. People go out. Among them Alan, backpack on his shoulders, fleeing from responsibility.
The tape burns. The projector turns off. The big screen goes dark. Images die until the next day. The movie within the movie ends.

The 5th is an episode of revelations, confirmations, discoveries. All the cards are on the table for both the main and secondary couples. Sahara and Toki swore to wait for each other, so when the time comes one will make a proposal and the other will respond with the heart.

Hello. I fully agree with you. Let's hope it improves, but I doubt it. The series will most likely end in a genuine disaster.

Incest - from the Latin incestus, that is, 'unchaste, not chaste' - is the practice of sexual relations between individuals very close by consanguinity - biological or blood relationship. In all cultures, sexual relations between siblings, between mothers or fathers and their children, between uncles and nephews, between grandparents and grandchildren, and thus all blood ancestors with their descendants, are classified as incestuous. Although consanguinity is less, in some cultures sexual relations between cousins ​​are also considered incestuous. Therefore, Todo and Taku-chan would not be in an incestuous relationship, since no degree of consanguinity unites the two. Likewise, in all probability, the series does not even suggest there are sexual relations between the two and does suggest the approach and flirtation between two boys, as has been said, without any biological or blood relationship.
On the other hand, Japan (also the United States, Spain, Portugal, France, China, Russia and Sweden) is a nation where incestuous relationships are not punishable by prison, that is, although they are considered incestuous acts, they are not punished by the law, but civil marriage between family members has some restrictions. In most cases it must be consented and between two adults. Nor would the relationship between Todo and Taku-chan be within these conditions. So, if you love each other, then love each other.

Incest - from the Latin incestus, that is, 'unchaste, not chaste' - is the practice of sexual relations between individuals very close by consanguinity - biological or blood relationship. Sexual relations between siblings, between mothers or fathers and their children, between uncles and nephews, between grandparents and grandchildren, and thus all consanguineous ancestors with their descendants, are classified as incestuous in all cultures. Although consanguinity is less In some cultures, sexual relations between cousins ​​are also considered incestuous.
Finally, incest refers to sexual relations practiced between individuals who share a direct blood relationship, such as between siblings, parents and children, grandparents and descendants, or whatever the biological or consanguineous link between the two individuals.
On the other hand, Japan (also the United States, Spain, Portugal, France, China, Russia and Sweden) is a nation where incestuous relations are not punishable by prison, that is, incestuous acts are not punished by law, but Civil marriage between family members has restrictions. There is a long list of developed countries in which incest is allowed, but with some restrictions. In most cases it must be consented and between two adults.
I usually find out as much as possible about the laws of a country before making a judgment.
Todo and Taku-chan do not have any degree of consangeinity, they are NOT united or share any direct blood relationship.
Therefore, there is NO incest in their possible relationship, which I already expect.

Ho Ho Ho. Less than 16 hours left. Ho Ho Ho.

I read some comments that talk about pedophilia and incest in the series. In my opinion, there is neither one nor the other. Todo and Taku-chan are not really related. Taku was orphaned at the age of twelve and Todo's parents, friends of Taku's parents, took it upon themselves to raise him as their own son, but no degree of consanguinity unites the two.
We do not know the ages of Sahara and Toki. It has only been said that Sahara is a teacher and this has set off alarm bells for some. Toki must be 16 or 17 years old. This can be inferred from the data that is revealed to us about the protagonists. In the first episode, Sahara takes Toki to the classroom where he studies Todo and introduces him as a third-year student. Sahara tells Toki that Todo is one (school) year older than him. So, Toki is in his second year of high school. In Japan's secondary schools, young people between the ages of 15 and 18 study. The age of majority in Japan is 18 years old. Furthermore, the age for consensual sex in Japan was recently raised from 13 to 16. According to Japanese laws, if Toki were only 16 years old, she can have consensual sex.
Has Toki repeated a year for being a bad student? If so, he would be older than supposed. He could then be in his last year of high school, and even have finished it. Has Sahara already graduated from University? Isn't he at school as a substitute teacher? He may not have graduated yet. Undergraduate courses in Japan are generally 4 years long, with the exception of Medicine and other cases in which the duration is 6 years. The Teaching degree (it seems to be Sahara's) lasts only 4 years.
Given all this “uncertainty”, we must resort to a fundamental clue. Toki participates in the “45º. Seiruy High School Sports Festival”, as can be read on a giant sign at the entrance of the school. In the second episode, around minute 14.07, Sahara confesses to Toki that he also participated in the “Treasure Hunt” when he was in his third year of high school. Minutes before (12.22 minutes) a scene shows Sahara reading the brochure of the year in which she participated. It can be read clearly, in Japanese: “42º. Seiruy High School Sports Festival.” That is, Sahara participated three years ago in the same sporting event in which Toki is involved in the present. So the difference in elapsed years between Sahara's participation and Toki's participation in the treasure hunt is only three years. So, they must be three, at most, four years apart in age. Assuming Toki is 16, Sahara must be 19 or 20 at most. And if we consider that it is Toki who is chasing Sahara or...
I would propose to those who see incest or pedophilia in the series, to be concerned about issues related to the human rights of homosexuals in Japan, Thailand and other countries. I am referring to the illegality of homosexuality even in the 21st century. Same-sex marriage in Japan is illegal and prohibited nationwide, even though homosexual acts between adults, by mutual consent and within the private sphere, were decriminalized in 1880. The Japanese Constitution says that a marriage is It happens between husband and wife. That is, legal marriage occurs only between a man and a woman.

Very optimist. I hope that the god of audiovisuals and directing actors, the god of screenwriters and good actors hear your prayers and conspire to make this abomination at least digestible.

Oh, congratulations.

Let's ask much more specific questions. Could Babe (Tanatat Phanviriyakool) and Billy (Patchanon Ounsa-ard), two people of the same sex, be getting married right now in real life? Let's imagine if Babe and Billy wanted to get married, would they be recognized by current Thai law as a marriage? Could they even celebrate legal weddings beyond an intimate and/or private ceremony? Let's imagine that they celebrate a fake nuptials, of course, it can't be any other way. Could they apply for bank loans or joint medical insurance? In the event of the death of one of the two (please don't let this happen for a thousand years, I want to continue seeing them perform), who decides where they will be buried and what kind of mortuary rites would be celebrated? The surviving partner or their “real” family? Do you really think he would be the survivor of the two? Doesn't all this show discrimination against LGBT+ people in Thailand? Let's imagine Babe and Billy united in a fake, that is, not legal, ceremony. Could they adopt children? Could they undergo assisted reproduction treatments? If the law is approved, wouldn't an amendment to the pension law have to be made to also recognize these couples?
Today and for years, a law that would allow equal marriage has been debated. Often a draft law or project is presented to Congress that ends its short life in a drawer collecting dust. Isn't the bill being questioned by members of the Thai LGBT+ community themselves because, among other issues, it raises the legal age of consent to 20 for gays, lesbians, transgender people, bisexuals, etc., while For heterosexuals it is 17 years old? Isn't this a form of sexual orientation discrimination? Do LGBT+ people and heterosexual Thais have the same rights? Aren't most of the leads in Thai BL series actors under 20 years old? Wouldn't they be breaking the law?
Let's imagine that one of the two, or both, decides to change their sex. Wouldn't the law being debated require transsexuals to register their birth gender on their marriage certificate? Doesn't Thai law prevent people from changing their sex on their national ID card? Let's imagine for a moment that Babe and Billy would like their gender identities to be recognized. Isn't it true that the only law that protects LGBT+ people today does not accept gender identity?
A debate like this would not occur to me to propose in a series from an Asian country, geographically close to Thailand, such as Taiwan and Nepal, countries where the law allows marriage between people of the same sex, recognizes equal marriage and the rights of LGBT+ people, and even then not everything is hunky-dory.

I can only ask that if it is of interest to you, you look for information about it. That information, that is, the truth, is just a click away from your hands.

I am aware that same-sex couples have difficulties not only in Thailand. In other countries they also suffer discrimination, harm, etc., and even their lives are in danger, but I am commenting on a Thai series, not from another country. At the time, if relevant, I have also criticized and condemned discrimination in other contexts.

Maybe this is the first time in my life that I say “I'm sorry” despite being right, but my goal is not to destroy the bubble in which some fans of Thai BL series, like The Sign and so many others, seem to live. , who have believed that because two boys kiss and have a romantic relationship on screen everything is rosy in Thailand. Yes, many have believed that in that country, with its paradisiacal beaches, there is tolerance and freedom. Many have believed that there is room in Thailand for everyone, regardless of their tastes and sexual preferences. Many have believed that no one denies a gap in a ship where everything is allowed that seems to sail alone and at ease in the center of the hurricane of the seas of Southeast Asia. Many have believed that because Phaya and Tharn and so many of our other boy-heroes kiss in Thai audiovisuals, there is no reason to think that LGBT+ people in Thailand are oppressed, they are discriminated against because of their sexual orientation, as happens in neighboring Muslim countries. However, the reality is that very little is known about the struggles and difficulties of Thai LGBT+ people. Many ignore or have preferred to ignore reality, beyond the stereotypical image that official voices are careful to maintain. I reiterate: my objective is not to destroy the bubble in which some followers of Thai BL series seem to live, but to point out that in Thailand there live human beings without human rights, people who fight for the rights of diversity, of being different. The LGBT+ community in Thailand is fighting not to add a new country to the list of those that manage to be a little more open, a little more tolerant than before. Their fight is to make the rest of society and the world understand what the word “acceptance” really implies.

The cast of the series includes Karan Thongphan as Chris and Petch Tutton as Foam in the leading roles. Camp Kunathip also appears as Park; Jimmy Jirameth as Biw and Bess Woraphon as Korn for support.
Director Nob Sathanapong, who also directed 'Ai Long Nhai', 'My Bromance S2' and 'La Cuisine'.

Two murders in the first 25 minutes of the first episode? If it is not a record, it is a good average.
The performances are among the most indecorous I have ever seen.
Foam practically does not work. He has stopped earning money because he doesn't show up for auditions and filming. She misses Chris, her murdered boyfriend. But hours later we can see him getting drunk, dancing and letting himself be seduced. How quickly she forgot her boyfriend.
The trope of the heterosexual woman in love with a homosexual is endless. If I were interested in him for money, for his fame, I would understand, but no: Nenie is in love with a man who 177% of the atoms in his body scream: “I'm gay. I'm gay".
And the discussion between Nenie and Boo, Foam's representative, is already boring. On the set they discussed the same thing: namely: “I'm the one who takes care of Foam.” “He doesn't bring you money. Leave it to me". Later, at the party, they said the same thing. And later, in the room where Nenie took Foam drunk, the same thing was said. Nenie is the one who is willing to pay to have Foam. I hope that in the rest of the series the creators are more... more, more creative.

I agree with you: the analyzes are not very deep and not very serious... outside of reality.

Approximately 94.6% of the Thai population subscribes to Theravada Buddhism. The religious homogeneity of that country is also made up of the Muslim religion (4.6% of the population). The rest belong to Christianity and Hinduism and other religions. According to Buddhism, to transcend to nirvana the human being must abandon all forms of sexuality, especially in men. Two visions thus emerge in Thai society. The most conservative or fundamentalist ones assure that homosexuals were born homosexual and that they are being punished for sins from past lives, through karma and reincarnation. The other vision, more liberal, let's put it that way, assures that homosexuality is a conscious decision of each person, with much more marked visions about male-female roles, but then they assure that the decision made by the person is immoral and perverse.