ariel alba

Between spies and potential mobsters, love is in the air

After delighting BL fans with the dramas 'Eternal Butler' (2025), 'Unknown' (2024), and 'Stand by Your Side' (2023) as screenwriter; the series 'We Best Love We Best Love: No. 1: For You' and 'We Best Love: Fighting Mr. 2nd', and their respective specials, as executive producer; and the Specials 'Anti Reset Extra Episodes' (2024), 'Stay by My Side Extra Episodes' (2024), 'VIP Only Extra Episodes' (2024), and 'You Are Mine Extra Episodes' (2024) as actress, Cai Fei Qiao offers us, in 'Fight for You' (2025), in her first work as screenwriter and director, a mix of genres that works quite well. Here we have comedy, espionage, drama, and, above all, romance. All this with two actors who will make you laugh and want to visit the stars.
All the genres mentioned in the previous paragraph come together in the relationship between the characters of Andy Ko (Hei Yu Bo / "Da Hei") and Nelson Ji (Bai Zhou Qi / "Xiao Bai") throughout its 12 episodes.
Let's believe for a second that the synopsis of this series doesn't spoil the interesting twist of its premise. Let's admit that the marketing campaign has sold its best secrets without hesitation. What you'll be lucky if you get to 'Fight for You' without any of the spoiled information and you go into it without knowing what it's about.
Two young people land in the middle of a house; each one hopes to get their way and occupy the best room. One of them abruptly gives in. The tenants shout with joy. They now have landlords, and two handsome young men, of course. Their false names protect their complete anonymity.
Through dialogue, brief monologues, precise flashbacks, and specific thoughts, we slowly, unhurriedly, progressively learn their false identities and the reasons for their presence and personalities. It doesn't matter who they were for the moment; we will be able to accept them for who they are now.
This is Cai Fei Qiao's first tool to draw you into her unique game: you will always know that the two of them will not be who they say they are... and we will already know who they are supposed to be.
In this Taiwanese series, built on a foundation of comedy, intrigue, deception, and humor, the romance is evident almost from the moment the two protagonists meet and begin to bond beyond what is advisable in the always dangerous realm of spies and organized crime.
Da Hei, a young man who works at a food establishment with his grandmother Hei Shi Lin (Lam Sau Kwan), is in need of money to cover the medical expenses of his ailing sister, Hei Jia Li (Mimi Shao – 'The On1y One'). Because of this, he is driven to reluctantly join a mysterious "All-Service House", run by his neighbor Dou Ke Yi (Wills Sia), which is under investigation by the intelligence department as a suspected front agency for a crime syndicate. The evidence, though inconclusive, is quite compelling.
Xiao Bai is a member of a famous family of intelligence agents. But his superiors and his own family don't see in him the qualities that distinguish his grandfather and older brother Bai Zhou Guo / "Da Bai" ('Papa & Daddy', 2021).
What Da Hei doesn't know is that his roommate is an undercover spy named Bai Zhou Qi, sent to find evidence linking Dou's business to the mafia. To do so, the clumsy agent resorts to deceiving the gullible suspected gangster, first by posing as a university student named Xiao Bai, then by making him believe he's in love with him and convincing him to fake a courtship between the two in front of Da Hei's grandmother, leading to a hilarious clash of secrets, dangers, and unexpected feelings.
As part of an exercise to reevaluate his work, the young spy must verify, as his grandfather puts it, whether the unsuspecting young man is "a just person or a hostile person".
Xiao Bai will come to the conclusion each day that of the two types of people the elderly secret agent believes exist in the world, Da Hei is of the righteous. But he will need to convince himself first, and then convince the others of this.
What the two don't know is that after completing each tracking and verification mission, their growing dependence on each other will deepen. But how will Da Hei react when Xiao Bai's true identity and mission are revealed? Would you love someone even if you felt like you didn't know them? Would you love someone even if you feel you don't know them?
By the fourth episode, I would like Da Hei to answer yes, if only for the mischief they have experienced together.
The chosen context —organized crime and the possible affiliation of one of the two protagonists— decorates a beautiful, joyful, and fun love story that delves into that which, through deception and impersonation, functions as the true support of relationships: the purest of truths.
Xiao Bai's quest, eager to prove that this truth exists, possesses good pacing and tension, despite lacking impact and surprise. It demonstrates that when the script is well-crafted —although it suffers from exaggerated dialogue— everything flows naturally, leading to a beautiful love affair.
'Fight for You' doesn't reconstruct the spy genre but reinvents it, turning the experience into a tense journey toward a happy ending, accumulating false clues and half-hidden secrets that must find their necessary conclusion.
The series fulfills its purpose of entertaining and amusing, but also of making we reflect on relationships built on the basis of complete ignorance of the other's identity.
Yes, it's cheesy. Yes, some parts are cringe worthy. And yes, the creators of the series know this perfectly. It's full of absurd and exaggerated humor, along with tender and sweet moments, and plots that keep you on the edge of your seat. The result is a heartwarming story that will give you the serotonin boost you need.
Regarding the casting, it's clear that it relies heavily on the roles of Andy Ko and Nelson Ji. It's important to note here that the one who shines the most is Nelson Ji, who makes the series his own from the moment he appears.
This actor, known for playing Duke of Yong in 'The Longest Day in Chang'an' (2019), stands out for the great spontaneity, comic timing, and believability he brings to his character, Xiao Bai. Andy Ko, for his part, is convincing as the naive, grown man who is afraid of cockroaches and is suspected of being a member of a criminal organization; both elements are frequently used to provide humor, intrigue, and suspense.
While the main characters steal the show, a cast of supporting actors enriches the narrative, creating a richer and more engaging story.
Part of the pleasure lies in seeing how all the pieces come together in a seemingly natural way.
And Cai Fei Qiao, with her narrative wisdom, draws you neck-deep into a spy-gang game with such personal nuances that even you'll want to see it end.
The elegant, classic, and calm direction allows the viewer to enjoy themselves, giving them their time and space, allowing them to settle back in their seats and enjoy the delicacy without rushing.
The script is impeccable. Every choice is spot on, nothing is missing or superfluous, everything fits together. It follows its own rules of the game and respects them to the death, like a faithful dog.
It's a strange and surprising series. It summarizes, concentrates, and distills spy and romance cinema while giving it a new lease of life and vigor.
A lighthearted series, intelligent in its exaggeration, beautiful and accomplished, that respects the tradition of the most fantastical and escapist fiction, the most dreamy and unreal.
I'll come back later with the review.

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The Dilemma of Choosing Between Oneself and One's Family

Xiao Lin is experiencing the development of his gay identity, a recently emerging term that has permeated societies globally. Our young protagonist has begun to realize that he could be homosexual, that he is attracted to young people of the same sex. Like many other people in this period of self-discovery as gay, precisely the first stage of accepting homosexuality, the Shanghai University student fears confronting his homosexuality under pressure from his family.
During a short vacation, he travels back to his hometown where his father and paternal grandmother are waiting for him. Under the influence of Ouyang Fu Gui, a more radical and visually more open young writer, Xiao Lin begins to accept himself. He even goes so far as to reveal to his new friend the possibility of being homosexual or bisexual (the Second Stage or Comparison Stage, according to Vivienne Cass (1979), a criterion widely recognized worldwide), and what that would mean if it were true. Thanks to Ouyang Fu Gui, he visits gay clubs while still suffering from Confusion.
Whether internally or with his friend, Xiao Lin expresses his fear about the consequences that being gay will have on his life.
However, after returning home and seeing his family's expectations for his marriage grow, Xiao Lin finds himself trapped in the dilemma of choosing between himself and his family.
Writer-director Wu Xuan, who trained in Film and Television Direction from the Shanghai Theatre Academy, films a short film that delves into the contemporary gay community, which is still on the verge of self-identification, and develops the story through a realistic audiovisual style and the perspective of young college students.
Rather than focusing on a sweet, sexy gay romance, as seen in Thai BL, the film by Production Company: Shanghai Theatre Academy takes a more realistic social context, showing their psychological processes and encounters, focusing on the plight of gay youth today.
Starring young Chinese actor Liu Haoqiong as Xiao Lin, the short film reflects on gender and the social constructs that have been built around homosexuality.

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A modern queer spin on a classic bedroom farce

Let's say you're gay, 25 years old, and you live alone, and you don't want to associate with heterosexuals.
Let's say that your friend and fellow university student, a year older than you, who defines himself as heterosexual, has just broken up with his girlfriend and moved into your house.
Let's things get even more complicated when, in order not to sleep on the hard, cold floor, he gets into your bed and sleeps next to you, linking his hands and feet with your body.
Let's warn that no matter how angry you look and the constant invitations to look for a rental apartment, the new tenant will refuse to leave, claiming that he likes living with you, and that your large house could very well be shared by both of you.
Let's imagine that he claims that even though he knows that you are gay, he does not find it uncomfortable living with you, as he is a person who is easy to get along with.
Let's affirm that he tells you that he has no impediment to living with a homosexual boy, if at the end of the day neither of the two is interested in the other since one does not like men, and the other likes the type of intelligent and fun boy, the one who makes you feel loved and praised, and who has the same taste in movies, something that, according to you, your straight friend does not have.
Let's say that you arrive home drunk and frustrated after your date didn't arrive at the meeting place and you ask your friend to undress you and put you in the shower.
Let's say that your friend would like to understand your homosexual life and to do so he reads the BL novels and mangas that you keep on the shelf.
Let's confirm that he takes you home so you can meet his family.
Let's assume that to try to understand you better, your friend meets another homosexual boy in your same house, and he turns out to be your ex-boyfriend, who abandoned you for a girl.
Let's imagine that his heterosexual heart begins to beat rapidly every time you touch his cheeks, or discover it, at night, while you pretend to sleep, that he covers your body with a blanket, casually plays with your hair and gives you a kiss on the forehead.
Let's certify that your heterosexual friend surprises you in your job as a bartender in a gay bar, and behind his back you surprise him talking to your co-workers and clients about his "life as a couple" with you.
Let's make sure that on a date with heterosexual girls your friend tells them about his daily life with you, and they blurt out in his face, very funny and complicit, that his actions are those of a gay boy in love.
Let's confirm that your best friend has to listen to your recriminations about being single because of him, because you can't get a boyfriend when he is sleeping with you next to him every night.
Let's confirm that when we see them arguing with each other in the middle of the street or in shopping centers, they are mistaken by everyone for a gay couple.
Let us witness that the sexual tension between the two boys shoots up to unimaginable limits.
Let us state that the constant proximity of structural bodies and physical contact provokes desire in the two young people.
We agree that looks full of desire, as the basis of eroticism, are taken to the maximum by measuring the distances between bodies.
Let us confirm that the erotic charge increases when the two friends move over very short distances not only with their genitals close, but also referring to them.
Let's support that without intending it you have developed feelings for your friend.
Let's proclaim that your friend, who has always defined himself as heterosexual, finds himself in love with you.
Let's confirm that your heterosexual friend suddenly recognizes that he likes someone who is not tall, that although he appears irritable his angry face is still cute, that at night he lets him hug him to sleep peacefully, and that he has made him enter a new world to he.
Let us maintain that secretly, he has described you.
'Bedmate or Bad Mate', the Taiwanese web series, is a modern queer spin on a classic bedroom farce where relationships old and new will be tested when the boundaries of friendship, love and sex collide when life comes to a head. The harmonious and calm life of Hao Chen, a young homosexual, is interrupted by his heterosexual friend Wang Da Zhi, an athletic and expressive boy, when he decides to move into his room after breaking up with his girlfriend.
In this delicious and fun LGBT+ romantic comedy about two roommates who try to live in harmony, their different personalities will cause an eternal dispute between them for even the most unexpected reasons, which will lead them to get to know each other and get closer.
'Bedmate or Bad Mate', which has all those characteristics that make you remember it for a long time, reminds me of series like 'My Gay Roommate', a 2012 North American comedy, directed by Austin Bening, about the funny stories of a straight boy and his gay roommate, starring Noam Ash and Drew Paramore.
But here friends go for more.
Successful use of words and phrases with double meanings, of inanimate figures that come to life to express the emotions and feelings that overwhelm the characters; of the internal monologue and the breaking of the fourth wall so that the protagonists let us know about the past of the two characters and the new reality they live.
I also like the use of the mockumentary film technique as a way for Wang Da Zhi to interview young homosexuals to try to understand what he feels for Hao Che.
Among those interviewed, there is someone who suggests that he keep it simple when expressing his feelings: "Just tell him directly that you like him and that's it."
In summary: 'Bedmate or Bad Mate' is a fun and entertaining comedy that addresses the issue of diversity intelligently and without falling into stereotypes. The performances are convincing and there is good chemistry between the main characters.
However, the script is a bit predictable and the web series is not very original. Also, some parts are a bit forced and the dialogues are sometimes a bit forced.
Still, I recommend seeing it. It will make you laugh and daydream.

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'My Damn Business' is a romantic drama with LGBT+ themes in an intimate key, which focuses on friendship and love in a work environment.
Han Woo Jim is the leader of sales team 2 who has received a dissolution notice amid the company's management crisis. He is in charge of closing deals with the associated companies he has managed within a period of three months. Left alone in his office, Yoon Su An, a deputy manager of the support team, is sent to temporarily help sales team 2.
Yoon Su An is a young man capable enough to work under Han's orders. And the latter ends up falling in love with the personality and beauty of his office colleague, when a small incident brings them face to face with each other. In this way, the lives of the two young people will change when they come into contact with each other.
With just the two of them in the office, Han can't help but notice Yoon's distant attitude. But the constant closeness will make their hearts end up broken as the days go by and they will have to deal with an office romance.
The South Korean small screen has office romances as one of its calling cards, thanks to numerous series that reflect the romantic relationships that occur between people within the four walls of any institution, relationships that can be short-term or long-lasting, and They can occur between co-workers at the same level or workers in a hierarchical relationship.
'My Damn Business' follows the path started by other series that have provided us with clear proof that love can be found in the most unlikely places, such as the also South Korean series 'Business Proposal', 'What's Wrong With Secretary Kim', ' My Secret Romance', 'Her Private Life', 'Romance Is A Bonus Book', 'My Shy Boss', among others.
Many Asian television stations are not far behind in telling this type of romance. There we have the Chinese 'Capture Lover' ('Bing Tang Xian Jing') and 'Beloved Enemy'; the Thai 'Step by Step', 'Paint With Love' and 'Cherry Magic Thailand'; the Japanese '30-sai made Dotei Da to Mahotsukai ni Narerurashii' and the Taiwanese 'We Best Love: Fighting Mr. 2nd', 'HIstory 4: Closet to You' and 'Be Loved In House', to name just a few, but The latter have in common with 'My Damn Business' that they address a love story between boys.
Even animes like 'Atarashii Joushi wa Do Tennen' address romances taking place in the offices of any company, series that at the same time expose relationships of camaraderie in work settings between employees and between them and managers, and serve as a fascinating portrait of the work life, many times without them being about anything in particular, but they are perfect for those moments when one just wants to disconnect from one's own reality.
Back to 'My Damn Business': this series, produced by GND Studio, fully inserts its plot in a company office in the South Korean capital, to mock the strict human resources policies that make it seem like romances in the environment work are doomed to fail, while reflecting the birth of a romance between two co-workers.
In a comedic tone, bright, affectionate and without great pretensions, from the first frames you will be hooked on its fun and romantic story, while it embroiders a story that describes the love of a boss and his subordinate. Quite a guilty pleasure for many viewers.
And it successfully meets that objective. The characters of Han Yu Jim and Yoon Su An breathe truth. The second one is definitely coded as a shy cat, and Han Yu Jim is the big doggo who complements the dynamic perfectly. Despite their different characters, they merge a loving relationship that arose in the heat of everyday life in the office.
With small doses of comedy that really works, the story of 'My Damn Business' stars actor Jung Jae Bin in the role of Han Yu Jin, and Jeon Yu Bin, who wears Yoon Su An's clothes.
Jung Jae Bin is known for starring in the film 'Three of Us' and the series 'BReal Bro&Sis', both from 2022, and Jeon Yu Bin is remembered by BL lovers for his starring roles in the drama 'Actor:eal', 2024, and for playing Yu Yong in the film 'His, Ice Cream' (2022), and Lee Hyun Woo in the series 'Judo Boys' ('Blue of Winter' - 2022).
For his part, Hwang Min Hwan, known for playing the Boyfriend in the drama 'Fake Buddies', from 2024, and Park Jung Woo in the series 'Sweat Romance' (2019) and 'Sweat Romance 2' (2020), intervenes to play Hwang, a recruiter in charge of introducing the two protagonists.
Han Woo Jim and Yoon Su An are credible beings who even become endearing to the viewer, despite the series not having a deep plot, a serious conflict, or a story arc that delves into the psyche of the characters. and is only interested in showing the daily life of two young people who, due to circumstances, are forced to work side by side, resulting in them getting closer, getting to know each other, beginning to help each other, while they discover what they carry inside. In short, a kind of balm for an escape from reality.
A type of series that I don't know if they are becoming more popular or if I am paying more attention to them now, but every time I am coming across more of these comedy or romance stories.
In a delicate mix of wit, silly humor and heart with a lot of potential, through these two characters, the director creates a drawing – deep and noble, individualized, rich in color and warmth – of two young people who fall in love between computers and sales management charts.
I know that at first glance this is not a series for everyone, that the short duration (only 7 episodes of 11 minutes on average) does not allow us to delve deeper into the personality of the characters or to develop conflicts and tensions, a small cast in terms of quantity and diversity of characters, the absence of a specific plot beyond "have they already confessed their love or will we have to wait for the next episode?" and that humor that is enjoyed even if sometimes it is not understood because it is very "Korean", I would encourage giving 'My Damn Business' a chance because it is a fun and tender series with which to have a good time and disconnect from everything .
But despite this, or because of it, when seeing the way in which the director transmits the feelings, humanity and the growing romantic relationship of his central characters - without grandiloquence, with virtuous simplicity -, one cannot help but think about series like ' 'The New Employee' by Kim Jo Kwang Soo, 'Love Mate' by So Joon Moon, and 'Jun & Jun' by Kim Eun Hye, all Korean, all 2023. And that's the biggest compliment I could receive 'My Damn Business'.

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Without a doubt, the worst Oxin Films series so far (final count)

'Sky Valley' is directed and written by Xion Lim, the Filipino actor, director, screenwriter and producer who was responsible for carrying out series such as 'My Day', 'Rainbow Prince', 'My Story', 'Our Story' and 'Dear Miss Becky', among others, but who also fails to capture the audience on this occasion as he lacks the voice to delineate characters and resolve conflicts, for not meeting the viewer's expectations by not achieving an adequate closure after a spectacular and powerful.
The series begins with an excellent montage devoid of dialogue that presents our protagonist, Fourth, a young man from Manila who flees from family commitments to take over the reins of a company, by traveling by plane and then by road to a paradisiacal place.
And although his true intentions remain in the dark for much of the series, both for the viewer and for himself, we will later witness that his routine reveals something more than the mere logistics of his life: we understand that he harbors resentment towards a father who wants the young man to inherit his company, which is merging with another, so he has decided to escape his responsibilities. The parent responds to his hostility with a prolonged search for his son to avoid being removed in his absence.
We will also learn that she recently had a breakup with her boyfriend, so possibly the getaway is part of forgetting a failed courtship. What he intends to do when he reaches his destination is a mystery of course to us and probably also to Fourth himself, whose anguish demands comfort as soon as rest for his tormented soul.
Upon his arrival at the airport in the Philippine city of Zamboanga, Junjun, a young rider who works at the Sky Valley Park resort, is waiting for him, the hotel located in the picturesque mountain spot chosen by Fourth to hide, which is precisely the mountain resort of the family of the director of the series and the place where he spent his first years of life. If the visitor is somber, mysterious and abrupt, the local is extroverted and optimistic, giving rise to a structure in which opposite poles repel and attract each other in equal measure.
Junjun maintains a routine of coming and going in his daily tasks, feeding and training the resort's horses, or keeping the park that surrounds the hotel complex clean, but his monotony and serenity are broken with the appearance of a kind of incarnation of a prince out of a fairy tale. From their first meeting, Junjun is attracted to the reserved visitor whose arrival awakens deep emotions within him.
While a loving Fourth tries to distance himself because he will eventually have to return to Manila to take over the company, as well as considering that Junjun is heterosexual, so she could never develop romantic feelings for him, the resort worker cannot help but fall in love, although he will also be forced to fight against the pressure that Nathalie will exert, a girlfriend with whom he has not been able to officially break up, and who will appear on the scene with the intention of winning him back.
This is how in a paradisiacal and enviable space for rest and at the same time work full of queer characters, the viewer eagerly waits for the turn in the gray and quiet life of Junjun (Jaime Lucero) to be beautifully narrated, after the arrival of Fourth, role assumed by Tim Tuppil, in an interpretation far from what we are used to in the series 'Si Andy, Si Lauren or Si Peng?' and 'Our Story', since he had always assumed the role of the top boy, aggressive and even with a touch of villainy.
Almost right with Fourth, Paris (Angelgrace America), a vlogger from Manila, arrives at the resort, who is also seeking distance from her angry and aggressive ex-boyfriend, who does not accept the breakup. Paris will begin a lesbian relationship with Taylor (Lienel Navidad), the daughter of Mrs. Corazón (Dovee Park), the owner of the resort.
In this way, the director seeks, unsuccessfully, to raise the emotion with the incorporation of Girls' Love (GL) with the couple LorrIs (Lorraine-Iris) from 'Our Story', with the intention of exciting and delighting fans of both genres. However, the terrible performances, especially that of the actress who plays Paris, the low quality of the script and the deplorable directorial decisions manage to sink the combination of BL and GL into the spring pool. The intended delight, emotion and connection never arrive and the absence of chemistry between the main couples is palpable, especially between the girls.
The always necessary antagonistic figure soon appears, this time assumed by Jabó, a character played by Jericho Del Rosario ('My Story', 'Our Story'), who also works as assistant director, the rich and arrogant local who will try take over Junjun's workplace thanks to a risky and bad decision by Taylor.
Joining the main cast's performances are Tirso Cruz III, who plays Fourth's father in a very special role, and several veterans of Oxin Films' previous BL series such as Gio Emprese, Chad Kinis, Hiro Shimoji, Philip Robles, Jake Villamor, Kate Yalung, Jaime Ramada, and a few others. Their performances are, like those of the protagonists: among the worst seen in the entire BL universe, as if at the level of a high school play. In my opinion, 'Sky Valley' is Oxin Films' worst drama so far.
The director uses, once again, very attractive actors to give life to his protagonists, he gives a lot of importance to the landscape, but he likes to focus the story on many characters, whom he does not draw well on paper, and this detracts from the lack of a deepening into the construction and history of the characters, both main and secondary, the latter also important for their weight in the events.
The music, composed by Kayowdee, includes the diegetic, that is, the music performed by the cast members guitar in hand or in the night shows that enliven the lives of the resort guests, performed by the characters Timo (Sean Perez), Simba (Christian Patricio), Pumba (Voltaire Cabe) and the actress herself who plays Taylor, is not enough to lift a series that sinks deeper into the swamp of oblivion with each episode.
A topic as suffocating as a debt and the possible loss of a family property that, incidentally, is the source of income for some of the characters and a meeting place for everyone, remains a joke.
Likewise, the viewer lacks knowledge of the causes of the characters' internal conflicts or their motivations are poorly drawn on paper, which if known could be valuable to better understand their realities. I am referring, for example, to why Fourth does not want to commit to the family business, the lack of connection with the father, he past and the failed relationship with the ex-boyfriend, these reasons for her presence at the resort and what gives rise to the unleashing of events; the reason why Paris needs to get away from her boyfriend and the past left behind in Manila; Taylor and her mother's relationship, among others.
Junjun, Fourth, Paris and Taylor don't seem to me to be characters with a life of their own. The intimacy that emerges between the four main characters does not develop organically because their performances are generally flat. A plot as tenuous as the one portrayed in the series requires much stronger characters to sustain itself. A lot of potential gone down the drain.
It's a shame that what should be a passionate intensity between the two male protagonists loses steam almost from the very beginning, before a rather artificial conflict gives rise to the relationship between the two girls. There is no emotional bond between them, as with the two girls, that connects them, in addition to the physical bond.
In a series that should be all about character and setting, 'Sky Valley' falls short of the former but succeeds in the latter. The beautiful landscapes, mountain and beach, end up forming an aesthetically coherent background for interesting characters who are otherwise not developed as much as they should.
The story aims to be an emotional and psychological journey, where the characters seek answers and comfort in the midst of their personal problems, anguish and uncertainty. But the series lacks a well-constructed narrative and compelling performances; Even so, it invites us to reflect on the complexity of loving relationships and the search for identity in a constantly changing world.
And if Fourth was a sweet and tender boy, and Junjun took care of Fourth at the beginning, Xion Lim ends up precipitating the series into an abyss of no return by incorporating threesomes and infidelities, which not even Chuk Chuk would have been able to save.

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It will remind us that there is always room for love and personal growth

ON May 17, 1990, the World Health Organization removed homosexuality from the list of the International Classification of Diseases. Later, since 2004, it became a date to commemorate the fight of the LGBTIQ+ community for their rights and raise awareness about discrimination.
However, LGBTIQ+ people in Japan face certain legal and social challenges not experienced by heterosexual citizens. The current Constitution, written after World War II under the control and supervision of the United States, refers to marriage as an act between a man and a woman and is prohibited for homosexual couples.
Despite the discrimination towards this human group and the fact that the dates mentioned above are not that far away, the issue of homosexuality had already been on the rise in the Japanese film industry long before.
With diverse approaches, mainly from the 80s of the 20th century, we could remember some films such as 'Beautiful Mystery' (Genji Nakamura, 1983), considered a cult film and the first feature film from that country that addressed homosexuality as a central theme; 'Merry Christmas Mr. Lawrence' (1983) and Gohatto (Taboo), from 1999, both by Nagisa Oshima, a director of extraordinary sensitivity and director of some of the most international Japanese films, and the list could be longer, because while The closer we get to modernity, the more prevalent the theme has become.
In this sense, a film that stands out is 'Sono Koi, Jihanki de Kaemasu ka?' (In English 'Can I Buy Your Love from a Vending Machine?', from 2023, a live-action adaptation of the popular manga series of the same name by Yoshii Haruaki.
Thus we find this film that was born from the thoroughness and creativity of an incomparable filmmaker who had already worked on several equally significant works such as 'One Man's Son' and 'Reminiscence Journey'.
This is a film that stands out for its deeply human themes, its formal successes and its delicate exploration of identity and friendship. Additionally, it combines elements of comedy-drama with a sincere look at relationships between men.
Although it covers several contents (the construction of a friendship narrated with unusual delicacy, the support of friends, coming out of the closet, work vertigo in today's world, a journey towards the search for happiness, self-acceptance and self-love) , the film is simply about a love story.
In 'Sono Koi, Jihanki de Kaemasu ka?', everything that can be conceived is reduced to the gaze, which confirms the existence of the other; and from there comes the rapprochement, and then desire and love. Yamashita Ryoma, a strong, tall and muscular 28-year-old man in charge of a juice vending machine in an office in Tokyo, surprises office worker Koiwai Ayumu with a noble gesture in a moment of exhaustion from hard work. From that moment on, Koiwai, 32, cannot take his eyes off Yamashita Ryoma, with whom he has secretly fallen in love. One day, he musters the courage to start a conversation, which sets in motion a closer relationship.
Although eye contact, known as shisen or awasu, is not common in Japan, and staring into a person's eyes can be very rude and uncomfortable, at some point, their gazes meet.
Actors Matsuda Ryo and Tazuru Shoho play the lead roles, Koiwai Ayumu and Yamashita Ryoma, respectively. Next to them we see Yanagi Yurina, who plays the character of Ooishi, Koiwai's colleague and friend.
Matsuda Ryo is one of the best-known Japanese actors inside and outside his country, thanks to his role as Jonouchi Hideyasu / Kamen Rider Gridon in several films and series of the Kamen Rider universe, as well as his leading performances in the films 'Bakumatsu Without Honor and Humanity' and 'Messiah: Shikkoku no Shou', among others.
For his part, Tazuru Shoho made his acting debut precisely in 'Sono Koi, Jihanki de Kaemasu ka?'. Through his character's relationship with a man who recognizes his gay status from the first scenes and who has just entered his life, he learns to accept his sexuality and find his own voice. His authentic performance captures the complexity of his character.
Written by Kumi Tawada ('Junihitoe wo Kita Akuma' (2020), 'To Each His Own' | 'Chotto Ima Kara Shigoto Yamete Kuru' (2017) and 'A Chair on the Plains | Sougen no Isu (2013)', the The audience will be able to enjoy in this office romance how each young person becomes the center of the other's attention and they build, step by step, a very strong bond, friendly at first, romantic later, although full of clumsiness and misunderstandings.
The viewer will appreciate how small everyday mistakes, such as being late for an appointment, also contribute to boosting confidence and making the person you want to conquer feel more comfortable.
Koiwai Ayumu and Yamashita Ryoma will confirm to us that Japanese way of being when it comes to seducing: they are not as inventive as Westerners could be, as it is difficult for them to express their feelings or take the initiative. Even the first kiss takes forever to come. And it's not exactly due to lack of interest, shyness or even coldness, as many might think, but it seems that flirting is still a taboo in Japan. Although much of this has changed in the last century, Japanese society still finds it somewhat difficult to express its feelings, due to its culture of extreme respect for others.
But equally, the film transgresses, for the better, some of the peculiarities of Japanese romance. For example: the characters' dates are not with groups of friends, such as work or study colleagues, and when they declare their feelings they can lead to public displays of affection.
It is striking how Yamashita, who is the younger of the two, is the one who not only asks to exchange contact information or proposes the date without spending weeks exchanging messages, as the Japanese usually do, but he will also ask Kiowai to call him. his first name and leave aside the use of honorifics, something strongly rooted in Japanese culture.
The viewer will be able to appreciate that although they are both adults, everything related to the emotions that Yamashita awakens in Ayumu, and vice versa, feels like the first love of a teenager.
I also recommend the film for joining other dramatized films in addressing issues related to sexuality and gender identity in a conservative society with strong patriarchal and heteronormative traditions, such as Japan.
I highly value the fact that 'Sono Koi, Jihanki de Kaemasu ka?' portray the diversity of human relationships with delicacy, and contribute to dismantling the prevailing stereotypes regarding what is "normal", enabling the necessary change in society.
In short, it is a film that not only seeks to entertain us, but also makes us reflect on our own lives and relationships. It is a reminder that no matter what challenges we face, there is always room for love and personal growth.

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Between fiction and reality

Seung Woo Park (played by Jeon Yu Bin) is dragged by Sangyoon Park (played by Minjin Kim) to a corner of the room and, cornered, listens, annoyed, as he is accused of having had sex with someone else.
Sangyoon attacks him and hurts him with his words. Both young people argue heatedly. At any moment they could come to blows. They are not a couple. They are just two friends who…
The victim cannot understand why he is treated that way. That's why he asks her insistently: "What does that have to do with you? Why do you keep interfering in my life? Are we lovers? Are you jealous of other people? Do you like me?" The response he receives from Sangyoon is a kiss on the lips. But when he realizes his act, he nervously turns away and asks for forgiveness.
Thoughtful, Seung Woo Park lowers his head and sighs. He feels a shudder run through his entire body. The question still hangs in the air: "Do you like me?" He looks at him again, and understands that he was not wrong: his partner loves him, most likely with the same strength that he loves him.
Looking up, Seung Woo Park meets his eyes and holds his gaze. Only then, for the first time, he sees Sangyoon Park. He sees it not only with his eyes, but with that inner gaze, through which one is able to see what is deep inside each person, and understands that both are drawn to each other like an abyss to the suicidal person. Yes, he loves the person who has been standing in front of him for months, when they met at the beginning of filming. But the most happy thing he is to discover is... that it is reciprocated.
What intoxicating delight to feel for the first time in one's life the pulsation of the blood in the veins and the pulsation of all the fibers of the body. I was learning what it is to love and be loved.
The order: "Cut!" brings Seung Woo Park back to reality.
It may be that, carried away by emotions, he has strayed from the script. That's why he looks, surreptitiously, at the director of the romantic drama in which both he and Sangyoon Park are protagonists. But she, a few centimeters away from them, camera in hand, does not correct them and has let them do it, understanding that improvisation could allow the characters to flow freely, resulting in genuine, organic, authentic performances.
By then, they were no longer two actors performing a love scene in a romantic drama while being filmed. They have become two people who, through gestures, silence and words, many of them coming from a written text to be interpreted by them, have expressed their true feelings during filming... without anyone on the crew noticing. of it.
And Jui Kim, the director of 'Actor: eal' ('Act or Real'), the two-episode South Korean miniseries from 2024, is aware that love can surprise us anywhere. The same on an ocean liner about to sink, on a desolate mountain where two cowboys discover their sexuality... or on a film set.
The direction and cinematography contribute to the artistic and visually attractive quality of the audiovisual. This work, whose centrality is its love plot, grows around love and the evident desire between its characters.
As it progresses, the miniseries captures the tender moments of their interaction. Through silence, abstract soundscapes and textured cuts, the discovery, acceptance of sexuality and the birth of love between the two young people are conveyed in a visually striking way.
Jeon Yu Bin, the actor who plays Seung Woo Park, and previously known for his leading roles in the series 'Blue of Winter', and the short film 'His, Ice Cream', both from 2022, manages, together with his co-star, to infect us that sexual tension, palpable during the almost 9 minutes of footage.
It's nice to see how in such a short time, the love between the two characters develops honestly, authentic and tender. And together they discover their own homosexuality and give themselves over to it freely, although with obvious shyness, perhaps because other people are present... or perhaps because of the obvious: they are two boys, and South Korean society would not accept them. But they take risks. Love is much stronger.
Music makes everything much more romantic.
Both the director and Jihye Woo, the screenwriter, are aware that one of the most important aspects of an audiovisual is to ensure that the trust and connection between the characters—especially those in love—is very good. That is why they selected two very convincing actors as a couple who acted together in several intense scenes..., like the one with the fast-paced kiss almost at the end, and it surprises us, not because it was not expected by the viewer, but because of its unusual nature. to see the passion represented in it in Asian BL series.
The chemistry between the actors is palpable, allowing the depth of their relationship to shine on screen.
Full of emotions, 'Actor: eal' is a work with love as the central theme, with a kiss and a happy ending. Another added value is that the heteronormative nuclear family (boy-girl) is also questioned on this occasion.
And the creators are also consistent with the logic that few feelings are more universal than love. Any human being could have their own definition and all of them would be valid, even more so if we understand that there are many types of love. The fraternal one, the one you consider a friend, the one you profess to your family... But of course, few things are equal to romantic love, whether between a boy and a girl, between a girl and a girl or a boy and a boy.
They also understand that if there is something that comes close to the authentic perception of romance, it is its representation in literature, theater and, of course, in film and television.
Both one and the other, since their invention, have been much more than simple entertainment. They have been a window to the world, a door to the imagination and an inexhaustible source of emotions. Movies, television series and short films are not only a way to escape from reality, but a way to connect with the stories, characters and emotions that touch our hearts.

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Joker, the antihero we didn't know we wanted has become someone we need.
The world has always been a place full of light and shadows. Regardless of the stage in human history, crises have often led us to think that we are living in the worst times. However, the economic situation, racial tensions, the resurgence of fascism, genocide on defenseless peoples, hunger and hopelessness have always been present in our history.
In a world where money and power guarantee that athletes, some without deserving it, take a place on the national team of their sport..., in a world where the poor, including children and the elderly, live in misery and have to work sun to sun to try, without success, to pay their debts and be able to put a crust of bread in their mouth..., in a world where being rich certifies that you cannot go out on the streets at the wrong time, because they can kidnap you for ransom..., in a world that shows the most cynical face of economic power and the amorality of the media, political and economic universe..., in a world where the oppression of the individual prevails at the hands of an alienating system, inhabit the characters of 'Jack & Joker U Steal My Heart!'.
It is in this world where Joker, a master of disguise and a skilled conman, emerges as a rebellious political and social subject. This is how he decides to lead a double life. Boastful and gifted at conversation, he is secretly a notorious thief wanted by the police. Using his exceptional disguise skills, he steals from wealthy oppressors and redistributes their wealth to help the weak and needy.
Joker is, in short, an antihero. The figure of the antihero has reigned in cinema and television series since modernity. Far from the stereotypes of good and bad, these multi-dimensional characters are more attractive to the public than heroes and villains. The antihero presents more humanity, therefore more contradictions, and this can make viewers come to love them in a matter of seconds. And this precisely happens in this 12 episode drama produced by Dee Hup House.
We are facing a transgressive series that distances itself from the bombastic epic and expansive narrative of superhero stories. We are facing a series whose main character reminds us at times of Walter White from 'Breaking Bad', an antihero who represents criticism of the American dream, who brings to light the limitations of the American middle class and the neoliberal health system; Jack Sparrow, the famous pirate who brought chaos with him and was not afraid to lie and take advantage of others, while trying to help his friends; Loki, the well-known "God of lies", who has a tendency to betray his family, but at the same time provokes laughter with his actions and phrases full of egocentrism and who was finally able to redeem himself and become the favorite antihero of the Marvel films; or Deadpool, a popular antihero thanks to his black sense of humor, high-sounding language and sarcasm who, due to his originality and lack of fear of saying what he thinks, breaks the mold of those who were considered a Marvel hero and, for this reason, everyone likes him wants.
The main character of 'Jack & Joker U Steal My Heart!' It reminds us, without a doubt, of Joker, the character created by Bill Finger, Bob Kane and Jerry Robinson, and introduced in the first issue of the comic book "Batman", in April 1940, published by DC Comics, becoming one of the favorite characters for their originality, and, he is equally, or more popular than his archenemy Batman. Let us remember that his cruel past causes him to explode violently and, in the end, he manages to accept himself as he is, with all the evil, thirst for power and tireless fight with the Batman.
The chain of suffering and melancholy that drags the Joker of the Thai series by director Tee Bundit Sintanaparadee, recognized for directing the BL dramas 'I Saw You in My Dream' (2024), 'I Feel You Linger in the Air' (2023) , 'Hidden Agenda' (2023), 'Step by Step' (2023), 'Lovely Writer' (2021), and 'TharnType' (2019 – 2020), among others, is so palpable and shocking that the viewer has no other choice. The only way out is to identify both his family and society as the true villains of the show, in addition to allowing us to empathize with him.
But it will not be in a Gotham City inspired by New York in the 70s, for many, the darkest stage of the American city and where hope seemed to be lost, but in Bangkok in 2024, just as dark, violent and corrupt than that.
This is the perfect setting to tell a story that deviates somewhat from the original and twists its path of explaining how evil arises in the world, to reflect a beautiful love story between two boys, with which many people can feel curiously identified.
In this way, the sordid world of Joker, a high school student who is pressured by his parents to enroll in medical school, will turn upside down when he meets Jack, an 18-year-old taekwondo player who decides to leave the sport when he becomes discouraged the road, all in the effort to help his elderly grandmother, the only living relative he has left. The dreamy, reasonable and kind Jack, who likes to help others, will be forced to become a debt collector.
His and Joker's lives will change abruptly and unexpectedly when they find themselves involved in a complicated situation, giving way to a love-hate relationship.
The Joker of the audiovisual of the Southeast Asian country is liked and exudes a controversial charm for the population in general and the LGBT+ community in particular. And this is basically due to two things, the first is that as a viewer we manage to empathize with the human being and not just with the character. In this series, and due above all to the sublime performance of the actor who brings Joker to life, we are presented with a very human and sensitive person, despite the dramatic events that have led him to be who he is.
Second, one thing is obvious: their misdeeds are not fueled by the desire for money, personal ambitions, or other material goals. Their motivations are ideological and philosophical. It is the darkness rebelled after a dark childhood and adolescence, despite living in a wealthy family; it is the Shadow that emerges after the impact of a society that attacks and excludes, that ignores the weak, that feeds itself on its own corruption.
The character represents the Shadow that is in us. His actions remind us, without a doubt, of the concept of Shadow that Carl Jung told us about. Adverse impulses live within us that we must accept and bring to light to heal them and proceed to healing. The psychological profile of the Joker shows us, as can be deduced from the trailers, that the character lets his Shadow escape to give way to a healing process thanks to love.
What will happen when Joker's actions affect the needy and vulnerable he aims to help? What will happen when the innocent are punished for their actions?
It is not the first time that Joker, who perhaps represents that part of us that longs to break the rules and react, is represented on screen. We remember the character played by Jack Nicholson ('Batman', 1989 - Tim Burton), who brings us a gangster, that of Heath Ledger ('The Dark Knight', 2008 - Christopher Nolan), who gives us an agent of chaos, that of Jared Leto ('Suicide Squad', 2016 - David Ayer), a true sociopath, or that of Joaquin Phoenix ('Guazón', 2019 - Todd Phillips), who draws a famous crime clown and the most villainous multifaceted character of the world of comics, which transcends even the limits of his own personality and offers us a clear warning sign and a direct invitation to reflect on current societies.
However, the cunning Joker, played by the young Thai actor and musician War Wanarat Ratsameerat, remembered for playing Than in the short film 'Because I Love You' from the series 'The Right Man', in 2016, which marked his debut acting, he is a very human and vulnerable character, which is why we empathize so intensely with him. It is impossible not to put yourself in his shoes when you see how, upon discovering that his actions affect others, he without hesitation tries to correct them, even if this means admitting to his family his failure and true identity, as well as paying with years in prison.
Very plausible solution is how we can feel sympathy for a character who tries to outwit his authoritarian parents and a brother who seems to enjoy his failures as a student, and reveals himself to the shortcomings of a society incapable of assisting and giving an effective response to those who need it.
Despite coming from a privileged family, Joker suffers from a lack of affection. Unlike Jack, he does not find affection in his family life, and this has turned him into a lonely being, hungry and thirsty for love. However, we are not dealing with a person with antisocial or sociopathic personality disorder characterized by committing violent and bloodthirsty acts.
For his part, although he comes from a cosmos in which poverty, lack of material goods and the absence of his deceased parents prevail, Jack has a sweet and generous grandmother who understands and supports the young man in his daily conflicts. Much of Jack's sweetness and nobility, undoubtedly, comes from the upbringing given to him by this noble being.
Adrift from their lives, trying to find their place in the world, both of them, with such different and contrasting personalities, meet and their universes collide. And this serves to address other topics, such as memory, absence, maturity, the process of growing up, self-esteem, family expectations, the feeling of never being enough in the face of the complexity of life, discovery, acceptance, recognition…
'Jack & Joker U Steal My Heart!' It also stands out for reflecting the pressure cooker state of urban centers, and is an undisputed daughter of its time. That a stranger in a collar and tie robs a bank after being previously considered its manager, or that a young woman is chased by three violent thieves, portrays the convulsive city and its suffocating system.
The series also works in its effort to make queer people visible. Its creators know that the LGBT+ community is growing rapidly: one in six members of Generation Z in the United States identifies as part of this human group. The data also shows that LGBT+ audiences have an increasing need to see LGBT+ characters in series and films with which they feel identified.
In all this endeavor, War, in a monumental role, does not carry all the dramatic weight of the series. From the first minute, "Yin" Anan Wong, the Thai-Hong Kong actor who plays Jack, stands out in his role as a reasonable man who believes in solving problems without the use of force and has the conviction that "The strength one possesses should be used only to protect the weak," but as a debt collector he will have to impose an intimidating presence, far removed from his personality.
The chemistry between the two main actors goes beyond the physical realm, but is emotional, psychological and completely satisfying. It turns out that these two actors know each other well. They have been lovers in 'En of Love: Love Mechanics', 'En of Love: Tossara', 'En of Love: This is Love Story', all from 2020, and 'Love Mechanics' and 'Love Mechanics: Director's Cut', 2022, BL series in which War plays Mark and Yin plays Vee. They are also the protagonists of 'The Best Story' (2021), in which the former plays Best and the latter plays Dew.
Their performances, authentic, vivid, intense, are sublime as they masterfully embody the raw emotions and internal struggles of their characters through words, silences, looks...
Screenwriters Myminorh Sarun Kaensap ('Peaceful Property', 2024), Pacharawan Chaipuwarat ('Shadow', 2023), Yui Athima Iamathikhom ('Wannabe', 2022), and Anawat Kitchawengkul ('GGEZ', 2018), combine perfectly the genres of action, romance, crime and drama, to deliver a coherent, complex and uncomfortable story that works as a great mirror of contemporary society.
On a technical level, it is important to highlight that the series has an impeccable setting, raw photography and a beautiful soundtrack that take the viewer through sensations and moments that make this a journey into the depths of human despair and the need to stay afloat, especially thanks to love and nobility.
With a masterful performance, a forceful script and a clear social discourse, 'Jack & Joker U Steal My Heart!' it's not just a boy's love story. It is a necessary work to understand that today there are issues that cannot be ignored. Violence, political corruption, social class contradictions, poverty, and evil have origins that must be faced and despite how dark the present may seem, crises do not last forever. Better times will always come, if people like Jack and Joker come together to do the right thing.

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Two Unrelated Brothers, Older Uke and Younger Seme

Who said love was easy? Just ask the protagonists of 'Moon and Dust'.
The queer Chinese miniseries delves into possessiveness, toxic relationships, frenzy, and the mental effervescence of two individuals who are highly dependent on each other.
Song Qi was taken in by Song Li as a child. They grew up together, dependent on each other. Song Qi's dependence on his older brother gradually turned into paranoid love and possessiveness, even going so far as to protect him by any means from those who bully him. However, for fear of hurting him, Song Qi has refused the idea of confessing his feelings to Song Li.
In this play, young actors Zhang Yongbo and Liu Xuan Cheng play Song Li and Song Qi, respectively, the gay couple conceived by writer 1 Bite, the author of Bugoo Reading, creator of the literary phenomenon on which it is based, and which goes by the title "Bad Dog".
The relationship between Song Li and Song Qi captivates many viewers with its passionate component, the stormy and problematic, complicated and fiery —in every sense— love relationship between these two boys.
Those behind "Moon and Dust" care little or nothing about the motivations of the possessive and paranoid character. On the contrary, they go all out to highlight his physical beauty, sense of freedom, easy-going nature, people skills, melancholic character, caring spirit, selflessness, loyalty to his partner, and love for the boy he's been linked to for almost his entire life. In short, one doesn't know whether to reject him or want to be his friend.
Its six episodes, each approximately 15 minutes long, tell the story of the complex and deep emotional bond between the cute, shy, insecure, and gentle Song Li and the handsome, obsessive, and affectionate Song Qi, two brothers who met as children and whose friendship evolves over the years into something much deeper.
The story reveals its creator's interest in characters full of complexities, insecurities, and anxieties who must face sad and dramatic moments in their lives in the pursuit of their dreams, which he observes, essentially, through the sensations that accompany their actions.
Much more than studying them from a psychological perspective, 1 Bite is drawn to catching a glimpse of the world of emotions upon which Song Li and Song Qi build the vibrant, stormy, and unstoppable story of their adventures. All this without realizing that what they were looking for was right under their noses all along.
On the other hand, those behind the miniseries are more interested in telling a true story, even though these are often more scandalous than anything you'd see in a work of fiction.
Subjugated by such environments, figures, and sensory states, the creators of Chinese miniseries often walk a —sometimes dangerous— fine line of complicity with their subjects of analysis. This undoubtedly reminds me of other queer series, such as the Chinese "Addicted" and the Taiwanese "Unknown", with which "Moon and Dust" shares its interest in depicting tropes: two brothers not related by blood, one possessive and the other timid, one more open to acknowledging his sexuality and the other afraid to admit his sexual identity, uke older and seme younger.
While the bar is set too high, this new approach to the story of relationships in which one of the two boys in the couple shows toxic, paranoid, and possessive qualities, yet nevertheless possesses a good heart, falls short of the aforementioned series. But this doesn't mean it's not worth appreciating.
Remember that in China, "brother" or "sister" doesn't just mean "sibling", it also means a term of respect or an expression of intimacy and flirtation.
With solid performances by Zhang Yongbo and Liu Xuan Cheng, the series showcases the maturity and subtlety of Chinese BL production, capable of creating a very different impact from similar Taiwanese, Filipino, South Korean, Thai, and other similar products.
'Moon and Dust' will also remind us of other Chinese dramas, such as 'Uncle Unknown' and the Taiwanese 'History 4' and 'The Only One', among others.
With well-chosen music that validates feelings of joy and euphoria, as well as loneliness and melancholy, the series boasts beautiful cinematography and a lack of the overused, overly embarrassing sound effects typically found in most BL dramas.
With only two episodes aired so far, we still have to find out the ending. In case you haven't started watching it yet, we just advise you to have a handful of tissues nearby. Believe me, you'll need them.
I'll come back later to complete the review.

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Between Revenge and Love

Love, crime, homophobia, justice, street fights, revenge, forgiveness, struggles for control of the city, disputes between youth gangs of various nationalities, multiculturalism, sports-related gambling, immigration, and betrayal, 'The Bangkok Boys' is much more than a romance: it is the story of a young man's struggle to rebuild his shattered life and uncover the truth behind the murder of two loved ones.
Sun's sentence for the murder of Kong (Ball Peeratad Promted, remembered for playing Jay, X's brother in 'Every You, Every Me', 2024), his best friend, someone who was preparing to confess his love to him, ends after serving three years in a high-security prison.
Now Sun, who like his father enjoys combat sports, can start his life over, return to Thai boxing training, perhaps catch up on his interrupted studies, and finally mourn his father and his friend, killed in actions that have a dark connection to each other, right on his 18th birthday.
The young man, faithful to the teachings of his father, who recognizes himself as an old-fashioned gangster for refusing to put the inhabitants of his community at risk due to drugs, a source of disagreement with rival international gangs, dreams of becoming a professional MMA fighter.
Despite being the son of a second marriage, Sun had the perfect life: a loving father, "Chief" Songpoom (A Passin Reungwoot), beloved by his employees and the common people, but hated by those trying to smuggle drugs into Bangkok, such as the Thai Madame Yao (Russamee Thongsiripraisri), the South Korean Mr. Jo, and Aim (Akadech Jaroonsot), the latter's eldest son, who conspire to get rid of the community leader; the love of three siblings: Jack (Bodinphat Aphonsuthinan), the eldest, a young man very dedicated to his studies and also a lover of combat sports; Jinny (Khongkwan Woraphat) and Mei (Jaja Jinjutha Siripheng); and a boxing gym as a family business.
I'll briefly dwell on the character of Mr. Jo. Although the character is played by actor Ton Siradhanai Panthrap on camera, the AI ​​dubbing of his voice seems empty, distant, and absent. This is perhaps my biggest negative criticism of the first episode.
Sun also has a group of loyal friends, including Tan (Paythai Ploymeeka, remembered for playing Phupha in 'The Outing', 2024), the gym's boxing instructor; Kawin (Top Piyawat Phongkanitanon, who played Jade in 'Every You, Every Me'); and Nap (Dom Petchtamrongchai), the latter two being excellent fighters. He was a spectator's dream.
These supporting characters, however small, are part of a larger harmony. Everyone assumes that every dramatic work is like a classical piece of music: every instrument must be in tune. If even one is out of tune, it shows. Even if a role seems insignificant, it's equal to all of them. Because if it isn't, the "sonata" won't sound as it should.
So when Kong dies in her arms murdered by Jun Ho (Shin), the leader of a South Korean gang who, along with Ji Hoon (Phee Phiangphor) and Chin Woo (Andrew Jaewon Choi), has the mission assigned by Mr. Jo to blend in as best as possible with the Thai people, which is why they even have to speak their language (Spoiler that I allow myself to explain why some characters mix several languages), Sun is accused of his death.
His imprisonment and, furthermore, the neutralization of the other members of the family clan are also the objectives of the people behind the two seemingly unrelated crimes.
Directed by Chankacha Prathuan, 'The Bangkok Boys' also tries to find the truth about this sinister crime, whether the murders are interconnected, or if they were just the result of chance, and whose real culprits may still be at large.
This is the story of a man who gets up and starts over, facing almost insurmountable obstacles. It's about what it feels like to be labeled a monster when you know you've done nothing wrong, but also how you can find love and inspiration in the most surprising places, with the most unexpected person, someone you're supposed to hate for being... precisely... Peach (Cho Si Hyeon, in his debut), the son of his father's murderer and his best friend. As Sun faces an impossible choice, the two will wage a battle between love and revenge.
Peach, a young man eager to renounce his father's wishes of succeeding him in the family business to pursue his dreams of returning to Britain and becoming his professor's assistant once he graduates from university and pursues a master's degree in Western Philosophy, is forced to travel to Thailand to fulfill Mr. Jo's order to teach his older brother Aim a lesson for causing trouble in the Southeast Asian country's capital.
Another of the series' strong points is its change of tone. At first, 'The Bangkok Boys' might make us believe we're watching a comedy, thanks to the performances of Tape, his father, brothers, and friends, but little by little we realize that this is anything but. The series effortlessly shifts toward drama without it being noticeable, making the result work so well that we can go from a moment of comedy to a moment of maximum violence, intrigue, and crime without it coming across as awkward or forced.
And 'The Bangkok Boys' is one of the best examples of all this, as from what could have been a simple comedy, they are able to create a dramatic thriller full of conspiracies, murders, suspense, prison drama, martial arts, and high-flying betrayals.
Here is a series that has everything you can (and should) expect from a production that seeks to entertain:
- A fluid, witty, coherent, and relatable script. It moves between comedy (in almost the entire first episode), drama, and tension with great skill.
- A staging and setting that vividly recreate the era in which the story takes place (the present), to the point that the landscapes, emotions, flavors, and aromas captured are "perceptible" to all the viewer's senses, in addition to hearing and sight.
- The photography and soundtrack are beautiful.
- Well-rounded characters: The protagonists are very endearing, so genuine that they inspire almost immediate empathy. The antagonists (especially Madame Yao, Mr. Jo, Aim, and the three young South Koreans in Thailand) inspire resentment and fear, but also condescension, as the origin of their flaws is explained and justified, making their actions understandable.
- Simply brilliant performances.
- Meticulous, demanding, and intelligent direction. Nothing is out of place.

TAPE AND THE DIFFICULT ART OF MOVING, THINKING, AND CREATING ON STAGE

What I like about the character created by Tape is that his external characterization must be closely connected to his internal one. That's quite a challenge for any actor.
I think the casting of Tape Worrachai Sirikongsuwan, best known for playing Sichol in the BL series 'The Tuxedo' (2022), is a very fitting choice. Who would have thought that at 32 years old, he could pass for an 18-year-old, dressed like a high school student in a school uniform. On the other hand, it's evident that he's trained hard to be able to portray a boxer.
This actor's film career began in 2013 with the supernatural horror comedy "Make Me Shudder" (followed by its 2014 and 2015 sequels), written by Poj Arnon, where he forged the foundations of a versatility that he later brought with equal intensity to television. Since then, he has consistently taken on memorable roles in films such as "Who" (2020), "Zombie Fighters" (2017), "Oh My Ghost 4" (2015), "Iron Ladies Roar!" (2014), and "Dangerous Boys" (2014), as well as unforgettable series such as "The Tuxedo" (2022), "Siew Sum Noi" (2021), and "Love Smart" (2015). His versatility has also led him to win over audiences in the theater. Possessing a keen sensitivity and an unwavering professional ethic, Tape has left his mark on works that are now part of the heritage of Thai BL and LGBT+ stories.
However, it will be 'The Bangkok Boys' that will demand the most from him as an actor, but also the one that allows him to contribute something more profound.
This actor has embraced the motto that to learn, you have to do it. If anyone interested looks at his filmography, they'll notice that more than two years pass between projects, and this works against things going well for him. However, he's aware that each project is an opportunity to learn, to improve, to grow. And Tape has made up for the lack of new projects by working and developing as an actor behind the camera.

FINAL CONSIDERATIONS (AT LEAST FOR THE MOMENT)

A use of emotional and intense fight scenes beautifully photographed through the lens of Kritsanut Seemanachaiyasit, and solid performances from the entire cast, characterize a series that uncompromisingly attacks the dark and perverse underworld of Thai and South Korean culture.
With a mix of languages, specifically Thai, Korean, and English, the series begins with the protagonist's release from prison and return to his childhood home. These images, that of Sun's release from prison, anticipate the fate of the entire story. The skilled fighter has been waiting for this day to exact revenge.
Through the chronological evocation of his memories of the day of the crime, Sun presents his relationship with his father and Kong in order to deconstruct the connections of violence and betrayal that led to the murder of both men.
Meanwhile, family and friend scenes overlap to show the viewer the normal life of a young Thai high school student and his connection with those around him.
With editing and montage that work with the precision of a Swiss watch, 'The Bangkok Boy' employs flashbacks as a dramatic device (one that develops an idea over several scenes) to recount the events that occurred before the story's opening sequence, show the viewer the character's past, and explain how the events that led to the deaths of his two loved ones and the cause of his prison sentence occurred. Ultimately, it serves to complete the characters' crucial history and the current plot.
This dramatic device not only satisfies the audience's need for the characters' lives before the crimes. It also allows for the construction of multifaceted characters, characters whose actions, as well as what they did, will be remembered. Furthermore, telling the story in a nonlinear manner, from Sun's perspective, establishes a connection between the audience and the characters. In other words, it's easier to connect with images from the past than with dialogue and exposition.
I'll come back later to update the review.

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Judge by your own successes and errors

The Thai actor Mos Panuwat Sopradit in his acting debut and the Thai-American singer ISBANKY (Bank Mondop Heamtan), in his first leading role, gave us in 2022 a series that from its premise raised a question: Can love be born from hate?
To answer this question, in this romantic comedy-drama with an LGBTIQ+ theme, its creators, the director and screenwriter Puwadon Naosopa and the writer Boy Mitpracha Outtaros, tell a story whose narrative arc describes how the protagonists begin as declared enemies or adversaries, only to discover gradually a deeper connection that transcends the initial animosity.
Taking a common pretext in romantic films and series in which the initial enmity between the protagonists leads them to an enviable love story, 'Big Dragon' presents us with Mangkorn (Mos) and Yai (ISBANKY), two young people who appear to be opposite poles and end up attracted by a chemistry produced throughout the series.
What began as a natural dislike between the two little by little leads to romance, which is complicated because, first of all, because the series is set in a society in which even today, in the 21st century, it is illegal to marriage between people of the same sex or in which members of the LGBTIQ+ community are equally discriminated against due to the impossibility of starting a family, adopting a child or changing their name and new identity after undergoing sex change, and other injustices that are not suffered by the heterosexual people.
In this context, which we cannot ignore, Mangkorn and Yai live, separately and in different ways, the process of accepting homosexuality, denying that they like a person of the same sex, stating that what happened between them was motivated by alcohol and drugs, asking friends for guidance, looking for women as a way to confirm heterosexuality, or even getting into fist fights.
On the other hand, Mangkorn's father pressures his son to marry his friend's daughter, and Yai suffers family pressure with a dead mother and an absent father for work reasons and now in a new love relationship to which the protagonist objects.
Despite social pressures, jealousy, the presence of a new love interest who will try to come between the two, the need to separate due to student issues, Mangkorn and Yai will reach a happy port after starting a journey that will lead them to experience a true individual transformation after falling in love.
I first saw 'Big Dragon' and was interested to see what else Puwadon Naosopa had done or would do in the future. That was a highly produced, incredible, but ultimately conventional series. However, his muse about things was a curious thread that persisted.
In 2023, Mos and Bank starred in one of the 'Y Journey (Stay Like A Local') stories, specifically episode 5, titled 'Let's Say a Lover', in which they represent one of the six young couples that lead the viewer on a trip to various tourist attractions in the eastern region of Thailand.
Both would also act in 'Club Friday Season 15: Moments & Memories', but with Bank as a supporting actor.
Surely someone is wondering if I am reviewing the 'Big Dragon' series here or remembering the filmography of these actors. And no, those are not my goals.
My purpose is to introduce the interested reader to 'SunsetxVibes', a series that brings us back to the MosBank ship in a romantic comedy-drama that shines with its own light in the BL universe like the name of the company where the protagonists work.
On this occasion, Puwadon Naosopa, who wrote the script and directed the actors in 'Big Dragon', convened a team of writers, composed of, in addition to himself, his colleague Somchai Tidsanawoot, known for writing 'Lovely Writer', 'Hidden Agenda', 'I Feel You Linger in the Air', and newcomers Nunt Thongngamkham and Baifern Ataya Sawatdee, to adapt the web novel "Sunsetxvibes", by Rosesarin, and place, in the competitive business world, this suggestive variation of the theme of two young people who meet by chance one night and the next day discover that one of them, Sun (Mos), is the newly appointed director of a large fine jewelry company, and the other, Salin (Bank) is his new employee.
'Sunset x Vibes' is a romance somewhere between comedy and drama. The first thing we know about Salin is the strange and recurring dream he has about a mysterious man dressed in traditional Thai clothes. This aspect, although it seems that it will be important in the series, in the first chapters they deal with it in broad strokes, since the series focuses much more on her relationship with the boy with whom she is flirting through a dating app, who does not It is another who is the owner of the company in which he has started his internship.
The acting traits that many MDL users have criticized here are actually the same aspects that make the two actors fit their roles.
However, despite its powerful cast, made up of renowned actors and actresses, the undeniable chemistry between the protagonists, the beautiful cinematography, its contemporary style, the brilliant visual effects, its majestic soundtrack, the clarity with which the story is conceived on paper, the pulse with which the direction guides her through the setting, and the way Mos and Bank defend her, as well as the beautiful love story that Yotha (Pete Wacharanon Seeduan), the friend of Salin, and Sam (Tenon Teachapat Pinrat), Sun's younger brother, both interns at the company, the series, like its predecessors, does not enjoy the approval of the public, and I fear that the cause does not exactly have to do with the audiovisual product , but with the "trauma" that 'Big Dragon' left in many BL fans, as many of the MDL users recognize.
For their part, the couple formed by Chan (Fong Bovorn Kongnawdee) and Juldis (JJ Rathasat Butwong) provide us with fun antics to relieve tension. Maybe there is another couple, lesbian in that case.
Someone could tell me that the problem lies in the fact that they do not accept that one of the protagonists hides their identity from the other (since both boys have been knowing each other through chat for six months, but they have never seen each other), but, although the series should generate a conflict to be resolved with a consequent personal growth, in my view, the problem does not come from there, since the low ratings are observed from episode 1 itself, when the young people had not yet met personally. In other words, no one could know what would happen between them. The comments make it clear.
They have not given the series the benefit of the doubt and without thinking they have sent it to the slaughterhouse for reminding them of the disappointment that some had with 'Big Dragon', I think for not understanding its objectives.
I believe it is time to grow as we demand of our narrative heroes. It is not logical, fair or ethical to judge an audiovisual product because it reminds us of a frustration.
The series tells an explosive, mature, healthy romance. I identify with the feelings and emotions of the characters.
The romantic plot that entertains and at the same time invites debate and reflection is irresistible. 'SunsetxVibes' has captivated me for the warm atmospheres created with which the audience can identify and for making us empathize with the story, allowing us to see ourselves reflected in the protagonists.
The charisma, tenderness, attractiveness of its protagonists and its irresistible romantic plot make ''SunsetxVibes'' a charming love series made for BL fans. It doesn't break much of the mold in terms of its structure, but its characters and conflicts are unique enough to avoid falling into stereotypes.
The drama brings a full love story, without red flags, and makes the most of the proposed premise, the intellectual potential and good intentions of the team behind the camera, the cinematographic resources available to the creators and the undeniable artistic abilities of the cast.
'SunsetxVibes' surprises us with intrigue and satisfies the expectations of the most demanding audience, by allowing us to believe that love can change the course of a story, a relationship, even the universe, and allowing us to feel that magic and passion can exist even if it is in television series.
It has some sound problems that are sometimes obvious but that doesn't stop me from enjoying the series.
The story is told concisely, never strays from its focus, and is tightly edited. I've watched each episode several times and I didn't get bored at all. All in all, a better than average entry in the world of Thai BL series.
I, for the moment, say my YES for 'SunsetxVibes' and I hope, as on other occasions, that MDL allows me to return to this review to update it.

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If you saw 'Blue Boys' you can skip this one: you won't miss anything new

On May 12, 2024, he published a review in MDL in which he praised the South Korean miniseries 'Blue Boys' (블루보이즈/Beulru Boijeu).
In this series, Kim Nam Yi (Lee Hoo Rim) and Choi Jae Min are two young workers in the publishing industry, one of them rich and the other who needs the job to be able to survive day to day. In a heteronormative, conservative and patriarchal society like South Korea, both are forced to hide their romantic relationship.
In the aforementioned review I stated: "After overcoming conflicts and misunderstandings, the love and happiness of Nam Yi and Jae Min can only be defeated by a single monster: the fear that South Koreans experience of being exposed as homosexuals, the fear of being excluded and discriminated against. So Ri (Lee Soo Ha), a girl jealous of Jae Min for not having been able to conquer Nam Yi, will be in charge of inoculating Jae Min with the poison: "If a man dates another man and there are rumors about that, can you continue working in the company as if nothing had happened?". Nam Yi wouldn't have these problems because he comes from a wealthy family, but..."what would happen to you?” So Ri will remind him. In this way, the happy ending expected by everyone does not arrive. "Reality prevails".
I remember a second season had to be filmed so that Jae Min and Nam Yi could eat partridges.

Someone will surely wonder why I'm talking about this series.
Because precisely in 'Two Some Boys' we have an identical story, copy and tracing.
I imagine the creators meeting to "brainstorm" (yes, to get them right) and from there the idea arose, pardon the redundancy, that the cast, the name of the characters and the industry in the film would have to be changed that these develop. Add some more unimportant detail, add one or two new characters, and then mix the ingredients with two or three bottles of soju in a gigantic blender and... serve in a huge cocktail shaker, we have a new series.
Luckily for the public, we were favored by adding new characters, being able to enjoy the performance of Kim Yo Ho, protagonist of the BL series 'Only for Fans' (2024), and one of the season's participants 3 of "His Man", the first dating reality show for men in South Korea, and who plays the Idol trainee in 'Two Some Boys' in episode 1.
On this occasion, we have the couple in love, made up of Lee Su Ho and Kang Min. Everything seems to go so wrong in the filming process, that while the character of Lee Su Ho is played by actor Shin Joon Hyung (known for to play Uncle's junior in episode 9 of the South Korean series 'Choco Milk Shake' (2022), the character of Kang Min must be played by two actors: Kim Bit ('My Idol', 2024) in the first three episodes, and then Ki Myoung Je ('Love Is Right', 2022), who will replace him from the fourth to the sixth and last episode.
This change of protagonist further deepens the breakdown of the miniseries. Through a vague explanation the public will learn that Kim Bit had to leave filming due to personal matters. A low-budget production wouldn't have the luxury of restarting a shoot with replacement Ki Myoung Je from the beginning.
Despite the applause that the production team should receive for facing a disruption with this decision, the substitute does not feel comfortable being a "designated hitter", to use a term used in a very popular sport in South Korea, such as baseball is.
The logical comparisons between the substitute and the original actor (the latter much more charismatic, in my opinion) leave those who arrive at the last minute to take on an already established character in a bad position.
By having to accept that the new Kang Min is the same character, but with a different actor, it breaks expectations and the emotional journey. If the series was saved until then by the chemistry between Shin Joon Hyung and Kim Bit, the new couple does not have a single drop of that special connection that must occur between two actors in front of the cameras and should transfer to the screen.
Its story, poorly written and short, does not allow it to explore its themes or characters in a meaningful way, leaving us with a superficial and weak plot.
It will no longer be in the publishing industry, but in the entertainment industry, since one of the boys dreams of being idols, while the other has already debuted.
A timely flashback takes us to a happy relationship between the two protagonists, with a playful kiss and happy interactions in which there is no shortage of laughter. Although the romantic content is superficial, it represents a promising atmosphere, which is helped by the chemistry between the protagonists.
We then find out that Su Ho broke up with Kang Min for some reason unknown to him, but now they are caught in a bitter feud.
At this moment, while Kang Min comes to declare that he would prefer to leave the industry before working with his former partner again, he offers a mysterious conflict that awakens the public's interest in the reason that led them to distance themselves.
After meeting again, the hidden truth of why the two lovers became estranged came to light. After clearing up the misunderstanding, Su Ho and Kang Min were finally able to find their way back to each other and renew their broken romance.
However, it is disappointing how after so much intrigue and accumulation of tensions, the central conflict is resolved with just a few sentences between the manager and the two boys.
This is exactly where the negative character intervenes, who is now called Min Jeong, but his actions remind me of So Ri, because full of jealousy and meanness, he will tell Kang Min almost verbatim the same words said by So Ri to Jae Min in ' Blue Boys': "I heard that you and Su Ho are preparing for a unity group. I'm trying to tell you to leave the unity group (...). I was the one who reported you in the past about your relationship with Su Ho to the executive representative of the company. That was me. That means I can report you this time too. My father recently received a quick promotion at a broadcasting station. Well, if you make a good decision I won't report you..."
Let us conclude by saying that both series have only three spaces as the dramatic epicenter: the young people's bedroom, the publisher's office in one example or the ballroom in the other, and the cafeteria, which cannot be missed as it is the place where the girl threatens boy.
I understand that the objective of the series, as in 'Blue Boys', is to denounce the discrimination that exists in South Korea against LGBTIQ+ people, but they could have been much more original. Don't you think?
And as if the creators heard the criticism and were going to correct the plagiarism, or at least not having been original, in the final two episodes they ignore everything narrated so far, and the series introduces a trope many times before addressed with greater depth and emotional impact in BL series, by incorporating a parallel story of a young man and his drunk and abusive father with whom he has to deal.
I allow myself spoilers to explain my point of view.

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Weak conflict that does not serve as a solid argument for a story of false courtship

Weak conflict that does not serve as a solid argument for a story of false courtship
'Single All the Way' (2021) is an American film directed by Michael Mayer and starring a couple of two gay boys – Peter (Michael Urie) and Nick (Philemon Chambers). Peter, desperately seeking to avoid his family's judgment given his eternally single status, convinces his best friend Nick to pretend that they are in a relationship and accompany him during the Christmas festivities.
For its part, 'The Proposal' (2009), an American film directed by Anne Fletcher and scripted by Peter Chiarelli, tells the story of Margaret Tate (Sandra Bullock), a Canadian editor-in-chief of a large publishing house in New York, who that no one at work can stand her. A problem that grows because you need to have a VISA to remain in the United States. For this reason, she decides to ask her assistant Andrew Paxton (Ryan Reynolds) to marry her to achieve this (manipulating him with the idea that she will publish the book he wants).
In the South Korean BL series 'Nobleman Ryu's Wedding' there is not a courtship, but a fake marriage. In place of the beautiful bride, who disappeared the day before the wedding due to her hatred for political marriages, Ryu Ho Seon marries Choi Hwa Jin, her brother. The deceived nobleman tries to reverse the marriage, but ends up accepting his "wife's" proposal to wait a few days until the lost young woman reappears and she takes her place without anyone suspecting, thereby avoiding a scandal that could be the ruin of the two families.
Of course, in these two films and the series, farce will give way to true love.
These are solid arguments why these people have to, at their convenience, fake a fake romance. These are three of the many examples of stories that share this premise. They are valid to present my points of view that I will explain later.
After directing 'Battle of the Writers', 'To Be Continued', 'Naughty Babe' and 'Friend Forever', Klaryder Nathawat Piyanonpong, a Thai director with more mistakes than successes in his work, returns to the screens with the series 'Your Sky', the adaptation of a romantic comedy of the same name that, with a script by Wannapa Lertkultanon ('Bed Friend'), and Jungjing Wanna Kortunyavat ('I Feel You Linger in the Air'), tells us a story of false courtship.
The premise of 'Your Sky' isn't really original. Teerak Rak Niran, played by Kong Kongpob Jirojmontri, in his first leading role, and known for appearing in a supporting role in 'Naughty Babe', is a naive first-year university student. Oh (Mike Chinnarat Siriphongchawalit) pursues Teerak with the hope that he will agree to be her boyfriend and will not hesitate to use even deception to achieve it.
To prevent this from happening, Teerak relies on his inseparable friends Type (Patji Jirachart Buspavanich), PunLee (By Suppakarn Jirachotikul) and Joy (In Inthira Sae-sieo).
But through a ruse, Oh manages to deceive Teerak and two of his loyal followers. Then, to the viewer's delight, fate intervenes, and Muenfah, a character played by Thomas Teetut Chungmanirat, comes into action, also in his first leading role after playing secondary characters in several BL, such as 'Bed Friend' and 'The Middleman's Love'. The actor plays PunLee's older brother and a popular senior on campus.
The two young people will make the decision to pretend to be a couple to stop Oh's machinations. Teerak and Muenfah will live a story about a fake love that could lead to something real and genuine between two opposites who, although they don't want it, attract each other. Does it sound familiar to you?
What begins as a fake love could become a great couple when they have to pretend in front of family, friends and, above all, Oh, until they realize that they have more in common than they thought, as reflected in the synopsis.
Time together will make them see that, although it may not seem like it, they are made for each other.
I must confess that, while I did not advance more than 10 minutes into the first episode of 'Battle of the Writers', 'Naughty Babe' and 'Friend Forever', and 'To Be Continued' was a great disappointment for me as the series avoids addressing the internalized homophobia suffered by one of its protagonists and in this way resorts to an easy way to avoid the problems of self-understanding and self-acceptance of the character's homosexuality, I enjoy 'Your Sky', even being too simple to make a lasting impression.
Now, there are some issues that do not convince me about the premise of the series.
Oh is shown to be a gallant and kind young college student to both Teerak and the rest of the students. Apparently, he enjoys prestige, has the respect and admiration of friends and fellow students. He has public meetings with Teerak and in spaces where only the two of them meet, such as the locker room in the university bathrooms. At no time does he show signs of being possessive, violent, irritable... He smiles friendly while looking into the eyes of his interlocutor. Evidence empathy and kindness. So,
-What reasons do Teerak's sister and friends have for demonizing Oh, declaring him "untrustworthy" and trying to prevent them from even talking to each other in public places?
- Could you foresee that Oh has a hidden agenda to cause harm to Teerak?
-If they have prior knowledge of machinations on Oh's part to deceive Teerak and cause him harm, why have they not reported it to the relevant authorities?
- How can an attentive, gallant young man who gives flowers and chocolates to his lover in a plan of conquest in one scene, in the next scene, be able to use deception to get Teerak and two of his friends drunk to offend him?
- And now, after knowing that Teerak and Muenfah are dating, will Oh deny it and continue her attempts to conquer him?
- On the other hand, everything seems to indicate, from his actions/reactions, that Muenfah is in love. If so, why not confess your feelings? Why use a false courtship to approach him?
- This weak conflict could very well be solved not with a false courtship, but with Teerak telling Oh that he sees him as a friend and not a boyfriend. If, because you are so naive and shy, you don't dare to tell him face to face, you can very well use a text message, smoke signals, and even carrier pigeons. But I suggest you do it like anyone does today: looking him in the eyes and saying it at point-blank range.
True or not, dear reader?
Something just doesn't convince me here. The reason why the two protagonists have to fake a romance is forced. The creators could have been more coherent and designed another scenario and other reasons to justify the procedure.
Although it is full of clichés and does not present great incentives, the first episode showed that the public can expect candid moments from the story of Teerak and Muenfah that manage to bring a knowing smile to the viewer. The series is worth watching if only to see Teerak's silly, naive laugh and the attractive actors who play Muenfah, Real and PunLee.
The forced plot does not take away from the magic of a leading couple, which has good chemistry.
Furthermore, the series tries to provide an easy answer to the most hackneyed question of all time: Can love be born from lies?
In parallel, the series tells the story of a second BL couple, that of Real (Auau Thanaphum Sestasittikul) and Hia (Save Worapong Walor). Both also rock the role of secondary couple. They really catch my attention. Very good chemistry. The dynamic of a boy in love with his best friend and a boy who doesn't know anything is cute. It is a relationship that begins to form and flourish along with the main one. The production company should give the actors the opportunity to be the main couple in another dramatized boys love in the future.
And while the story of Real and Hia the second was developing, a new secondary couple belatedly appears, made up of Punlee and Chlaijai (TeeTee Wanpichit Nimitparkpoon), his college classmate. In fact, everything indicates that this couple was not initially conceived, since this last actor, in his artistic debut, but known as a competitor in the role model contest for young people "To Be Number One Idol 12" does not appear in the credits until the fifth episode, and does not appear on screen until episode 8.
These secondary stories are important: while the main protagonists will be chaotic, carry the weight of the plot and have the maximum focus of the viewer's attention, the secondary ones will give us some calm with their cute and passionate romance.
But I personally think Auau and Save, and Punlee and Chlaijai having less screen time than the main couple benefits the series as a whole more, because they get the most out of their scenes. Especially this last couple for emerging almost at the end of the series. Sometimes showing less will make one pay more attention to the few scenes shown, if they are carefully thought out and executed. Their performances make me love the series in general.
Something that also catches my attention, both in this and other Thai BL series, is that most of the characters are either queer or allies. That in a Thai university, a country that despite its growing openness towards LGBT+ issues in recent years continues to deny the right to equal marriage and does not yet have a government policy to protect gays, lesbians and other people from said community of harassment and discrimination, and there is not a single harassing student or teacher, nor a single homophobe (who serves as a denunciation of discrimination and homophobia), is something truly suspicious.
Seeing Teerak's father watching a BL series on his mobile phone, even ignoring that his son is a queer young man, and investigating these types of television products, is something illusory, beyond a truth: in the Thai, as in In any other heteronormative and patriarchal society, there are parents who respect their children's right to love whoever they want.
In this sense, as I enjoyed series like the British 'Heartstopper', based on the four-volume graphic novel by Alice Oseman, for its realism, in which Charlie Spring (Joe Lock) and Nick Nelson (Kit Connor), who have a beautiful and supportive group of queer friends, they fight homophobes daily, even if they are members of their own family. And this is happening in Britain, a country much more open to LGBT+ relationships than Thailand.
Surely some will say that this is a BL and they are not interested in it being realistic or lacking the truth, and its light and sweet tone is enough that if I want to watch dramas I would go somewhere else.
The tone of the story is rounded out by a luxury cast that elevates the dramatic and comic moments of 'Your Sky'.
Duu Sanya Kunakorn ('Good Doctor', 2024) plays Teerak's father, a man who intensely loves his son and his sister, Babe (Morakot Liu). Chumpanee Sopitnapa ('Luead Khon Kon Jang', 2018) is Teerak's mother here, a woman who pampers her youngest son. Tanthasatien Pol ('Lord Lai Mungkorn', 2006), and Koy Narumon Phongsupap ('Only Boo!', 2024), play Muenfah's parents; Phiao Duangjai Hiransri ('#HATETAG', 2021) steps into the shoes of Oh's mother, a manipulative woman who will take advantage of her social position and influence to ally herself with her son and try to take revenge on Muenfah for "having stolen her boyfriend." Oh", and Tonnam Piamchon Damrongsunthornchai ('Make Money', 2020), plays Dom, Babe's loving boyfriend.
All of them, and other talented actors and actresses, seek, together with the protagonists, to develop an imperfect story that continues an important path in favor of representation and diversity.

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Weak conflict that does not serve as a solid argument for a story of false courtship

'Single All the Way' (2021) is an American film directed by Michael Mayer and starring a couple of two gay boys – Peter (Michael Urie) and Nick (Philemon Chambers). Peter, desperately seeking to avoid his family's judgment given his eternally single status, convinces his best friend Nick to pretend that they are in a relationship and accompany him during the Christmas festivities.
For its part, 'The Proposal' (2009), an American film directed by Anne Fletcher and scripted by Peter Chiarelli, tells the story of Margaret Tate (Sandra Bullock), a Canadian editor-in-chief of a large publishing house in New York, who that no one at work can stand her. A problem that grows because you need to have a VISA to remain in the United States. For this reason, she decides to ask her assistant Andrew Paxton (Ryan Reynolds) to marry her to achieve this (manipulating him with the idea that she will publish the book he wants).
In the South Korean BL series 'Nobleman Ryu's Wedding' there is not a courtship, but a fake marriage. In place of the beautiful bride, who disappeared the day before the wedding due to her hatred for political marriages, Ryu Ho Seon marries Choi Hwa Jin, her brother. The deceived nobleman tries to reverse the marriage, but ends up accepting his "wife's" proposal to wait a few days until the lost young woman reappears and she takes her place without anyone suspecting, thereby avoiding a scandal that could be the ruin of the two families.
Of course, in these two films and the series, farce will give way to true love.
These are solid arguments why these people have to, at their convenience, fake a fake romance. These are three of the many examples of stories that share this premise. They are valid to present my points of view that I will explain later.
After directing 'Battle of the Writers', 'To Be Continued', 'Naughty Babe' and 'Friend Forever', Klaryder Nathawat Piyanonpong, a Thai director with more mistakes than successes in his work, returns to the screens with the series 'Your Sky', the adaptation of a romantic comedy of the same name that, with a script by Wannapa Lertkultanon ('Bed Friend'), and Jungjing Wanna Kortunyavat ('I Feel You Linger in the Air'), tells us a story of false courtship.
The premise of 'Your Sky' isn't really original. Teerak Rak Niran, played by Kong Kongpob Jirojmontri, in his first leading role, and known for appearing in a supporting role in 'Naughty Babe', is a naive first-year university student. Oh (Mike Chinnarat Siriphongchawalit) pursues Teerak with the hope that he will agree to be her boyfriend and will not hesitate to use even deception to achieve it.
To prevent this from happening, Teerak relies on his inseparable friends Type (Patji Jirachart Buspavanich), PunLee (By Suppakarn Jirachotikul) and Joy (In Inthira Sae-sieo).
But through a ruse, Oh manages to deceive Teerak and two of his loyal followers. Then, to the viewer's delight, fate intervenes, and Muenfah, a character played by Thomas Teetut Chungmanirat, comes into action, also in his first leading role after playing secondary characters in several BL, such as 'Bed Friend' and 'The Middleman's Love'. The actor plays PunLee's older brother and a popular senior on campus.
The two young people will make the decision to pretend to be a couple to stop Oh's machinations. Teerak and Muenfah will live a story about a fake love that could lead to something real and genuine between two opposites who, although they don't want it, attract each other. Does it sound familiar to you?
What begins as a fake love could become a great couple when they have to pretend in front of family, friends and, above all, Oh, until they realize that they have more in common than they thought, as reflected in the synopsis.
Time together will make them see that, although it may not seem like it, they are made for each other.
I must confess that, while I did not advance more than 10 minutes into the first episode of 'Battle of the Writers', 'Naughty Babe' and 'Friend Forever', and 'To Be Continued' was a great disappointment for me as the series avoids addressing the internalized homophobia suffered by one of its protagonists and in this way resorts to an easy way to avoid the problems of self-understanding and self-acceptance of the character's homosexuality, I enjoy 'Your Sky', even being too simple to make a lasting impression.
Now, there are some issues that do not convince me about the premise of the series.
Oh is shown to be a gallant and kind young college student to both Teerak and the rest of the students. Apparently, he enjoys prestige, has the respect and admiration of friends and fellow students. He has public meetings with Teerak and in spaces where only the two of them meet, such as the locker room in the university bathrooms. At no time does he show signs of being possessive, violent, irritable... He smiles friendly while looking into the eyes of his interlocutor. Evidence empathy and kindness. So,
-What reasons do Teerak's sister and friends have for demonizing Oh, declaring him "untrustworthy" and trying to prevent them from even talking to each other in public places?
- Could you foresee that Oh has a hidden agenda to cause harm to Teerak?
-If they have prior knowledge of machinations on Oh's part to deceive Teerak and cause him harm, why have they not reported it to the relevant authorities?
- How can an attentive, gallant young man who gives flowers and chocolates to his lover in a plan of conquest in one scene, in the next scene, be able to use deception to get Teerak and two of his friends drunk to offend him?
- And now, after knowing that Teerak and Muenfah are dating, will Oh deny it and continue her attempts to conquer him?
- On the other hand, everything seems to indicate, from his actions/reactions, that Muenfah is in love. If so, why not confess your feelings? Why use a false courtship to approach him?
- This weak conflict could very well be solved not with a false courtship, but with Teerak telling Oh that he sees him as a friend and not a boyfriend. If, because you are so naive and shy, you don't dare to tell him face to face, you can very well use a text message, smoke signals, and even carrier pigeons. But I suggest you do it like anyone does today: looking him in the eyes and saying it at point-blank range.
True or not, dear reader?
Something just doesn't convince me here. The reason why the two protagonists have to fake a romance is forced. The creators could have been more coherent and designed another scenario and other reasons to justify the procedure.
Although it is full of clichés and does not present great incentives, the first episode showed that the public can expect candid moments from the story of Teerak and Muenfah that manage to bring a knowing smile to the viewer. The series is worth watching if only to see Teerak's silly, naive laugh and the attractive actors who play Muenfah, Real and PunLee.
The forced plot does not take away from the magic of a leading couple, which has good chemistry.
Furthermore, the series tries to provide an easy answer to the most hackneyed question of all time: Can love be born from lies?
In parallel, the series tells the story of a second BL couple, that of Real (Auau Thanaphum Sestasittikul) and Hia (Save Worapong Walor). Both also rock the role of secondary couple. They really catch my attention. Very good chemistry. The dynamic of a boy in love with his best friend and a boy who doesn't know anything is cute. It is a relationship that begins to form and flourish along with the main one. The production company should give the actors the opportunity to be the main couple in another dramatized boys love in the future.
And while the story of Real and Hia the second was developing, a new secondary couple belatedly appears, made up of Punlee and Chlaijai (TeeTee Wanpichit Nimitparkpoon), his college classmate. In fact, everything indicates that this couple was not initially conceived, since this last actor, in his artistic debut, but known as a competitor in the role model contest for young people "To Be Number One Idol 12" does not appear in the credits until the fifth episode, and does not appear on screen until episode 8.
These secondary stories are important: while the main protagonists will be chaotic, carry the weight of the plot and have the maximum focus of the viewer's attention, the secondary ones will give us some calm with their cute and passionate romance.
But I personally think Auau and Save, and Punlee and Chlaijai having less screen time than the main couple benefits the series as a whole more, because they get the most out of their scenes. Especially this last couple for emerging almost at the end of the series. Sometimes showing less will make one pay more attention to the few scenes shown, if they are carefully thought out and executed. Their performances make me love the series in general.
Something that also catches my attention, both in this and other Thai BL series, is that most of the characters are either queer or allies. That in a Thai university, a country that, despite its growing openness towards LGBT+ issues in recent years, continues to deny the right to equal marriage at a time when the series was filmed, and does not yet have a government policy to protect homosexuals, lesbians and other people from said community of harassment and discrimination, and there is not a single harassing student or teacher, nor a single homophobe (who serves as a denunciation of discrimination and homophobia), is something truly suspicious.
Seeing Teerak's father watching a BL series on his mobile phone, even ignoring that his son is a queer young man, inquiring about these types of television products and then rejecting his son's homosexual relationship, is something illusory, beyond a truth: in Thailand, as in any other heteronormative and patriarchal society, there are parents who respect their children's right to love whoever they want.
In this sense, as I enjoyed series like the British 'Heartstopper', based on the four-volume graphic novel by Alice Oseman, for its realism, in which Charlie Spring (Joe Lock) and Nick Nelson (Kit Connor), who have a beautiful and supportive group of queer friends, they fight homophobes daily, even if they are members of their own family. And this is happening in Britain, a country much more open to LGBT+ relationships than Thailand.
Surely some will say that this is a BL and they are not interested in it being realistic or lacking the truth, and its light and sweet tone is enough that if I want to watch dramas I would go somewhere else.
The tone of the story is rounded out by a luxury cast that elevates the dramatic and comic moments of 'Your Sky'.
Duu Sanya Kunakorn ('Good Doctor', 2024) plays Teerak's father, a man who intensely loves his son and his sister, Babe (Morakot Liu). Chumpanee Sopitnapa ('Luead Khon Kon Jang', 2018) is Teerak's mother here, a woman who pampers her youngest son. Tanthasatien Pol ('Lord Lai Mungkorn', 2006), and Koy Narumon Phongsupap ('Only Boo!', 2024), play Muenfah's parents; Phiao Duangjai Hiransri ('#HATETAG', 2021) steps into the shoes of Oh's mother, a manipulative woman who will take advantage of her social position and influence to ally herself with her son and try to take revenge on Muenfah for "having stolen her boyfriend." Oh", and Tonnam Piamchon Damrongsunthornchai ('Make Money', 2020), plays Dom, Babe's loving boyfriend.
All of them, and other talented actors and actresses, seek, together with the protagonists, to develop an imperfect story that continues an important path in favor of representation and diversity.

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The Japanese actor Okuno So is marked in the memory of the universal spectator, not only for his beauty and the splendor of his black eyes or beautiful smile, but, above all, for his extensive command of the stage, for his extensive filmography despite of being only 25 years old.
Of the dozens of titles to which it has given a face, there are several that are sacred pieces of audiovisual heritage, especially for BL lovers. Shibata Keisuke ('Sahara Sensei to Toki-kun', 2024) and Takahashi Yuya ('Blue Birthday', 2023), two of the most exceptional Japanese directors of all time, caught their eye, very early, and summoned him to take part in 'Sukiyanen Kedo Do Yaro ka', from 2024, in the role of Nakatsu Mizuki, the ex-boyfriend of Sakae, one of its protagonists.
This series, together, fundamentally, with the film 'The Novelist: Playback' and the drama 'Given', both from 2021, placed it at the forefront of global attention, both from the viewer and the most significant Japanese directors.
His brilliant career as an actor gains strength through the three works included and, furthermore, through the miniseries 'High-Speed ​​Parahero Gandeen', directed by director Tsujimoto Takanori, in 2021.
The young actor's on-screen respectability increases after his collaboration with Japanese director Yamaguchi Junta in the 2022 series 'Koi ni Mudaguchi', in the drama 'Boys! Please Kiss Him, Instead of Me', by writer and director Hiranuma Nohirisa, and in many other series, such as 'Say Goodbye If You Love Me' (2022), 'Joshikosei, So ni Naru', (2023), 'Shufu Maison ', by director Ueda Hisashi, in many of them as the protagonist, or in films such as 'The Setting Sun', directed in 2022 by Kondo Akio and 'Gray Wall Gear', from the same year or 'High&Low: The Movie', from 2016 .
The performer has been pragmatic in balancing his interests on screen. He earned his aura as a magnetic actor, capable of moving on the sets of several demanding filmmakers. Let's not forget his starring role in films such as 'Kamen Rider: Reiwa the First Generation', by Sugihara Teruaki (2019), 'Kamen Rider Zi-O: Over Quartzer', by Tasaki Ryuta (2019), and the series 'Kamen Rider Heisei Generations FOREVER', by director Yamaguchi Kyohei, (2018), 'Kamen Rider Zi-O' (2018 – 2019), directed by a group of filmmakers.
For his part, actor Toyoda Yudai means sure success and a full box office, and the public has supported him since he put a face to so many iconic characters in Japanese film and television, in the feature films 'Red Bridge', 2022, 'Youkai Sharehouse: The Movie (2022), directed by Toyoshima Keisuke, 'Father of the Milky Way Railroad' (2023), by Narushima Izuru, and in the series 'Saiko no Seito: Yomei Ichinen no Last Dance' (2023), 'Fufu no Himitsu ', 2024, 'Renai Battle Royale', releasing in August 2024, 'Sorette Pakuri Janai Desu ka?' (2023), from directors Nakajima Satoru and Uchida Hidemi, 'Numaru. Minato-ku Joshikosei, by director Goto Yosuke, from the same year.
The participation of Okuno So and Toyoda Yudai in 'Cosmetic Playlover' increased the fascination for the two. From director Shindo Takehiro, who has films with LGBT+ themes such as 'Closet' (2020) among his work, he gives us a story that revolves around Mamiya Natsume, a diligent, kind and serious young man who keeps all his problems to himself. She has managed to make her childhood dreams come true, and today, as a beauty assistant, she performs hygiene, care, maintenance and beautification tasks on clients' skin, face and body.
Her great understanding of products, brands and services in the area of ​​cosmetology has earned her fame among Japanese women, who have as one of their main goals to have firm, radiant and extra white skin, based on the ancient tradition of paint their faces with a white powder called oshiroi.
In a microuniverse dominated by women, Natsume (Okuno So) is self-confident in his work life, but not so in his personal life. Her world is turned upside down with the arrival of junior Sahashi Toma (Toyoda Yudai) at the cosmetics store where she works. His new partner, who relies on his beauty to attract clients but does not take his job or Natsume's pertinent advice seriously, manages to outsell and annoys Natsume because he tries to act like a good superior.
But from animosity to love there is only one step. The senpai's feelings of love for his junior appear when Natsume discovers that his heart beats fast, although it irritates him, while Toma recognizes Natsume as the only person who admires him for his skills and efforts in the effort to provide happiness to his clients.
Natsume will soon forget that since he was a child, when he discovered his passion for the work he currently does, he has been secretly in love with Tanouchi (Nakamura Yuichi), his senpai, a heterosexual man, father of a family.
However, the lovers' happiness will be put in danger with the arrival of Nanjo Atsushi (Sono Shunta) at the store where they work, or the constant trips they must make abroad for work reasons. While Natsume's parents and sister come to terms with his sexuality, Sahashi lives away from his family, and will see Natsume as his only family member and the person with whom he wants to share his life.
The conjunction of that pair of faces captured by the camera represents, for some, absolute physical perfection on Earth.
Kanasugi Hiroko, one of the most significant Japanese screenwriters, author of 'Takumi-kun Series 1: And The Spring Breeze Whispers' (2007), 'Takumi-kun Series 2: Rainbow Colored Glass' (2009), 'Takumi-kun Series 3: The Beauty of Detail' (2010), 'Takumi-kun Series 5: That, Sunny Blue Sky' (2011), 'Killing Curriculum: Jinroh Shokei Game - Prologue', 'Udagawachou de Matteteyo', 'Sukitomo' (2007 ), and the series 'Fukou-kun wa Kiss Suru Shikanai!' (2022), among many other films and dramas, adapts the manga series "Cosmetic Playlover" (コスメティック・プレイラバー) by Narashima Sachi, to tell us about this gay relationship between coworkers, against the background of the competitive cosmetics industry.
I am struck by the idea of ​​putting two men to work together to attract female clients, as well as making Japanese aesthetics visible, related to the standards of what is considered taste or beauty in Japanese culture. Considered a philosophy in Western societies, the concept of aesthetics in Japan is seen as an integral part of daily life.
Beyond recounting the romantic and work experiences of Toma and Natsume, 'Cosmetic Playlover' serves as a portrait of Japanese aesthetics as a variety of ideals; some of these traditional and others modern or influenced by other cultures, especially Western ones.
The series undoubtedly succeeds in showing the most fascinating face of Japanese male beauty assistants, who, in this case, are not united only by their delicate work in the tasks of beautifying the skin, face and body of Japanese women.
The sensitivity with which it is narrated is evident in the most moving scenes, capable of showing with great honesty and with complete naturalness the relationship between the two protagonists, their evolution throughout the time shared in the workplace and in the Toma's house, where Natsume will move to live the romance with the person he loves.
Despite being a series that seems aimed at a very specific audience, the truth is that its intrinsic quality deserves good consideration by the public and specialized critics.
Okuno So's performance is one of his best works to date and has served to demonstrate that his fame is very well achieved.
For his part, Toyoda Yudai's role in 'Cosmetic Playlover' is undoubtedly a challenge, giving life to a young homosexual for the first time in his already extensive filmography. The young actor manages to successfully overcome the challenge thanks to his fantastic performance, which he gives with the vitality, romanticism and desire to grow professionally and personally that characterize his character.
The chemistry between the two actors on screen gives rise to beautiful scenes of physical interaction that audiences who love romance in general and BL in particular will appreciate and appreciate.
'Cosmetic Playlover' exudes subtlety and good taste. The costumes, both the modern one and the yukata, the traditional Japanese clothing made of cotton that we see worn by the characters at the summer festivals where they come to enjoy the show, are taken care of down to the smallest detail.
Another strong point to highlight is the excellent photography, while the soundtrack has some really beautiful songs with very suggestive melodic themes.
In summary, the series is recommended for several reasons: for its faithful reflection of a reality that is absolutely fascinating for Japanese women and beauty consultants, for its sharp and elegant sense of combining humor and drama, for the strong performances, especially from the two protagonists, and for the honesty of their approach.

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