ariel alba

'My Love Mix-Up!', a big comeback

Adapting a classic Japanese manga would seem like a complicated and overwhelming task, especially if we take into account both respecting the spirit of the original and the inevitable comparisons with the previous version, which with the title 'Kieta Hatsukoi' premiered on TV Asahi in 2021 and enjoys great popularity, and so it is; however, nothing stopped director Au Kornprom Niyomsil from returning the renowned work 'My Love Mix-Up!' to viewers.
The original piece, winner, in 2022, of the 67th Shogakukan Manga Award in the shōjo category, written by Wataru Hineruke and illustrated by Aruko, is one of the most revisited by BL lovers, since its publication for the first time in June 2019 in Bessatsu Margaret magazine.
From the genre of romantic comedy and musical with LGBTIQ+ themes, the series brings a new dimension to the original work while reflecting the spirit that animates the manga, but at the same time knowing how to successfully distance itself from it.
Those familiar with the original manga will be happy to know that 'My Love Mix-Up!' It is faithful to it. The main plot is similar, except that the Thai adaptation, in addition to interpreting the same events from a different cultural and aesthetic vision, introduces slight dramatic twists and elaborates the characterizations of the characters, whom it inserts into a musical, which helps to enrich the viewer's immersion.
Even if you already know what happens in both the original source material and the Japanese series, there is still a unique flavor to the series directed by Au. The adaptation also benefits from a longer narrative, allowing for greater depth.
From another perspective and aesthetic, the series expresses the richness, the main plots and also the emotions that we feel when we read the original, with its emotional ups and downs and its script twists in this romantic story, where everything happens in a very fun and realistic way. It is a story about the search for human connections, about the difficulty of discovering one's identity and finding a place in the world, and someone to share it all with.
The unexpected love relationship that shapes the core of the story is the basis of a beautiful and tender exploration of friendship and love, where the protagonists must discover what they really want, while deciphering their own feelings and dealing with some how many responsibilities and pressures related to the lives they live.
And as they spend time together, love works unexpectedly, and Atom and Kongthap, as our narrative heroes are called here, will discover that they are more interested in each other than either of them can believe. They're both straight, or that's what everyone thinks, themselves included. But the misunderstanding that causes their lives to intersect, combined with the way they treat and care for each other, will cause their feelings to begin to go down a path they would never have imagined.
The romance of the protagonists is the great setting, but, as a backdrop, the series tells us an everyday story about adolescence, coming of age, love, discovery, family, acceptance, personal growth, loyalty, insecurities and friendship.
'My Love Mix-Up!' it is a manual installalove. Boy meets boy. First they become friends. Then they fall in love. They discover. Both, without intending to, undertake the clearing of the weeds towards full identity. A typical teenage romance story, with no pretensions to breaking schemes or introducing new plots, and surely that is its greatest point in its favor.
One of the things I couldn't help but feel a weakness for is the plot. This is quite simple, which in any other work would be negative for being "too poor in terms of complexity", but that is exactly where the magic of 'My Love Mix-Up!' is born. The minimalism is so good that the series doesn't need anything else, just that beautiful romance between the characters and the positive energy that they manage to convey so much.
From the first frames we are going to enter a love story full of doubts, discoveries and acceptance. It all starts with a misunderstanding that gives rise to a beautiful friendship that will change everything. For Atom, because he can't help but fall in love with Kongthap. And for Kongthap, because he's starting to realize that "friendship" isn't enough to describe how he feels about Atom, and that means there are parts of himself he doesn't know yet.
Atom will soon discover that he feels more for Kongthap than he could imagine, but it will be a path in which he must discover himself, come to terms with who he is and what he feels for the young man who makes him so happy when he is at his side. Suddenly, and before he himself realizes it, Atom knows who he is, and he thinks he knows who Kongthap is, but many surprises are about to happen that will keep us on the edge of our seats until long after the credits have finished.
What I liked most was seeing how friendship is built and how, while they explore their respective worlds, trust, affection, physical attraction, love are born...
The intentions of this LGBTIQ+ story are very clear from its first episode, since what you will find here is a romantic story that explores the relationship between two teenagers. At this point it shouldn't really be a particularity that they are both boys, but I am aware that it is one of its most striking aspects, although for me the most important thing is that it is a charming series and probably the most tender work of fiction, beautiful and endearing that we are going to see throughout 2024.
I remember when a few years ago I pointed out that 'Love, Simon', the film directed by Greg Berlanti, came to fill an incomprehensible void within the romantic comedy of the major studios, since until then it seemed that homosexual couples were condemned to suffering or, at most, be a kind of complement to the main plots. There was a lack of luminous stories, and 'My Love Mix-Up!' is also found along those lines.
'Write Love with Eraser', as it is also known, also delves into topics such as empathy, tolerance, prejudice, homophobia and coming out, always addressed with tact, simplicity and naturalness.
Au, an expert in probing gay sexuality and gender identity, gives us a series that focuses on feelings and the search for answers to the inevitable questions that we have all asked ourselves at some point. There is no idealization of the characters nor of the stormy relationships that are established between homosexuals in other series with a tragic tone.
From the first moment there is an enormous respect for the emotions of others and, although behaviors that we could identify as homophobic are occasionally shown, the characters reveal themselves so as not to be victims and encourage a dialogue that allows them to overcome each other. That is to say, an enviable harmony prevails that goes far beyond the good ideas you may have at a conceptual level. Rhythm, tone, interpretations and even the effective staging work all go in the same direction, and that always adds up.
The characters in the manga are endearing and very beloved, so it was extremely important to find the right people to play them. I couldn't imagine the series with other protagonists: "Fourth" Nattawat Jirochtikul and "Gemini" Norawit Thiticharaenrak make the world fall in love with them from the beginning. The first is a perfect Atom, clumsy, somewhat silly, frank, childish, nervous, shy and in love, he makes us smile every time he does it, and reflects very well how he cannot erase Kongthap from his head no matter how hard he tries.
And Gemini, for his part, is an incomparable Kongthap: intelligent, friendly, studious, talented artist and athlete. His character is more complex, as he has to assume the role of a young man without defects, while acting with a restrained, soft voice, deep gaze, and adorning his face with a frequent poker face.
Atom and Kongthap are a cute couple whose opposite personalities complement each other. The extravagance of one strikes a perfect balance with the seriousness of the other. Of the two, Atom is more vulnerable due to his constant doubts about himself and his relationship. However, his traveling companion proves to be also committed to romance.
Both represent self-discovery, not only regarding sexual orientation, but also regarding the way of being, something that we often repress to try to fit into a group or relationship.
Kornprom Niyomsil knows how to direct them perfectly to give life to the story in which there is no trivial detail: from the creative freedom given to the members of the cast, to the brilliant palette in which the colors of the rainbow prevail.
Compared to the original work and the Japanese version, I feel more invested in the romance of the Thai series. And the big blame for this, in addition to the reasons stated above, lies with Fourth and Gemini, who do express the physical intimacy that I never got from Michieda Shunsuke and Meguro Ren.
I took for granted the comparisons not so much between the manga and the Thai version, but between the latter and the Japanese adaptation, and that has been the case; but I consider them both to be excellent BL dramas.
However, the remake that I am reviewing has a romantic vibe that did not exist in that one and more dynamic and charismatic characters, which makes the series more meaningful to me. From the first moment I heard the protagonists perform the happy and catchy songs that make up the soundtrack, including "Re-Move On", its opening theme, I already had the feeling that I would love it.
'My Love Mix-Up!' It is, in short, a sensual and tender journey to the very epicenter of the heart of love.

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Hwang Da Seul, attractions and self-acceptance in a dominant and homophobic male environment

As viewers, we know that, regardless of our inclinations, there are always authors who lead us along the path of visualizing good works that, once taken, become indispensable to us.
Someone told me, shortly after leaving my adolescence, about a romantic writer and director, author of unique audiovisuals that leave the public with the desire to see and see more. Shortly after, he brought before my eyes the youth and romantic drama 'Where Your Eyes Linger', the series with which Hwang Da Seul began his particular exploration of LGBT+ themes.
Viewing each of its frames proved my friend right. The secret infatuation and the vibrant love story between two childhood friends and classmates, today 18 years old and high school students, one of them a playful chaebol heir, and the other, his diligent bodyguard, both lovers of Taekwondo, It became a revisited work capable of transmitting new sensations.
To visualize each scene today is to return to those impacts and convince ourselves that we are facing a work of the highest resonance in the world of BL. The bond between Han Tae Joo, son of a powerful chaebol family, and Kang Gook, "hired" by the latter's rich and conservative parents to protect their descendant and prevent him from getting into trouble, is enduring.
In this way, I immersed myself in the work of Hwang Da Seul, a young woman who graduated from the Film Department of the National University of Art of South Korea, who at only 30 years old already has several awards, such as the Excellence of the 5th Catholic Film Festival for their 2018 short film 'Spring That Summer'. I needed to discover it. I still need it.
On the one hand, LGBTQ + films and series include BL, Yaoi, Yuri, GL and other additional ones about love between people who may be of the same sex or some variation.
On the other hand, in the review, I use the acronym LGBT+, if I remember correctly, on three occasions, and always in the context of THEMATICA, not film genre. Therefore, calling 'To My Star' as LGBTQ+ is, in my view, very correct in both senses.
LGBT+ themed works are those that tell stories of members of the group made up of lesbians, gays, transgenders, transsexuals, bisexuals, intersex, queer and the rest of the identities and orientations included in the +, which tells us that the group is still constantly growth. And these are represented in 'To My Star'.
Regarding your opinion of the director and screenwriter, I do not agree with you. Her work speaks for itself: In 2023, director Hwang Da-seul attracted global attention when 'Where Your Eyes Stay', considered Korea's first BL web drama, was screened for the first time in the BL genre category on the VPB (Venice Production Bridge Screening) of the prestigious Venice International Film Festival, one of the three most important film festivals in the world.
Season 1 of 'To My Star' ranked first overall in the daily section of China's Weibo and Japan's Rakuten TV, achieving good results in overseas markets such as China and Japan. After that, 'To My Star 2' was the first BL series released in Korea after being released on television, in addition to the ratings, it ranked second in the overall category on Japan's Rakuten TV monthly chart and first undisputed place in the Korean drama category, which generated a global syndrome.
The screening schedule for 'Break the Curse of Taekwondo' was published on the Bucheon International Fantastic Film Festival website on June 18, to generate expectations, as the public's interest was known.
Other films by this director have similar balances, such as the drama 'The Sweet Blood', from 2021, a youthful and supernatural romance about a half-vampire who must choose between family duty and the desires of his own heart for a companion. class, and the film 'You Ghosted Me for a Week', in which he places his protagonists in a terrifying scenario caused by the tragedy of Covid-19.
Sometimes only as a screenwriter, sometimes as a director, sometimes combining these two professions, in the drama '300 Year-Old Class of 2020', a fantasy comic web miniseries, tells the story of three students from Seowon during the Joseon period who travel accidentally in time and arrive in the current Seowon in 2020, while in 'Drama Stage Season 2: Push and Out of Prison' catches the viewer with a story that mixes drama and mystery, and in 'Love as You Taste' offers a collection of love and heartbreak stories combined with each character's favorite food cravings as they all fall in and out of love.
In the series 'Blueming', from 2022, Hwang Da Seul returns to the love series between boys, to tell us a romantic and youthful story about whether good appearance defines popularity, also exploring insecurities, discovery, acceptance, shame body, and brother-sister and mother-son relationships, among other topics.
The extraordinary genius made into a television series by Hwang Da Seul is demonstrated with the two seasons of 'To My Star', from 2021 and 2022, another LGBT+ themed drama, which tells us a fairy romance between Kang Seo Joon, one of the brightest acting stars in South Korea, and Han Ji Woo, a talented chef.
Starring Son Woo Hyun as Kang Seo Joon, and Kim Kang Min as Han Ji Woo, this is one of my favorite series of all time.
Throughout eight short episodes, the young director and screenwriter returns to the LGBT+ theme and explores, in 'Let Free the Curse of Taekwondo', her most recent work, sexuality, masculinity and queerness, as well as internal conflicts, friendship, first love, separated lovers who meet again in time, homophobia, internalized homophobia and the healing power of a deep love.
The story revolves around Lee Do Hoe, a serious and quiet high school student who lives with his abusive father, a Taekwondo coach in a rural area. The life of the teenager, who despises the violent and brutal atmosphere of his home, takes an unexpected turn when the cheerful and bright Sin Ju Yeung, who dreams of going to university specializing in Taekwondo, arrives from Seoul.
According to the synopsis, after the arrival of the mischievous martial sport practice partner, Do Hoe's dark and sad life enters bursts of small and big joys, which will make his world light up. However, the oppressive culture symbolized by their father finally twists the budding love relationship of the two boys and, after an unexpected incident, they both separate, only to meet again ten years later.

HWANG DA SEOUL AND THE SIX TYPES OF ATTRACTIONS

It is fascinating how, through the dynamic established between Sin Ju Yeung and Lee Do Hoe, Hwang Da Seul makes a profound study of modern social psychology, in terms of the six types of attractions, in consensus with sexology and anthropology, based on the concept of attraction as a force that brings people together and enhances the desire to interact, know, discover, deepen ties.
With extreme and masterful acuity, the series addresses the fact that if you are attracted to someone, you feel it beyond a doubt. Defining what for depends on the factors that shape that affinity. One of them is the frequency of contact, since it is more possible to develop fascination with those who you see often. Touch makes love, says the proverb, and this makes the two protagonists fall in love with each other immediately. They both feel that unique and shocking shock for someone they have just met, while at the same time they become attached to that charismatic being because they identify with his way of thinking or his image.
The truth is that a physical, sexual, carnal, objective attraction arises between the two boys, since each of them meets the beauty requirements of the other's cultural context. The so-called aesthetic attraction or sex appeal is palpable from the first moments, because one awakens a reaction in the other in their environment thanks to their image.
And this physical, sexual and carnal attraction is much deeper and enriching, since it is accompanied by other types of attractions, such as romantic or platonic, based on an emotional affinity that privileges the bond towards carnal desire, and friendship, consolidated with the tests of the lives of the two main characters from the moment their lives intersect, and based on trust, sincerity, emotional well-being... spending time with someone and growing or having fun in their company.
But the director and screenwriter also plays with the so-called sentimental attraction, an attraction that is halfway between romantic and friendly. Both Ju Yeung and Do Hoe feel intense admiration for each other since the friction between them barely begins. They even come to see themselves as part of the same family, perhaps like the brother they never had, living under the same roof, occupying the same bathroom, one preparing food for the other...
Likewise, through the bond between the two boys, sensory attraction is manifested, that which has to do with physical contact with someone. From their body-to-body interaction while practicing sports or outside the dojang, such as when one steals a piece of ice cream from the other by snatching it directly from the mouth, in direct contact of one's saliva with that of the other, as if it were an indirect kiss, or when they touch their hands when they both hold the umbrella, both in the rain, in front of the school, when Ju Yeong surprises Do Hoe when he goes to pick him up after finishing classes, or when they heal each other's injuries after sustaining combat practices of the martial art they practice.
The mere proximity of one to the other calms, happy, strengthens with their pampering and hugs... even from listening to them, seeing them or smelling their essence.
It is extraordinary how in just one hour of the first two episodes, Hwang Da Seul, outstanding in his ability to connect with the viewer's most intimate feelings, explores the sixth type of attraction, the intellectual, that fascination with someone outstanding (or no) in some branch of knowledge, sport, art... Sin Ju Young is an excellent athlete and future university scholarship holder, while Do Hoe, in addition to being a good student, excels in taekwondo training as his father's assistant. His opinions, knowledge and philosophy of life invite his training partner to follow him closely.
Each of them believes in the duty and right to care for and protect the other. Although you know you are strong in spirit, body and character, don't you feel that the other is vulnerable and fragile in the face of the circumstances imposed by life? Has one not been expelled from school and home, and sent by his parents far from home, to a remote place, to an unknown world? Doesn't the other suffer from the physical and psychological abuse of the father? Hasn't Do Hoe had to fend for himself in the face of his mother's abandonment of the family home?

OTHER THOUGHTS

Starring Kim Nu Rim in her first leading role after appearing in several series, such as 'Once Again' and 'I will go where you are when the weather is good', and in the film 'A Girl of the 20th Century', as Lee Ho Doe, and Lee Seon in his acting debut, playing Sin Ju Yeong, it is evident from the beginning that the filmmakers strove to be as authentic as possible. This is evident in all aspects of the series, as is also evident in its depiction of Taekwondo.
In addition to the excellent choreography in the sports practices, everything is satisfactorily filmed, such as the long process before or after training, where the characters are seen warming up their muscles, seeking concentration, getting rid of their sports clothing or cleaning his wounds. In this aspect, the series gives us an intimate vision of the techniques that make up the basis of the art supported by the physical, spiritual, martial and philosophical that corresponds to the name of Taekwondo. This is the second BL series in which the director and screenwriter puts the protagonists in this sports scenario. Everything seems to indicate that he likes this sport.
And there emerges another strong point of the series: placing these two teenagers who explore sexuality in a scenario in which they must challenge stereotypical notions of manhood, as that virile and combative sport is supposed to be.
In this sense, the two protagonists will live hell trying to be true to themselves, so the biggest fight is not the ones on the streets or in the training area, but the one that comes from within each of them, so that the series is also a stunning exploration of two young men's journey toward self-acceptance in an ocean of hypermasculine and homophobic pressures.
With outstanding performances and beautiful cinematography, Hwang Da Seul has created an extraordinary drama that speaks directly to all those LGBTQ+ youth trying to define their feelings, emotions, and their place in a heterosexual world that can often feel scary and strange.
None of the series authentic qualities would have worked without the commitment of its two main stars. As seen in its first two episodes, the only ones broadcast until the moment I write the review, 'Let Free the Curse of Taekwondo' follows the protagonists' journey from beginning to end, there is no scene without them and their performances in all of them.
Their roles are deeply demanding, both physically and emotionally, as the characters go through this entire hard process of self-discovery and acceptance of their sexuality, while proving the innocence of teenage love and stopping being strangers to become lovers, in a dominant male environment. , within a complex scenario of homophobia and violence exercised both by the father of one of them, the coach of the other, and by the young delinquents who frequently persecute Ho Doe and Ju Yeong.
There are plenty of reasons to watch the series, and among these the leading roles of Kim Nu Rim and Lee Seon stand out. They are one of the best performances of the year. These guys have a bright future ahead of them.

THE MUSIC AND THE SERIES

Personally, I really enjoy the songs composed for the series by the successful musician Doko and performed, among others, by the emotional singer-songwriter Gogang'. The OST, composed of five songs, allows to increase the emotions of the drama in the audience, while leaving a deeper and more persistent impression.
"I'm Still Young" captures the incomplete emotions and awkward movements of the mind as if walking alone down a road at dawn. Jo Hwan-ji's melodious, calm yet deep voice creates a lyrical sensitivity.
For its part, "Thank You" delicately expresses the emotion that is cautiously approaching. This song, which lists one by one the tremors in a moment that feels like destiny, doubles the emotion by adding the soft and sweet voice of Yura, the main vocalist of the group Unicode.
Meanwhile, "Camino" is based on a lively piano accompaniment and contains the thought: "Just as our lives are on the path of youth, there will be a time in our lives when we will all take a path that we must travel." and 'Trunk' is a simple song based on guitar playing, Gogang's charming voice represents the desire to "pack only the necessary luggage and leave in peace to an unknown place."
Finally, "Oh Camino", is a band version of "Camino", and offers something new with a different melody, arrangement and version from a different era, to frame the passage of time in the lives of the two protagonists.

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Antiheroes, villains and wild beasts

Inspired by the comedy "The Taming of the Shrew" by English writer, poet and playwright William Shakespeare, the Thai BL series 'The Heart Killers' brings back four popular and talented actors: Kanaphan Puitrakul, Khaotung Thanawat Rattanakitpaisan, Dunk Natachai Boonprasert, and Joong Archen Wiraphakul, who play Kant, Bison, Style, and Fadel, in that order.
The series addresses themes such as love, courtship, disguise, deception and crime, while love arises both in the case of Bison and Kant, and in that of Fadel and Style. However, unlike Shakespeare's work, whose secondary plot serves as a counterpoint to the main plot, in the Thai series both stories balance and measure equally, that is, there is no preeminence of one over the other.
Directed by Jojo Tidakorn Pookaothong, the story is not set in the Italian city of Padua nor are we in the 16th century, but in Bangkok, in the present. Instead of Katharina, the main character, it is Bison, a young man with a boisterous, stubborn, disobedient and indomitable personality, but also famous for being attractive. This in principle would not have any mystery nor would it be transcendent for the series, except for the detail that the father of this young woman, Baptista Minola, does not want to marry his youngest daughter, Bianca, until Katharina, or rather, Bison, does not has found a boyfriend.
But the story, which has a script by the director himself and the writers Kanokphan Oraratanasakul, Issaraporn Kuntisuk, Fleur Irene Insoty, known for writing 'This Love Doesn't Have Long Beans', will bring us other changes: instead of Baptista, it will be Bianca herself... or rather, Fadel, Bison's intelligent, handsome and responsible brother, who will oppose him having a boyfriend until he finds the person himself right one to love.
Another difference with the Shakespearean play is that unlike Bianka, Fadel, who is the complete opposite in character of his older brother, was in the past in love with a young man who was murdered.
Protector of his brother, Fadel scares away all the suitors who are interested in Bison, to the dismay of the latter, who has just succumbed to the charms of the handsome man... no, don't be hasty, he is not Petrucio, but Kant, a young man with a strong character and intelligent, who will have the courage to pretend to Bison.
The love, which is taking shape between the two lovers, will pose a serious problem: will Fadel accept Kant when he himself has decided not to allow his brother to have a boyfriend until his heart also trembles with passion?
Faced with this dilemma, Kant and Bison, who is devoted to annoying others, especially Fadel, will plan to find a suitor for him. And who wouldn't be a better choice than... stop there, it's not Lucentio, but Style, the happy and smiling automotive mechanic and Kant's best friend.
Style must fulfill the task of helping the two lovers as much as possible to get Fadel to accept Kant as Bison's boyfriend, so the three of them develop a plan: Style will pursue and woo Fadel until he makes him yearn for her him and in this way allows Bison to also have a boyfriend. But when Style sees Fadel he falls in love, and he will try to win him over, but to do so he will not have to pretend to be a Latin teacher.
But the most interesting twist in the story is that both Bison and Fadel are two hitmen. While the authorities are not clear how to respond to organized crime in the Thai capital, these two young antiheroes are a curious solution. These brothers are hired by Lilly (Thanaporn Wagpratoon), a character they sometimes call "mother" and other times "madam", to murder drug traffickers, rapists, corrupt politicians, dishonest businessmen... Who is this dark character? Will it all be love for our two protagonist brothers, or are poisonous intentions guiding their steps?
If in "The Taming of the Shrew" that would be the main approach of the work, the Thai series brings other ingredients. Of course, in both one and the other, various situations of entanglements and abundant witty dialogues await us in which verbal wit undoubtedly becomes the most forceful of weapons.
Owners and workers by day in a hamburger restaurant, Bison and Fadel are, by night, two expert shooters and assassins. While the first dreams of not spending his entire life chasing criminals, the second believes it is necessary to carry out, for life, his mission of exterminating all villains.
But who is Kant? Is he really in love with Bison or does he have a hidden agenda? Kant is a young tattoo artist who has a history of being a car thief. He was caught by the Police some time ago for this crime. In order to have his criminal record archived and even be lucky enough to see it disappear completely, he must complete undercover police missions. Otherwise, they could reopen their case and end up in jail, so Babe (Kenji Kanthee Limpitkranon), his younger brother, would lose his only protector in life.
In this way, Kant will be forced to be an informant and spy for the Police on the same parasites of society that Bison and Faude eliminate daily.
And it turns out that, at the request of Chris (Peter Tuinstra), the police agent handling his case, Kant will have to secretly investigate the brothers Bison and Fadel, suspected of being the two hitmen who have taken the law into their own hands.
It is interesting how the series rewrites the work of the Elizabethan playwright that deals with the theme of "taming a brave woman by her husband", giving it a personal touch that does not leave anyone indifferent. The dialogues are full of wit and the wordplay is remarkable. That's something I love about Jojo, who plays with language and shapes it as he pleases to create series considered true gems of the BL genre with insightful, intelligent and even cynical characters, as he demonstrated in 'Only Friends', 'Never Let Me Go', 'The Warp Effect', 'Our Skyy 2', 'Nobody Happy', among others.
It is also striking how instead of machismo, the submission of the woman to the designs of the husband, marriage and the struggle between the sexes that permeates Shakespeare's work, 'The Heart Killers' takes an unexpected turn to address topics such as crime, flirting and a pitched battle between different personalities or characters.
As in "The Taming of the Shrew," the Thai series notes the ingenious use of duplicates. The contrast between the two brothers, the two love stories, the day divided into two, the different dreams of Bison and Fadel about their futures, the two scenarios that will involve one the laborious life as a front in the hamburger restaurant and the other the crime, among others, all aimed at giving rise to an agile and continuous dramatic counterpoint that very effectively helps the two romantic stories intertwine in an effective way.
In addition to a battle between totally opposite personalities, 'The Heart Killers' is a battle between wits, all the themes: seduction, crime, the relationships between best friends and between the two brothers, the professional tasks of the protagonists, namely that of a tattoo artist, a car mechanic, a chef and a restaurant worker, all of this to give rise to a display of deceptions and tricks, and the winner is always the one who demonstrates the greatest practical intelligence in all matters.
Furthermore, 'The Heart Killers' is a series of transformations that relies on the conventional resources of intrigue comedy; disguise, deception and false identities.
As far as the characters are concerned, above all I would like to highlight the two brothers, since the contrast in their personalities is overwhelming. On the one hand there is Bison, who has a lot of character and does not always agree with what is said to him and, in part, likes to bother others. Meanwhile, Fadel is very serious, responsible, and has always managed to maintain his composure... until Style enters his life.
Khaotung is a convincing actor. He has had meteoric growth since his debut as an actor in the 2018 series 'Cause You're My Boy', in 2018. The construction of his character allowed him to deliver a performance full of subtleties, where Bison's surly and indomitable character contrasts with the moments of introspection and the decisions that lead him to confront his most intimate feelings.
First once again demonstrates his talent, that each role he plays is comfortable for him, despite the challenges, the volume of work, and the archetypal experiences that he has to express on screen, no matter how new they may be for him.
Both make up a dream ship. Their interactions are natural. They know each other well, after being a couple in 'Only Friends', 'The Eclipce' and 'Our Skyy 2'. On this occasion, not only are their sex scenes a gift for the viewer.
Joong Archen Wiraphakul's Fadel is the most important character in this rising star's promising career until today. In his social accounts, the actor, model and singer recognizes that the recognition and affection of the public is the greatest reward received, in addition, what he has been able to grow and learn as an actor and person during the process. I never imagined seeing him "masturbate" in front of the cameras.
But of the four, Dunk has the most growth from a role prior to this. To my surprise, his Style overflows with provocation, sexuality and impudence. As an actor, he has been able to increase his acting skills through training and giving his best in each project. His evolution as an actor is based on extracting valuable lessons from each experience to apply them in future projects.
In the series he had to face things that he had never experienced, such as harassing Fadel, speaking with brazenness and determination, adopting a much sexier pose than on previous occasions, no longer in a university uniform, but in a car mechanic's outfit, T-shirts and shorts and occasion clothes. He had to face situations he had never experienced and search the depths of his emotions to interpret them. For this reason, I consider that 'The Heart Killers' and Style have been a school in his life.
Dunk and Joong Archen are also two actors who have managed to get along after pairing up in 'Star and Sky: Star in My Mind', 'Star and Sky: Sky in Your Heart', 'Our Skyy 2' and 'Hidden Agenda'.

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Gay romance full of light and sensitivity

In recent years, LGBTQ+ coming-of-age series have found a new, joyful and hopeful voice. Gone are the days when teenagers came out of the closet only to become victims of HIV and AIDS, homophobic attacks, parental disapproval, or increasing suicide rates.
In the new image of gay coming of age, happiness is deserved, even if there are some slips and stumbles along the way. This new positivity is welcome as both series and films celebrate LGBTQ+ relationships while drawing a line under the endless tragedies of the past.
However, some of the struggles of the coming out process, especially in heteronormative and patriarchal societies, such as Japan, where equal marriage is not yet legal, can be eliminated for the sake of positivity.
'Takara no Vidro', the series by Yuho Ishibashi ('Our Dining Table' and 'Toyko In April Is...') and Mirai Tomita ('Around 1/4'), sometimes opts for positive vibes instead of a more realistic exploration of homosexual love between two young Japanese university students.
Based on the manga of the same name by Suzumaru Minta, and scripted by Tomomi Shimo, we review a sentimental initiation series that tells the queer love story between two hiking lovers who begin to develop emotionally; a series that has the power to win your heart with its gentle charm that simply takes it to the finish line.
The literal translation of the title is actually 'Glass of Takara' (in reference to the character's obsession with glass marbles) although the name of the manga in English has always been known as 'Takara's Treasure'.
Directors and screenwriter have recreated an inspiring story. 'Takara no Vidro' has a strong sense of being a classic, down-to-earth series and doesn't try to be anything more than that. Instead, the staging develops an immersive and tender coming-of-age story with strong queer motifs.
The main hero of the series, Nakano Taishin, a shy and insecure young man who has just moved to Tokyo from his native Fukuoka to start university and reunite with Shiga Takara, a kind tourist who manages to comfort him during the summer of his third year of high school. while mourning the death of his pet. Surprisingly, this little encounter will change their lives forever.
Unable to forget that kind gesture, Taishin decides to thank him in person, but Takara acts cold and distant towards him.
"So all I have to do is keep trying until you like it one hundred percent?" With this idea, Taishin, undeterred, decides to pursue Takara anyway, and Takara finds himself increasingly charmed by Taishin's candid, direct, and honest gaze.
For his part, Takara has gone through childhood and adolescence full of internal conflicts, because after the divorce his father leaves his life and his mother looks for him whenever she wants, just to ask him for money. His grandfather is the person who loved him the most and instilled in him his taste for mountains and for small glass spheres inside whose "you can see the blue world turned upside down."
A lover of hiking, very popular among his mountain club colleagues and other university students, Takara's eyes say much more than his words. But their world is about to change forever with the arrival of Taishin.
Confident and sure of his likes and dislikes, Takara is Taishin's polar opposite, and it isn't long before a friendship and unspoken attraction develop. As they spend time together, romance begins to blossom, between the activities of the hiking club, their meetings on the university campus or the store where Masaya (Sano Gaku), a friend of Takara, is one of the employees.
Slow-burn romances, like the one the series presents us with, are sometimes predictable, but often leave viewers in suspense, wondering if the love interests will really come together. When Takara and Taishin finally realize that they are meant to be, all that waiting is worth it.
After their reunion, they begin an atypical friendship, which will unite them in the process of climbing much more than high mountains. With shyness and shocks, together they share experiences, words that until then they did not know, reflections that they had never uttered and, who knows, maybe they even discover the secrets inside the crystal balls.
Probably one of the most interesting aspects of 'Takara no vidro' and what makes it a unique series is that it is not just any love story. The audience will see the two protagonists consider concepts such as identity, self-discovery, acceptance, family, the universe, trust, friendship, helping the helpless, student camaraderie, life and death (seen in the loss of Taishin's pet, but also in that kind of loss that exists in any dissolution of marital ties). Many adolescents and young people will feel identified and understood thanks to their unusual way of seeing the world.
Little by little, the relationship between the two becomes closer, and Takara begins to wonder why she likes spending time with this boy so much that she insists on being close to him.
Following a theory from his friend Emiri (Mihara Ui), Taishi will believe that the only way to be close to the person he admires is to see himself as a "fan" of Takara and Takara as his "main", whom he cannot cause problems and who would have to be content with watching him from a distance without interfering in his life. However, Takara will tell you that the relationship between the two is not that of a main character and his follower, but between two equal people: "No one is greater or lesser than the other." He only has one request: do not hide from him and be honest about your feelings and emotions. This will bring you even closer.
The series adapts a very moving and intelligent manga, in which the dialogues are the basis of the story. Through the conversations between Takara and Taishin, two characters emerge who, although shy and insecure, will not hesitate to open up to love.
Takara and Taishin begin a journey of discovery, in which their group of faithful friends will also participate, who are united by the search for their place in the world: in addition to Eimiri, Yukawa Kenzo (Yamada Kento), Taishin's main confidant, Uehashi Minami (Kasama Yuri), the leader of the mountaineering club, Hyodo Mei (Shimoda Ayaka), and Ishikawa Akira (Asami Kazuya), Takara's best friend.
BL lovers will happily welcome this new romance in which the tireless search for love is narrated, with Taishin willing to do anything to conquer someone as seemingly distant as Takara. The push and pull between the two and the way their relationship evolves create an ideal series for fans of the genre.
Although its narrative is simple, it still works as a unique story about how to find love, understanding and warmth in the person whose footsteps you have followed over time and distance because you cannot erase them from your mind.
The music, original and catchy, fulfills its objective within the story, and helps us understand the feelings and moods of the characters.
The series is a loving and enjoyable romance that celebrates the love between two young people who discover their homosexuality through a senior-junior relationship and beautifully timed moments of drama. The chemistry between Hiroshi Iwase ('Saiko no Kyoshi: Ichinengo, Watashi wa Seito ni Sareta') and Eito Konishi ('Kabe Koji Desires To Be Recognized') as the central couple Takara and Taishin, respectively, is brilliant when the first sparks of Attraction flows between them through a shy smile, eye contact or the gentle touch of a hand. The couple adds warmth and emotion to the story.
The depiction of gay romance is full of light and sensitivity, and the series deserves kudos for that.

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The trio of debut directors Yaegashi Fuga, Makino Masaru and Harashima Takanobu are responsible for bringing 'Hidamari ga Kikoeru' (ひだまりが聴こえる) to the small screen, for the TV Tokyo channel, the real-time adaptation of the shōnen genre manga -ai eponymous written and illustrated by Yūki Fumino.
The script is in the hands of Kawasaki Izumi, known for writing the series 'Nagatan to Aoto: Ichika no Ryourijou', 'Jimi ni Sugoi! Koetsu Garu Kono Etsuko', and the specials 'Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko' and 'Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko 2', among other serials and films.
'Hidamari ga Kikoeru' is a compelling Japanese youth, college and LGBTIQ+ romantic drama that delves into themes of identity and personal growth. The series explores the relationships and identities of two teenagers who begin a journey of discovery and transition from what they should be to what they want to be, in which their group of friends will also participate, who are united by the search for their place in the world. Its plot begins by narrating the difficulties that Kōhei Sugihara has hearing, since the current university student had suffered from a sudden sensorineural hearing loss during high school. Circumstances have led him to become a lonely, distrustful, introverted, unsociable and distant boy with great difficulties relating to other people. He himself admits to feeling "out of place wherever he goes."
Thus, the creators present us with a love story between two teenagers of the same gender, and analyze the problems that the world can pose for a person with hearing problems.
Kōhei's entire life changes when he accidentally meets Taichi Sagawa, who offers to take notes in classes for him in exchange for the lunch that the disabled student gives him every day. Kōhei will soon discover that he can hear the loud voice of the new acquaintance without difficulty.
This is how a friendship develops between a boy who had always had problems socializing, because his hearing problems caused him to be marginalized by his classmates, and another happy, optimistic, determined, empathetic, energetic boy and extrovert who lives practically in poverty, needing to work while attending university in order to survive. Both will help each other and, little by little, they will give in to their feelings, unleashing a beautiful story of friendship and love.
Taichi will make Kōhei open up to the world once he assures him that his hearing loss is not his fault. Taichi's kind words pierce through Kōhei's usual defense mechanisms and open his heart, causing his feelings for Taichi to turn into love.
This relationship changes Kohei forever.
Thanks to Taichi, Kōhei begins to smile and integrate into the social life of the campus. Others also begin to see him with different eyes. Taichi becomes the friend he never had or perhaps lost when he lost his hearing and was ostracized. Taichi teaches him "that there may also be a place for him on the other side."
Taichi and Kōhei challenge gender norms on a journey of self-discovery. His story takes us into themes such as the search, the formation of identity, personal growth and the transition to adulthood. But it also addresses feelings such as loneliness, happiness, marginalization or improvement.
The two protagonists spend time together outdoors while having lunch or in other spaces on the university campus, creating an intimate and comforting atmosphere. Beautiful scenes filled with subtle gestures and glances highlight the growing connection between the characters. As they exchange words, smiles and shy glances, viewers are left with a sense of anticipation of what is to come in the next episode until the series' conclusive close.
There are many challenges that this production more than overcomes, and several reasons that enhance its plot proposal. Beyond the structural, acting and logistical aspects, which through austerity allows this series to achieve a lot, and the virtues in the themes addressed, and their management, the narrative structure must be highlighted.
With a slow pace, and alternating different timelines that go from the adolescence of the two protagonists, narrating the moment in which Kohei begins to lose his hearing and how he isolates himself from the world, or the divorce process of Taichi's parents that It led to him going to live with his grandfather, to the present day, each episode, from less to more, manages to generate expectation, interest, entertainment, and leaves an important space for personal reflection.
This slow pace creates a context that allows for the correct development of the protagonists' story. As a weak point we can mention, on the other hand, the lack of depth in the construction and history of other main and important characters in the story: Yokoyama Tomoki, Sugihara Ryoko, Yasuda Satoshi, Sagawa Genji, Miho, Maya...
'Hidamari ga Kikoeru' is a story of growth, of the transition to adulthood, and the team behind the cameras knows how to put themselves in the eyes, the body, the sensitivity of those young people who are just beginning their steps in the university world, young people among the adolescence and adulthood, for whom the conflicts they are going through would be deciding "their entire life."
The tempo, the music, the movement of the bodies build a truth in which some lines of the script may be redundant. A detail that in no way detracts from an endearing and loving story, which knows how to deviate from the commonplaces that the universe of television series has built.
The young and promising actor Nakazawa Motoki, in his first leading role after appearing in the film 'Sayonara Monotone', from 2023, and several series, including 'Saitama no Host', plays Sugihara Kohei.
For his part, rising star Kobayashi Toranosuke, also playing his first leading role, after debuting in 2022 in the series 'Kateikyoushi no Torako', takes on the role of Sagawa Taichi.
Nakazawa Motoki and Kobayashi Toranosuke had already worked together before, when in 2023 they coincided in the series 'Gekokujo Kyuji', in which the former played Inuzuka Sho, while the latter played the character Hioki Soma.
Personal and sincere, with a cast that is simply perfect and which is joined by Usa Takuma, who we saw in the role of Sakuma Hajime in the BL series '25 Ji, Akasaka de' or in 'Kiss x Kiss x Kiss: Love ii Shower', of the same genre, and music that carries the narrative drift with sensitivity and fairness, 'Hidamari ga Kikoeru' is a series of enormous beauty.
These three actors, along with the committed performance of a cast that includes Natsuki Omi, Nishida Naomi and the renowned veteran actor Denden, is another reason why viewing this series becomes an interesting experience.
It is not a simple love story between two teenagers, but rather it represents the problems that can arise in a romantic relationship when one of the two members of the relationship has a hearing disability. Thus, beyond a standard love theme, 'Hidamari ga Kikoeru' is a call to eradicate the mistreatment and discrimination that society carries out on minority groups, be it the members of the LGBTIQ+ group or the disabled, in this case, those who have hearing problems. "Stress is the worst for you... Living in a society designed for those who can hear might be the biggest challenge," the doctor will tell Kōhei.
In this way, the series becomes a manifesto to demand the equality of all human beings. The fact of being homosexual, something considered taboo in Japan, a country that does not yet accept equal marriage and where members of that community face discrimination and constant challenges that heterosexual people do not experience, should not be seen as something bad, but rather it should be to be integrated into society until, one day, there is no type of exclusion for the mere fact of being different from others.
To the delight of manga and BL lovers, the series does not have the same ending as the 2017 film of the same name. As I expressed in the review of this feature film: "Despite the fact that the development of the plot is very similar to the story created by Yūki Fumino, its ending has nothing to do with the original. Instead of the magical and emotional ending of the manga, the one of the film directed by Kamijo Daisuke leaves BL lovers with a bad taste in their mouths.
'Hidamari ga Kikoeru' is, ultimately, a series whose main theme is simply love, and focuses on the fundamental idea of ​​accepting each individual as they are and showing respect towards others, a message that runs through the story of the two young university lovers.

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When second parts are better

'Ossan's Love Returns' continues the adventures of the Japanese gay couple Maki and Haruta after the events of the first season, 'Ossan's Love: Ossan zu Rabu', broadcast in 2018, and the following film, 'Gekijoban Ossan zu Rabu Love or Dead', 2019, from TV Asahi.
Ironically, even after years of being together, the two men, already close to forty, have a couple of things to learn about life itself and relationships, since they have passed professional issues with high marks.
Luckily, the entire cast of the original series is present to offer life lessons to the young couple in their marriage experience. Haruta, in need of all the help he can get from his friends and co-workers, on how to maintain a loving relationship and how to treat his husband, will need to learn from the lessons that can be given to him. .
The popular Japanese BL that was overwhelmingly addictive to many since its initial season, returns to the small screen with a new sequel in which Kento Hayashi, Kei Tanaka and Kotaro Yosida reprise their roles as Ryota Maki, Soichi Haruta and Musashi Kurosawa, respectively, who, along with the other characters, portray the varied dynamics that move our main protagonists.
The show features a cast involving Iura Arata (as Ko Izumi), Miura Shohei (Kikunosuke Rikudo), Uchida Rio (Chizu Arai), Kaneko Daichi (Utamaro Kuribayashi), Ito Shuko (Maika Arai), Kojima Kazuya (Teppei Arai ), Mashima Hidekazu (Masamune Takekawa) and Ohtsuka Nene (Choko Kuribayashi) in supporting roles.
Considered one of the first Japanese television series of the Boys' Love genre aimed at a general audience, it is not the adaptation of a previous manga, although it was serialized between 2018 and 2020 by Umebachi Yamanaka for the manga magazine Be Love. It is also appreciated for serving as an influential model for audiovisual adaptations of the same genre produced both in Japan and internationally.
In fact, due to its good acceptance and criticism, what was initially a special episode broadcast on December 30, 2016, with the title 'Ossan zu Rabu', was expanded into a franchise. The aforementioned special chapter has the peculiarity that in it Haruta's romantic interest is his kohai Hasegawa Yukiya, played by Ochiai Motoki. The original cast, with some changes, was part of the seven-episode series, considered the first season.
Added to this universe are the 8-episode series 'Ossan's Love: In The Sky (Ossanzu Rabu: In The Sky), from TV Asahi, from 2019, and Ossan's Love HK, starring Kenny Wong, Edan Lui and Anson Lo in the main roles. Directed by Kwok Kaa Hei and script written by Tokuo Koji, this is considered Hong Kong's first BL drama.
'Ossan's Love Returns' manages, as a sequel, to recover the magic of the original, while offering something new to maintain the interest of viewers. To do this, the characters just have to be who they were in the first season, but with a more anime style.
The series also respects one of the characteristics of both anime and Japanese live-action works by exaggerating and making improvised mood swings, whether in dream sequences or in fantasized worst-case scenarios. Haruta being a very imaginative man, in many moments of his hyperactive shouts, different and overly expressive voices and internal thoughts, his directors, Yuki Saito and Ruto Toichiro, excel in the exquisite camera work in the close-ups; moving the focus directly onto the face of actor Kei Tanaka, who characterizes Haruta ridiculously well.
Kento Hayashi, her sensible husband Maki, is not far behind in loving her foolish husband, but also showing a side of annoyance with the man who even today, five years after the relationship began, does not do the housework and, To make matters worse, he frequently gets drunk and loses the gifts they give him.
The series describes the “newlywed life” of Haruta and Maki, after the latter's return from Singapore, where he had gone for work. Haruta, who has been dealing with his long-distance relationship, waits for him impatiently, but fails to arrive at the airport in time to see him get off the plane, as was his intention, indicating from the first scenes the comedic tone that characterizes the Serie.
With increased responsibilities in the workplace, the couple has difficulty dividing and accomplishing household chores. To save the situation, Haruta comes up with the brilliant idea of ​​hiring some online cleaning services to make her home life easier. But the person who appears at the door turns out to be none other than his former boss. This will be the person in charge of cleaning the home you share with Maki. In this way, Musahi Kurosawa, played by the fantastic Kotaro Yoshida, Maki's eternal love rival for the love of her foolish husband, re-enters the lives of the two young people.
Kurosawa, who had retired early, now works in a company dedicated to domestic work. As a “housekeeper,” while visiting the couple, her old feelings for Haruta are rekindled.
Despite stating that he has changed his intentions to conquer Haruta and now only comes to play the role of “mother-in-law” in the effort to make the young couple happy, he does not miss the opportunity to argue with Maki and cast her jealous glances, animosity or resentment for “having taken the man she loves” or for “making him suffer for preferring to be with other men,” as she often thinks, without knowing that Maki, who loves Haruta madly, is a victim of misunderstandings and absurd setbacks. , like leaving her engagement ring embedded in a baked ceramic vessel, which she and Haruta had molded hours before.
In this original “fatherly love”, while Kurosawa hurts Maki in subtle ways, a foolish Haruta is not able to notice what is happening around him, achieving moments of humor also with other situations, which will not be lacking in the series.
The three main characters, as well as the rest of the cast, are adults and handle their nonsense in a script that has plenty of intelligence and good workmanship.
With a plot ably written by Tokuo Koji, it's no coincidence that audiences can experience the series as a sexless Yaoi: the characters act with the same kind of bombastic, chaotic energy you see in anime. An example of the above can be seen when a jealous Kurosawa, in a sort of “drama queen”, passes a rolling pin over the fingers of a helpless Maki, unable to react in time, when he comments on her cooking.
If as an obsessed lover “the boss” is a stalker, as a mother-in-law concerned about Haruta's happiness he is also a stalker, a kind of sweet and tender sociopath who will make even the most demanding viewer laugh. In this way, the chaos and drama rise to a divine level, which will make everyone laugh during each episode.
For their part, Haruta and Maki bring tenderness in their fun ways. As husbands, they have dealt with and overcome so many problems, thanks to pure love and faith towards each other.
However, this series, which belongs to a particularly Japanese comedy genre, whose type of humor is not always understood and enjoyed by the audience, is undervalued by many outside the borders of the nation of origin.
However, each episode is a true work of craftsmanship with its chaotic plot and, to top it all off, a satisfying ending. Every time I think that the entire cast, both technical and artistic, cannot surpass the last episode, they do it effortlessly in the next one, reaching greater heights.
In this fantastic show, with excellent characterizations, creativity flows and the audience never yawns. Quite the contrary, he settles in front of the television screen to enjoy the mysterious secondary characters neighboring the main couple, or the performances of the rest of the people who surround Maki and Haruta.
If at times the ghost of 'Ossan's Love: In The Sky' assails me, of which I admit I don't like the ending, and I think that the lack of communication, the work entanglements that tend to keep Haruta and Maki apart, or the fact that Since they both have such opposite personalities, and that's why they both have to take different paths, I really enjoy each scene being more explosive, tender and joyful than the last.
The two protagonists have grown a lot as people and the writing reflects that growth.
Tanaka Kei is fantastic with his facial expressions and body movements. The genuine relationship he has with his traveling companion, Hayashi Kento, is a key piece in the resounding success of the series. The two actors prove to be completely comfortable next to each other.
The complicity, trust and camaraderie of both, as the basis of every romantic relationship, is enhanced with the incorporation of scenes of intimacy, of genuine and spontaneous kisses and hugs, of hands held in public, of restrained tears due to missing the other. , and tender laughter that demonstrates mutual love, as we have rarely seen in Japanese series.
I only hope that around our universe, that of humans, that other universe, fictional, but no less human, which is titled 'Ossan's Love', continues to revolve.

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Love, tragedy and difficult decisions (last revision)

That Chinese BL is a genre that is in good health is demonstrated every year by various film or serial titles. Just beginning 2025, a series like 'I'll Turn Back This Time' was released, which dwarfs other recent meritorious exponents of these queer productions from the Asian giant, such as 'Stealing from My CEO', 'Uncle Unknow', 'Inverse identity', 'Promising', 'Meet You at the Blossom', 'Stay Still', 'Be Moon' and several more dramatized ones.
I'm not including 'Blue Canvas of Youthful Days', a Chinese queer series that I'm really passionate about.
Directed by Yan Xi, 'I'll Turn Back This Time' is a short series with extraordinary levels of reception in China, the rest of the countries in the region and far beyond the Asian borders, which manages to capture the magic of finding love and defend it even after death.
Between reality and fantasy, the images exude truth, although they also give off a certain aroma of slow cooking and the rewriting that takes place in the laboratories of auteur cinema.
Although innovative in many ways, 'I'll Turn Back This Time' is actually a fairly conventional love story. The plot focuses on the romance between two stepbrothers, which is not a new concept. However, the strength of the series lies in its elegant simplicity and the nuanced performances of the two protagonists.
They are down to earth and lead such a normal life, despite the fantasy element, that I am impressed by their authenticity. Their performances are supported by excellent writing, giving us an intimate view of these well-developed characters.
The love of Shen Nan and Gu Shi Wen arises when the former, a stomatologist who quit his job in a city clinic, travels to Yiling, the urban district located in the city-prefecture of Yichang, in the southern Chinese province of Hubei, to reunite with his father (played by Li Hai Dong), on the eve of his remarriage to Gu Shi Wen's mother. The role of the mother is played by actress Yin Ji.
These two quickly learn the comfortable feeling of living together, especially when their respective parents leave on their honeymoon and are left alone to run the cafeteria and the guest house. Their relationship evolves in leaps and bounds from being strangers as the days go by. This is a story that can lead us to love one day. The two experience such a great connection, and with intense chemistry.
Love immediately arises between the two stepbrothers, interrupted by a tragedy that forces Shen Nan to go back in time three months before the traffic accident that cost Gu Shi Wen his life, in a desperate attempt to change the outcome of the future, and that reminds us of other BL series with a similar theme, such as the Thai 'Absolute Zero' (2023), 'Vice Versa' (2022), '55:15 Never Too Late' (2022), '4Minutes (2024), 'Triage' (2022) and 'Be My Favorite' (2023), and the Taiwanese 'HIStory: Obsessed' (2017), among others. I find time jumps interesting and intriguing.
After the reunion, Shen Nan tries to reintroduce himself into his stepbrother's life. To do this, he will ask for a job as an employee in the cafeteria. At first, he will feel some hostility, as the young man who loves painting will suspect that Shen Nam has a hidden agenda, after discovering that the stranger knows aspects of his life that are unknown to others. But then sympathy and mutual esteem will turn the feelings of friendship into love.
It should be noted that the romantic scenes are not graphic or explicit. Rather, they are tender, artistic and tasteful. The physicality is subtle, but we see enough interactions that the attraction between Shen Nan and Gu Shi Wen feels authentic.
We are facing a series shot with a special style. Through the aesthetics of the lens and the gaze of the characters, 'I'll Turn Back This Time' is rich in spaces for interpretation.
'I'll Turn Back This Tie' is a gem that stands out exquisitely in the genre of gay television productions. Following in the footsteps of Chinese novelist Chai Ji Dan's "Are You Addicted?" because of the unfortunate initial collision when the two meet for the first time on the road, which leads to some tension between them in the early stages of the pilot episode, or because they might hate that their parents have remarried, None of this happens, and the truth is that these two boys quickly go from strangers to being friends and from friends to being in love.
There are many intimate scenes in which the two protagonists hold in their hands or have objects placed in their mouths that can be interpreted as phallic symbols, such as the pinceles used by Gu Shi Wen, the chopsticks and elongated spoons intended to be used at meals, the key to open the house, the umbrella with which Shi Wen tries to defend himself from a possible thief who has entered his home and with which moments before he danced and sang in the rain in a kind of tribute to the 1952 musical film directed by Gene Kelly and Stanley Donen, the long drink box that Shi Wen puts into his mouth while Shen Nan drinks beer next to him on the riverbank, the mobile shower sprayer with which Shi Wen threatens Shen Nan when he interrupts him while he is bathing, the dental instruments (dental examination mirror, tweezers, pliers...) held by Shen Nan in his hands and inserted into his stepbrother's mouth, the tubes of tempera paint given to each other, even the chicken thigh? that Shi Wen eats at the wedding celebration dinner just when Shen Nan puts her hand on his shoulder to mock him, and even the quantum necklace that Shen Nan wears around his neck, which adds mystery and intrigue to the series.
They are not the only queer characters in the series, while the couple will find allies, that is, people who, without being from the LGBT+ community, will support the couple.
On the other hand, the love of Shi Wen and Shen Nam will overcome and destroy the refusal of their respective phaders to accept homosexual romance.
Chen Shengxu's beautiful photography highlights the natural values of the beautiful city on the banks of the Yangtze River.
The musical themes "This Time, It's My Turn to Look Back First" and "I'll Turn Back This Time", composed by Zhao Beier, and "Returning to the Past to Embrace You", by Zhao Beier and Zhou Kanghaonan, provide of meaning to the series, causing not only the story to be remembered, but also its soundtrack.
Through 'I'll Turn Back This Time', director and production house ZX Entertainment PTE. LTD. they are composing what is a shared kind of audiovisual novel with LGBT+ themes: a serial body filmed with undoubted narrative and formal vigor, while standing as an ode to love, brotherhood, friendship, family and understanding between human beings.
It represents a song to love that also works as an exhortation to harmonious coexistence, above differences in gender identity or other divisions imposed by convention, since the Chinese series tells a love story that is socially unacceptable for many families in any nation for two reasons: the two protagonists will experience a homosexual romance, which at the same time can be rejected as its protagonists are considered stepbrothers, despite not having a blood relationship.
Set in the present day and with a strong character of romantic, family and youth drama, 'I'll Turn Back This Time' adds elements of the best of Chinese queer fantasy fiction, in the manner of the films 'To You, for Me ', from 2015; 'Shao Ling Bi' ('Mermaid's Jade', 2019), by Zhang Kai Qiang, and 'Star Appeal', by Cui Zi En, among many other examples.
The narrative of the butterfly effect, the mystery surrounding a painting of Shen Nan's face drawn by Shi Wen, and the jump in time as a paranormal phenomenon in which a person travels in time or appears in an alternative reality play in their favor. to ours through an unknown means.
The script by Xiao Wan and Zhi Zhi mixes, in equal parts, romance, drama, sensuality and fantasy, which ends up pleasantly surprising viewers. With an agile and concise narrative, it manages to bring together all the ingredients we need to make the most of our fun with it.
The result is an intimate gay romance told from a unique perspective, a subtle series that makes a surprising impression with its joyful, funny and complex characters, elegant storytelling and touching tone.
The acting performances are stellar. Although both protagonists began their careers last year, they manage to make a splash on stage, both in supporting roles and in this, their first leading role. And they do it professionally, providing a moving and nuanced interpretation of their characters. They appear natural, comfortable and confident in each scene.
Beyond the text, the casting, by Monkey Casting Studio, is also very interesting, since both have played other LGBQ+ characters. For example, Li Yi Mu gave life to Jin Bao and Kou Wei Long to Que Si Ming, the members of the second couple of the Chinese queer series 'Meet You at the Blossom', from 2024
Kou Wei Long forges the role of his life until today thanks to Shen Nan, a character conceived, and above all defended with fury, viscerality and characterological profusion.
Li Yi Mu also takes on another of the great roles of his still young career, taking on Gu Shi Wen. Both are the heart of the series.
'I'll Turn Back This Time' is built from two temporal planes: that of the events that occurred before and after the accident.
Now, let's get to the heart of the matter, which is nothing more than the rejection by some of the fact that Shi Wen and Shen Nan are "stepbrothers." In my opinion, both of them are free to have a romantic relationship. And if Chinese laws allowed it, they could still consider even marrying each other.
The two of them are not even close relatives. They are not technically step-siblings, but rather non-blood siblings who were not even raised together within the same family at any point in their lives. They are both possessive and very codependent. There is a universal principle of Family Law which is "AFFINITY DOES NOT PRODUCE AFFINITY". It is like in-laws who can marry each other, because the principle of affinity operates upwards: ascendants, and downwards: descendants.
Since they are not biological children of the same parents, there would be no genetic obstacle that points to incest. The two characters do not share genes, nor were they raised within the same family. That is, they did not grow up as brothers, they do not have the same surnames nor are they legally registered as brothers, so they would not be exposed to laws that prohibit incestuous relationships.
So, 'I'll Turn Back This Time' seeks to break two taboos, specifically the taboo when there is a relationship of kinship (although in truth a relationship of consanguinity does not exist in the story but of affinity), and the so-called "pride of the rainbow", since everything indicates that both young people choose to defend their love, to let the world know that they do not work according to its rules, and thus manage to break the chains of the ordinary to choose those they love.
Overmusicalized, redundant in its approaches and prone to emotional manipulation, the series usually walks close to the cliff of melodrama, but what saves it from falling into the abyss of soap opera tears is the depth – in script and interpretation – of the central characters.
Outside of the imposture, dramatic overload and affectation of the soap opera, the frames of the series exude candor, tenderness and truth, as they bear witness to the circumstances of both. They are supported by the accurate casting selection, which provided a cast that meets all aspects, including physical appearance, and in which Miao Jing Ou and Fa Xuange stand out, as Jiang En Ya and Jiang Yiling, respectively, the friends of the protagonists.
As the bulk of the series' ideology is reinforced after the tragic accident, this commentator opts for this segment, when Shen Nan returns to prevent Shi Wen's death, although to do so he even has to make difficult decisions, such as giving up love and moving away from his beloved.
It is here, in the concluding segment, that the story grows, as one discovers the other's deficiency in color vision, which caused his death when Shi Wen could not differentiate between the green light and the red light of the traffic light; the cause of the color blindness you suffer from and how to correct it; but Shen Nan will also come to understand that his love is doomed, that there is no way they can be together, because every time he returns to the past he cannot prevent the tragedy, so the only way to break the curse is to renounce love, move away and live separate lives.
Yan Xi uses a slow pace that emphasizes Shen Nam's emotional tension and melancholy as she faces the need to separate from her lover if she wants him to avoid death. The director, who delights us with a hard, sullen and bittersweet love story, demonstrates a special talent for details, letting the environment, from the wide and busy Chinese streets, the beautiful parks and river areas where the protagonists and their friends often come to take photos and spend the day, the interiors loaded with the aroma of the food served in the restaurant of the family home, speak as much as the dialogues.
Likewise, the use of hidden messages should be highlighted, such as the "OK" sign made with the index finger and thumb, but not used as a symbol of hate linked to racism, white nationalism and the extreme right, as recognized by the Anti-Defamation League, but rather recovering its usual universally known message that "everything is fine", as a sign that the two protagonists are aware of the sad, but necessary step to take.
In case my effusively positive review wasn't obvious, then I should shout out that I loved 'I'll Turn Back This Time'. I recognize some areas that could use further development, such as enriching the dynamic of the two young people with their respective fathers, who tend to disappear from scenes.
The narrative may also be too fast and subtle for some viewers. However, these minor quibbles do not detract from my overall appreciation of the series.
There is a lot of Sinophobia from people who are unaware, who are not informed, who are not interested in becoming informed and coming to think that a reality may exist that is different from how they perceive it.
Don't be so hard on the Chinese BL community who flaunt Sinophobia. I know that Chinese BLs may never fit the typical gay drama criteria for many. But they still tell really good stories and one should appreciate them. 'I'll Turn Back This Time' is one such example. I imagine many of these commentators getting angry watching a Chinese series with an effeminate boy telling another boy that he likes him, several queer boys gathered around a bottle that rotates in the game of Truth or Dare, as we see in Thai, Korean, Taiwanese series... I imagine them getting angry when seeing two boys in love holding hands, kissing and being affectionate on the Chinese streets, without anyone showing homophobia or worse, internalized homophobia, as shown this series.

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Denounce the situation of harassment and discrimination suffered by South Korean LGBT+ students

'Taming The Bad Boy' (일진조련기) does not seek to portray a homosexual romance, nor does it seek to portray the friendship between five South Korean gay teenagers, students at a high school.
Lim Hyungkyu, its director, aims much higher. Scripted by Yoo Guijong, the short series produced in 2024 by Flying Penguin, denounces the situation of harassment and discrimination suffered by South Korean LGBT+ students in the classrooms, by other students, but which in reality can also be by managers, school officials and teachers, including their parents and other family members.
In a highly conservative, patriarchal and heteronormative society, through the relationship between Park Jin U, a role played by newcomer Lee Ui Seop, a student transferring to a new school, and Ko Tae Seop (Holland - 'Ocean Like Me'), who approaches the newcomer out of curiosity, only to soon discover that she has developed feelings for him, 'Taming The Bad Boy' reflects the situation of isolation and mistreatment that members of the South Korean LGBT+ community suffer from their peers. classroom.
The series is not suitable for all audiences, not even for many BL lovers who expect tender and warm romantic scenes between two boys, since the plot crudely exposes the intimidation, harassment and discrimination due to gender identity experienced by children. students of said South Korean human group, as well as the lack of safe and inclusive environments in schools.
Through the relationship of the protagonists and that of the two of them with Jungbeom (Joo Jongbeom), Seongyu (Ki Myeongje) and Changmin (Son Changseong), three classmates who are also homosexual, and among them five and several homophobes and harassers, among them These Mynhyuk (Byeon Jeong Hyeon), known for playing Park Jae Han in the BL film 'Hold', from 2022, the dramatized denounces the lack of protections against discrimination by the government due to the lack of a comprehensive law that protects LGBT+ people in educational and other environments, including work, as well as the lack of interest of the government and educational authorities in ensuring that LGBT+ youth have support resources to safeguard their education and their physical and mental health.
Through the figure of the teacher, a role played by the popular actor Hong Seok Cheon, known for starring in the film 'Perfect Love' (2003), the series makes visible how the South Korean sexual education curriculum does not include any content about LGBT+ issues. In this case, the educator seems to be a member of this community, so when homophobic students make negative comments about gays, the teacher defends the members of said community, even at the risk of being fired and being exposed to harassment as well and discrimination.
Often a product, television or film, emerges that attempts to raise awareness about complex issues. This is the case of 'Taming The Bad Boy', a plot that may have been reviewed too many times before, but should not be detracted for this reason by being produced in a homophobic country, which persecutes and harasses gays, lesbians, transsexuals, bisexuals…
In just over an hour, the short series becomes a contemporary vision of gay men who struggle to define what is real: for themselves, their romantic relationships and their high school studies in a school whose students despise and humiliate them just for being different.
I won't say much because I don't want to spoil it, but the fact that there are scenes of harassment, loaded with violence, in my opinion, reflects the director's audacity in addressing the issue head-on.
Of course, there are the occasional furtive kiss, glances and knowing smiles between two secret lovers. There are also boys who express their identity through dance and equally confidential conversations in intimate spaces. Kisses between two boys and dialogues about dreams and desires in a series about gay teenagers in Seoul, what would be wrong with that?
The supporting cast is good in their realistic performances.
If you are interested in a drama with a very real approach to the complex topic proposed, you will enjoy 'Taming The Bad Boy'.

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BY WAY OF INTRODUCTION

In 2023, a story about a young man who spies on his company president's favorite reclusive artist to get his job back, captured the hearts of Korean series enthusiasts in general and lovers of boy love stories in particular.
TVING's original drama 'Unintentional Love Story', based on the manhwa and webtoon of the same name, written by Phoebe, starring Cha Seo Won as Yoon Tae Joon, and Gong Chan as Ji Won Young, showed us a second couple, played by actors Woo Tae Min ('You Make Me Dance', 2021), and Han Do Woo ('Love Playlist: Season 5' (2021), the former playing Go Ho Tae, and the latter playing Kim Dong Hee.
Loved by fans and the cause of the so-called "sub-disease" or love for the protagonists of the stories attached to the main one, at the end of the series complaints rained down requesting that the story of Ho Tae and Dong Hee be resumed to tell the exciting previous relationship between these two young people that was not included in the series, especially one that reflected their exciting school days.
Ultimately, the request was to represent in another work the vague narrative and interesting relationship of the couple made up of Go Ho Tae and Kim Dong Hee; but equally, that the future main couple was assumed by the same actors, with the same character names.
Thus came the idea of ​​filming a spin-off to tell a sad, but at the same time beautiful and tender story of two children who grew up together and discovered mutual love.
Directed by Yang Kyung Hee, a renowned director who has filmed several BL stories, such as 'A Tractor Loaded with Love' and 'The Director Who Buys Me Dinner', both from 2023, or 'I Wanna Bite It' ('Kissable Lips' ), from 2022, and 'Florida Banjeom', from 2021, and with the script masterfully crafted by Shin Yoo ('Where Your Eyes Linger', 2020), the film 'The Time of Fever' ('When your temperature touches my fingers' '), introduces the viewer to an immersive narrative journey.
At the forefront, Won Tae Min shines as a straight swimmer who one day discovers he's in love with his best friend, along with Han Do Woo's nuanced portrayal of the character he plays, and the support of a talented cast who bring depth to their respective roles.

ABOUT THE DIRECTOR AND HIS WORK

In the film, its director approaches the issue of homosexuality with an intimate and personal approach, a topic that, as has already been said, he has addressed on previous occasions.
Yang Kyung Hee's work is marked by a display of sexual and emotional discovery, a theme that is addressed in a very suggestive way in 'The Time of Fever'. Far from reaching that need to search for personal identity from the beginning, with this film, the South Korean director takes up a love story not told in depth in an original story already brought to the small screen.
Therefore, from the perspective of the journey to the roots, a reunion between two old friends ends up becoming a labyrinth of passions. What stands out about the script is that it gets rid of superficial flourishes or moral dilemmas about the conception of masculinity. Although at certain moments he highlights the clichés surrounding homosexuality, he then puts them aside to reveal an internal story. Thanks to this, it gives the public a love story without consuming, where the fact that they are men becomes something circumstantial, but necessary.
In this way, the film talks about feelings and the attractiveness of emotion, where the physical becomes the result of an intimacy that occurs prior to sexual relations. It cannot be denied that that depth about what it means to love, desire or suffer is what makes the difference. Although the story follows a structure that has already been seen previously in other films, also with LGBT+ themes, perhaps, that naturalness of the unexpected love between two people with a common past makes it become a different film.

THE HISTORY

Produced by Number Three Pictures Co., Ltd., the film tells us that Ho Tae and Dong Hee have grown up as brothers since childhood. Ho Tae, who was born in Gangneung and moved to Seoul the year he graduated from primary school due to problems with his father's business, was never particularly interested in studying. For this reason, he started swimming at the school he transferred to in the South Korean capital.
Owner of enough talent to occupy a high position on the swimming team, he is forced to return to his hometown after his father's funeral, because his mother decided that they would return to start a business.
Upon returning home, Ho Tae, now 17 years old, discovered that Dong Hee, who is two years older than him, had filled the space that had been empty for a long time. Dong Hee, who had been expelled from his father's house after admitting to his family that he is homosexual, found a roof over his head in Ho Tae's uninhabited house.
Born as sons of friendly mothers, both, without any full siblings, grew up together as older and younger neighborhood brothers.
In the summer of Dong Hee's third year at High School, Ho Tae returned. The two meet again and end up living together under the same roof.
Despite their close brotherly bond, Dong Hee, who has hidden his homosexuality after being beaten by his father, who also called him "mentally ill" for this reason, cannot help but feel emotional when he sees Ho Tae, who is like a real brother to him, but he is also his first love, and he tries to repress his feelings. But it's not easy to bury these feelings.
Similarly, Ho Tae, who sees his friend as a kind young man who likes to smile, confronted with Dong Hee's presence, also develops feelings for the boy whom he has not seen in a long time, but is confused by those feelings sensations stirring inside him that he had never experienced before.
In an effort to escape his confusing emotions, Ho Tae begins dating girls in superficial relationships, which inadvertently causes pain to the previously independent Student Council president and valedictorian of his school.
As their dynamic changes after an unforeseen event, the delicate balance of their relationship hangs in the balance.

OF ACTORS AND CHARACTERS

Having a cast with few performers allows the acting direction to be focused and give greater impact to those who participate. In this way, in 'The Time of Fever' the protagonist duo is exploited above all. On the one hand, Woo Tae Min offers a metamorphosis in his character that gives him the ability to shine at an acting level. Along with this, you can see that he has a connection with the camera, giving realism and naturalness to his character at all times. Furthermore, the mischief with which he balances the most subjective effect contrasts with the sensitivity that he lets emerge at every step. It should also be noted that he is generous with his co-star, given that they form a team with great chemistry, where the tension necessary for this type of narrative is perceived.
On the other hand, Han Do Woo uses that connection with his co-star to his advantage, given that what begins as a performance in the background ends up exploiting his quality as an actor. On the one hand, it has that exquisite familiarity, which combines perfectly with the tone of the film and, then, it knows how to perfectly convey that whirlwind of sensations that lives inside. Likewise, it would be important to highlight the difficulty of being on a more restrained level, in the face of a reaction that follows that slower line, but letting out all the emotional tear that it suffers, with gestures and physical expression, something that it achieves perfectly.
With solid performances from both actors, I would highlight actor Do Woo's deeply repressed emotional performance. Won Tae Min's acting, which was childish but serious, is also very good.
They both express their feelings and emotions well. Both powerfully show the vision of two people leaning on each other's shoulders and seeming lost in deep thought.
Personally, I can perfectly empathize with the feelings and circumstances of the two characters.

SOME THOUGHTS

Korean LGBT+ films and series have gained significant popularity in recent years, captivating audiences with their heartfelt narratives and compelling characters. This lineup is joined by the spin-off of 'Unintentional Love Story'.
From the trailer, I anticipated that the reunion between the two old friends would provoke a complex mix of emotions, particularly for Dong Hee, whose affection for Ho Tae runs deeper than brotherly love. Upon learning that 'The Time of Fever' was in the process of filming, I was deeply curious to witness the synergy between these two young actors, and I must admit that they did not disappoint me.
This is one of the Korean LGBT+ film productions that delve into themes of love, friendship and self-discovery within the context of same-sex relationships. Through its delicate depiction of emotions and nuanced storytelling, this film offers viewers a unique combination of romance and drama, providing insight into the complexities of love and identity in contemporary Korean society.
The temporal background of the work is from the fall of 2013 to the spring of 2014, and from there it jumps, in its final scenes, to the present, to make it coincide with the story told in 'Unintentional Love Story', in which It tells the reunion of Dong Hee with Ho Tae, when the former returns to his hometown after studying in Seoul, while the latter runs a business with his mother.
As was the case with the OST sung by actress Cha Seo Won in 'Unintentional Love Story', the OST sung by Won Tae Min in 'The Time of Fever' is one of the many notable aspects of the film.
In addition to "You Call My Name", by B1A4, used as the final song, we will hear in the soft and emotional voice of the actor who plays Ho Tae the song "What If (원태민), composed by Kwak Jeong Im, which captures the deep emotions of the film, and "Someday Again" (언젠가 또 다시), by Masa (도우).
The viewer will feel as if the lyrics of the songs and the content of the film are intertwined, further increasing the emotions.
And the kiss scenes, especially the first one... still shake me because of their tension and the tremor of that moment.
The cameo of Gong Chan, who played Ji Won Young in 'Unintentional Love Story', is a special and long-awaited appearance.
The cinematography is exquisite. The day and night views of Donghae-si, Samcheok-si and Gangwon-do, Samcheok Meister High School and Mangsang Beach, where the film was shot, are beautiful.
Even knowing that the ending would not be happy, in order to connect the story with that told in 'Unintentional Love Story', the exploration that 'The Time of Fever' makes about sexuality is one of the most attractive that South Korean cinema has given. in a long time, with maturity, without resentments and with much more reality than fantasy. A story that will break our own internal and external limits, as it will make us cry, it will tear our hearts, but we will always keep in mind that the story of Ho Tae and Dong Hee does not end here.
Despite the lack of sincerity of the two in not expressly acknowledging their feelings, the rapprochement between both characters, very well carried out by Woo Tae Min and Han Do Woo, is honest and credible, a teenage friendship that is slowly growing. They are the story and it is the chemistry between them that allows the film to be beautiful, at the same time sad and heartbreaking.

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A journey of falling out of love and falling in love between two parallel worlds

Parallel universes are one of the most interesting resources in science fiction. This concept glimpses the possibility of alternative worlds existing in other planes of reality. They can be the same as ours with small differences, or divergent versions with completely different rules and people. According to this theory, everything would have an infinite number of variants that would be encompassed in a cosmos of realities called the Multiverse.
Focused on parallel worlds, films and television series have covered this concept in genres as diverse as comedy, adventure, and horror, jumping from mainstream to independent cinema.
Produced by Kongthup Chanel, 'Two World' stars MaxNat, a ship formed by actors Kornthas Rujeerattanavorapan and Natasitt Uareksit, respectively.
Directed by Khets Thunthup and Petch Varayu Rukskul and scripted by Pratchaya Thavornthummarut, the romantic drama with LGBT+ themes and a touch of fantasy tells how the life of Kham (Nat) could be boring for many, living in his humble house in a rural village surrounded by hills and rivers, with her father as the only person close to her, a friend who visits him from time to time and the pleasure of leaving nature captured on canvas.
With the aim of making us reflect on the importance of choices when defining ourselves, the series proposes an unusual love triangle between three men from two alternative worlds, with an exciting plot and intense dramatic scenes.
His world is turned upside down when he falls in love with Phupha (Gun Thapanawat Kaewbumrung), the handsome and dapper heir of the Khum Fah company, who arrives at his home seeking refuge while he escapes from the Big Slum gang that is after him to kill him and thus prevent him from taking the reins of his father's business.
The brief idyll between the two young people is broken when Thai (Kornthas Rujeerattanavorapan), the son of the gang leader, an evil man marked by a scar on his face, attacks Phupha. This is the moment when Khram will learn some secrets about Phupha's life. In addition to discovering that her lover is engaged to a rich young woman, it will also be revealed to her that Phupha is not the real son of the man she believed to be her father until that moment. On the other hand, both will suspect that the person who has raised him as a son is the one who has sent him and Uncle Viroj to murder.
The next day, Khram finds Phupha brutally murdered in his own home.
Desperate, Khram decides to go to the Magical Moon Pond, remembering that around the pond there is a legend in which the dead can be resurrected. In this way, the young man falls into the waters unexpectedly turned blue and crosses, inexplicably, to a parallel world almost identical to his world where not only Phupha is still alive, but in which a kind man similar to Thai and of the same name, but without the scar crossing his face, had been his lover, and his mother has died at the hands of the man with the mark on his face.
For his part, Thai is also confused because the Khram he knows has been murdered three years ago.
The sensitive young art lover wants to fix the past so he can save Phupha's life in the other world. To do this, he is forced to ask Thai for help, as he has come to understand that the young man who is tough on the outside and soft on the inside, with big eyes and dark eyebrows, is capable of protecting others with his strong leadership.
Denied at first, Thai ends up giving in to Kham's requests, once he tells her the truth about his relationship with Phupha in his alternate universe. And this is how the story begins between these two young people from very different worlds who are unaware that this journey full of mystery, fantasy, action and violence gives them a perfect opportunity to meet each other and end up in love.
Phupha and Thai represent different stages in the protagonist's life, and little by little the feelings for the former will disappear and in its place will be born friendship and love for the boy who has just arrived in his life. While trying to complete the mission, both will feel their hearts beating faster and stronger when they are next to each other.
This is how the series introduces a new element in its plot: the love triangle. Personally, I quite reject this very common resource when developing a piece of fiction. Reason? Whatever the outcome, there is no way in which the three involved will be injured. I understand the goal of adding some issues to the story at hand, generating sides and controversy, and ultimately creating an extra layer of entertainment, but honestly, when I like a couple, a third person really bothers me a lot.
No, I'm not saying I like GunNat. It's not that I prefer MaxNat, although I understand that the series seeks to consolidate this last ship within the BL universe.
And in this matter of confessing, I must then recognize that a love triangle like the one the series places at its center does have my approval and absolute enjoyment, despite, let's continue with the confessions, I don't like fantasy stories and parallel universes either. . I mean, the series has exceeded all my expectations.
Will Khram manage to save Phupha's life? And can he love Thai, who is in a different world from him, but intertwines with his every time the waters of the sacred pool turn blue?
Adapted from the web novel "2 Worlds" (2 Worlds: โลกสองใบ ใจดวงเดียว) by Prang (พราง), 'Two World' creates initial tension through the mistrust between its protagonists. The uncertainty about Khram's identity and the reality in which he finds himself after crossing the boundaries between the two worlds, capture the viewer without the use of special effects.
Throughout his journey, Khram encounters allies and enemies on this personal odyssey. Despite conforming to the characterizations of people he knows in the parallel universe, most of them, especially Thai, are variants of people with whom Khram will try to discover who he is. In this new stage of his life, Khram will fall out of love with Phupha and fall in love with Thai, who provides him valuable support and also begins to develop feelings for the young traveler between two worlds.
What is certain is that Thai manages to make his way onto our protagonist's romantic radar, and there, among the waters of a blue water pond that serves as a gateway to an alternative universe, Phupha's boyfriend meets Thai and Something sparks between the two, giving rise to an adventure that will determine their destinies.

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Queer version of the Chinese legend "The Cowherd and the Girl Weaver"

Inspired by the Chinese mythology legend "The Cowherd and the Girl Weaver", the BL miniseries 'Pink Summer' tells us the relationship between Shen Jing Yu (Yanjun Jing) and his neighbor Gu Sen (Allen Zhang).
In four 6-minute episodes, the queer version of the Chinese legend introduces us to two childhood friends who have lived near each other. When Gu Sen's mother has to travel to Beijing on business, she leaves her son living during the summer at the house of Shen Jing Yu and his mother.
As part of the Qiqiao or Qixi (Chinese Valentine's Day) festival, celebrated on the seventh day of the seventh month of the lunar calendar, the miniseries addresses romantic and platonic love inspired by the annual meeting of the mythological Niulang (meaning "The Cowherd") and Zhinü (meaning "Girl Weaver").
'Pink Summer' is a very funny drama: Following a mysterious love divination magic, Mengting assures him friend Shen Jing Yu that if he wants to meet he destined person, he should tie the red line of destiny on her left wrist and pray while He walks down the street seven times to the left from the door of his house.
Later, he offers another alternative: Only on the night of Chinese Valentine's Day if a person sleeps holding an orange in his hand, he will definitely see his destined person in his dream.
The stubborn young man will ignore the result again and again, which is none other than Gu Sen. But no matter how hard he tries, he won't be able to stay away from him side.
Although in the miniseries there is no prohibition of love between the two lovers, as in the Chinese legend, which forces them to live separated forever on either side of a wide river in the sky, our two film heroes will have to distance themselves when one has to go live in the Chinese capital.
As in legend, once a year all the magpies in the world will take pity on them and fly into the sky to form a bridge (鵲橋, "magpie bridge", Que Qiao) over the star Deneb in the constellation Cygnus , so that lovers can be together for only one night, which is the seventh night of the seventh moon?
The production directed by Allen Zhang was clearly not made for dramatic reflection, but to distract with its simple, fun and warm story; which is very predictable if we take into account that it is inspired by Chinese legend, but for that reason no less attractive for romantics at heart, as it shows the meeting of two apparently very different people.
What for me is an extra of this film is the way it uses comedy to develop its plot.

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The consequences of infidelity

The usual thing is to go to the movies (or turn on your cell phone or computer and check the internet), to fall in love, or at least to see kisses and hope for a happy ending.
That is not exactly the theme of '.avi', since this South Korean 'LGBT+' short film portrays the deflagration of affection, distancing, disagreement, deception, betrayal...
But at what point does what was united break? When does what seemed like lifelong happiness become an unbearable burden? There are many reasons for the disagreement, and where they are missing, in this case, one of the members of the couple will be responsible for providing them.
In this little masterful gem, the first film by South Korean Lim Kyu Hyung, two young people, Min Cheol and Chan Gyu, seem the height of rapport and affection, making plans for the future once they have to join their country's army to do the military service. They will find time and ways to meet and enjoy love.
However, when a video of her boyfriend having sex with another man arrives in Chan Gyu's hands, everything irrevocably changes forever. A shared world becomes the loneliest of places.
Although the plot sounds a bit generic, watch it for the beautiful cinematography and excellent performances. South Korean aesthetics are not something you will regret investing your time in. Seo Tae Woong ('Cheer Up') is an interesting casting choice, but it's Kim Chan Kyu ('Discipline Z: Vampire', 'Summer Déjà-vu'), who catches our attention as the indignant and hurt boyfriend Min Cheol who tries to find the truth behind the images.
Both actors had already starred in the romantic drama LGBT+ 'Twins' (2024).
The profound effects of infidelity on those who have been deceived are reflected in a fascinating way. Furthermore, the intimate moments between the two characters are subtle, elegant and hot. The use of body language and silences takes the cake in the film's treatment.
Erotic and dramatic is a combination that we love. The hot chemistry between the two lead actors is VERY good to watch. The film is visually impressive, leaves us speechless from time to time and makes us want to punch Min Cheol. But to understand it... would we also be attracted to understanding his actions, with his back to his boyfriend?
'. avi' is definitely a drama about relationships worth watching, since it explores the consequences of infidelity, of the betrayal of one of the members of the couple who acts as if he were an escort, but I would have liked it to explore not only from the perspective of the deceived, but also that of the cheater.
The dialogue is wonderfully intense and the performances memorable. Honestly, if Kim Chan Kyu and Seo Tae Woong are in a movie, just watch it.
Despite their separation, the journey they take is impressive to watch. If you're looking for a happy ending or a reconciliation between these two, you're barking up the wrong tree.

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BL and the vertical format: a marriage for the future already in the present

It is a pleasure to see Park Hyeong Seop, the popular YG model and actor, and Lee Sang Min, now as protagonists of 'Please Teach Me', the Korean romantic comedy from Top Reels, Korea's newest streaming platform. , after discovering the first playing Simeon (Chim On), in the drama 'Jun and Jun', and the second playing Woo Sun Woo in 'Why R U?', the Korean adaptation of the 2020 Thai series, and Ji Seung Min in 'Star Struck', all from the year 2023 and from the BL genre.
Rookie actors Kwak Hee Joo, Ji Jong Ho, and Lee Young Joo also join the star cast.
Produced by Astin Camel (formerly T2N Media), the drama is a collection of Korean BL shorts with 50 episodes of approximately 1 minute in length.
Its director and screenwriter, Yoon Hye Ryeom (Holy Class, 2014), is known for writing and directing the short film 'My Daddy Is a Bellydancer' and the unitary 'tvN O'PENing: Summer, Love Machine Blues', from 2023.
In addition to highlighting Park Hyeongseop's histrionic qualities, I would like to congratulate him for his humanism and commitment in the fight for the rights of the LGBT+ community and against homophobia. Specifically, I will refer to the actor's attitude when, on Tuesday, March 12, 2024, at the press conference for the official launch of Top Reels and the presentation of the series trailer, he faced some questions that those present and followers of the KBL considered homophobic.
When asked by a reporter about the "challenges" the actor faced in filming, as the series depicted a romance between two men, Park responded: "Since our drama is the same as any romantic drama, I didn't feel any burden or difficulty during filming.
I find it interesting that it was decided to film the series in vertical format, and it is in this aspect that I will place the greatest weight of my review.
South Korea has joined the Chinese dramas, as these are the first to make the leap to be designed and recorded specifically for smartphones and their screens, therefore, exclusively vertically.
And the script, content and format of 'Please Teach Me' are specifically designed for consumption on smartphones, due to its ease of consumption.
Since 2018, Tencent introduced short series such as 'My Boyfriend-ish Sister' (Boy 的 男友 力 姐姐) and 'My Idiot Boyfriend' (我 的 二 货 男友), and iQiyi launched 'Ugh! Life!' (生活对我下手了) and 'Arg Director' (导演对我下手了), in 2019, the list of series shot vertically has been expanded.
And it will continue to expand, because among the characteristics of these dramas, comedies and other productions, it stands out that they are not limited only to adapting their content to the vertical format, but also adapt many more details.
Let's start with the length of the episodes. An episode of a vertically shot series should be between two and five minutes long, so the action happens as quickly as possible. The creators and producers of 'Please Teach Me' know that their potential audience is young people, so the episodes will be consumed over coffee in a bar, on the way to university or back home, on a break between classes or the school soccer game or even before the images of a film begin to shoot in the cinema.
Every line of dialogue, every conversation and every joke is meant to come and go, offering seamless dynamic viewing. The episodes will thus be easily consumable and will satisfy the television appetite of young people. Thus, the goal is for the viewer to consume many episodes in a row and they can be mixed with those of other series without major difficulties.
'Please Teach Me' was even designed for the audience to use their hands to watch the chapter and move to the next, which is why the content is brief. We always take the cell phone with one hand and always with the purpose of looking at something casual. Can we imagine long content that was also in vertical format? It would be unbearable to visualize it.
On the other hand, the vertical format in 'Please Teach Me' was conceived as a genre and not as a simple format, since the length of the episodes requires it to be even faster. Being a series characterized by comedy and humor, these same characteristics fit perfectly in this format, since they are ideal for a fast-paced pace. Even the television narrative itself adapts better to this context than the cinematic one.
Doesn't comedy follow the same pattern as a vertical video? The producers took this quality into account, making this format ideal for transmitting joy and fun in small, easy-to-digest bites without special emphasis on the script.
That is to say, by its very nature of generating small gratifications in the form of a joke, the vertical format is perfect for generating a more frenetic pace than that of a conventional series that we consume horizontally. 'Please Teach Me' proves it.
Furthermore, not everything fits in the vertical format. Intricate dialogues, internal dialogues, abrupt plot twists or especially complex stories have no place in this format. That is why 'Please Teach Me' presents a coherent rhythm, composition and way of teaching its content. The vertical format requires thinking about all this and although comedy is not the only one that fits into this formula, it has proven to be the most comfortable to adapt to this format.
Finally, vertical series have a fragmenting visual language, so the narrative is full of quick cuts, screens that slide or split to offer two different perspectives of a story. 'Please Teach Me' manages, in this sense, to increase the number of shots consumed by the viewer and offer more information in less time.
For this, the producers and creators took into account that although the settings and in general the context of the visual space are not well used in this format, the condensed visual information is.
We cannot ignore that these works usually have quick camera cuts, split screens to see the face or the situation in which two characters are involved, funny transitions, etc. Yes, it is true that the viewer loses in spatial content, but gains in visual information. This is how in 'Please Teach Me' the scene counts much more since it focuses much more on what is important. Therefore, the experience thus turns out to be dynamic and fluid.
While large movie screens try to put the audience into a world and an experience, vertical screens, and especially smaller ones, help the viewer to more easily believe what we see in the images.
The vertical format transports us not to a world, but to what we want to see on the screen, and giving it to us in faster doses and with more information sometimes makes it more enjoyable. The creators and producers of 'Please Teach Me' know this perfectly.

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The Challenges of Balancing Faithfulness to the Original Work with Creative Interpretation

Why do friends-to-lovers stories continue to surprise us? In the world of television series, there's a cliché that has captured our hearts for generations. I'm referring to when the main characters are friends before they fall in love. There are often many moments that show how well they know each other.
In these cases, how can we not empathize with the obstacles the characters face during the plot? Well, don't doubt it: a common reason for not being together, for one to hide their love for the other, is that they might ruin their friendship.
It may be a matter of days, a few months, or it may take the characters a lifetime to realize that the affinity they feel for that special person in their everyday lives has crossed the line from friendship to become a romantic interest.
As viewers, don't we get a chill when we realize that these two friends who get along so well and even read each other's minds because they've known each other forever, even since they were children in many cases, are actually developing a "friends to lovers" trope right before our eyes? We've never waited so eagerly for the next episode! We've never devoured a series so quickly!
Personally, I feel like this trope is so underrated, and I don't understand why. Not all friendships have to turn into romances, but sometimes it just makes sense. True love is based on trust and truly being there for each other, so I wonder why best friends wouldn't fall in love with each other.
The truth is, friends to lovers stories have been with us for a long time and remain a surefire twist that we love to discover little by little, frame by frame. They are an inexhaustible source of fascination that makes us want to stay immersed in the next episode, from the first to the last, just to see if that exchange of glances full of intentions finally turns into the first kiss that changes everything.
What if we add to this the fact that the characters have incredible chemistry, and are so funny in the awkwardness and confusion typical of someone who's never been on a date? What if the performances are so well-crafted that they actually feel real? What if one of the protagonists has an unrequited love, while the other is oblivious to it all? What if we add a third wheel to this explosive "Molotov cocktail", and the newcomer mistakenly reads the lovelorn boy's diary, in which he confesses his love for his friend, and thinks it's a novel in progress? What if he approaches the booklet's writer with the intention of giving him ideas for the literary work, and this approach is interpreted by the boy our protagonist has fallen in love with as his best friend being stalked?
What if, out of frustration with his crush because he simply can't take hints that he likes him, the protagonist change the name of that person on your phone to "Stalker", confusing everyone else looking at it, especially the guy he loves? What if the main character's best friend thinks the newcomer is the stalker, and to avoid the "stalking", decides to accept his crush's proposal to be his girlfriend for a week? What if, after accepting, the eternal crush gives contradictory signals, further confusing his clueless friend, now his boyfriend for the next seven days? What if the clueless joker tells his friends that his best friend proposed to him and he accepted? What if the group of friends answers his doubts with almost straightforward answers, and he still has no idea? What if the romantic comedy is hilarious and the slow-burning tension is top-notch? What if they end up hooking up? Well, we still don't know the latter, but we hope so.
This is precisely what 'Something is Not Right' is about, the South Korean series that revolves around Do Ba U (Choi Min Ho), who harbors an unrequited love for his childhood best friend, Ji Hoon (Jeong Je Hyeon). Hopeless, in order to overcome his feelings, he proposes to Ji Hoon that they go out for a week, something that, to Ba U's surprise, his friend accepts.
Why this sudden change in Hoon's attitude? Because Jung Ha Min (Ji Min Seo) has entered Ba U's life, and Hoon suspects Ha Min is stalking Ba U. That's why he sees this "temporary relationship" as a way to scare him away. Will Ba U be able to put his unrequited love behind him by the end of the week? Will it really be unrequited love? Or will this fake relationship with an expiration date be the beginning of something real between them? Will the two discover that their friendship has transformed into love?
The following episodes will allow the viewer to discover whether the plot will evolve into a new trope, that of the love triangle, or if Ha Min will become the "fairy godmother" to Ba U and Ji Hun. But the truth is that while Ji Hun hasn't realized that the stalker he's worried about is himself, Jung Ha has no sense of personal space, and both reads the diary Ba U left behind in a coffee shop and eavesdrops on other people's messages and conversations, refusing to take no for an answer.
In a story that perfectly and equally blends confusion, unrequited love, to confess or not to confess, friendship or love, and the arrival of someone new who gives off the vibes of someone interested in opening up the already fragile relationship between two people and turning it into a love triangle, or in other words, trying to win the protagonist's heart, faced with the proposal, Ba U, who was only expecting to be rejected, never thought that Ji Hoon would agree to be her boyfriend for a week.
The 8-episode drama, directed by newcomer Seong Yu Hwan, is a spin-off based on one of the supporting characters from Tak Bon's webtoon "Who Can Define Popularity?", which in turn served as the source material for the Korean BL series 'Blueming'.
While the plot isn't anything special, the way the creators present the story is fascinating, with such precise characterization of their characters, genuine, funny and silly in their own way, including the secondary characters, which makes the series so interesting, fun, and fresh.
Contrary to what some viewers think, this enjoyable and hilarious romantic comedy is not a remake of 'Blueming,' nor does it seek to remake the story, surpass it, or ruin it. The original work (I'm referring to the webtoon "Who Can Define Popularity?" and not the Korean BL series 'Blueming,' as some viewers believe) has been adapted to highlight the supporting characters Do Ba U and Ji Hoon as the main protagonists, even introducing new characters that didn't exist in the manhwa and casting new actors to portray the already familiar characters from the series directed in 2022 by Hwang Da Seul, and based on a script written by Seo Ji Eun, who with 'Why R U? Korean Remake' (2023) demonstrated expertise in adapting the original Thai BL story of the same name written by Kittiphat Jumba.
In this regard, 'Blueming' is a series very far from the original manhwa, so the two have very little in common beyond their concept. Therefore, it's no surprise that other creators are revisiting some of the characters from the original work to launch a completely new series therefore, it's no surprise that other creators are revisiting some of the characters from the original work to launch a completely new series starring those who were the secondary characters of both the Korean series and the webtoon. On the other hand, if they are productions from two different companies, why should 'Something is Not Right' feature the same cast as 'Blueming', another of the complaints of some viewers?
Like any other adaptation, be it a novel, short story, graphic novel, poem, play, comic book, etc., 'Something is Not Right' doesn't have to be faithful to the original work, beyond what the adaptor wishes to preserve.
The first thing viewers should keep in mind is that 'Blueming' is NOT the definitive version of the story captured in "Who Can Define Popularity?"
Another element for audiences to keep in mind is that while the original manhwa may offer new perspectives and unique narrative opportunities, it may also struggle to find an audience without prior exposure to the source material.
Should it be faithful to the original work or have creative freedom to transform elements of the story for the benefit of the series?
This is the question many viewers will be asking. While some creators prefer to replicate the original work as is, preserving the script, characters, setting, and time, the producers, directors, and writers of 'Something is Not Right' chose to take more liberties, altering key aspects of the plot or characters, even though they knew this decision could provoke criticism from the webtoon's fans.
However, we must keep in mind that this creative freedom is a powerful tool for reinterpreting and bringing the original text to life. There will always be debates about whether adaptations are faithful and of high quality, but it's evident from its first two episodes that 'Something is Not Right' has the potential to add a unique visual and emotional dimension to the webtoon on which it is based.
To the creators' benefit, despite the considerable changes, the fluidity of the plot helps tell the story very effectively, gaining the approval of most audiences and fans of the manhwa.
When adapting the original, the creators abandoned the so-called Literal Adaptation and Condensed Adaptation approaches in favor of Expanded Adaptation, an approach that expands the original work by adding scenes, subplots, or characters not present in the original, thus providing greater depth and context to the story, and Interpretive Adaptation, which allows for greater creative freedom when adapting the original work.
Not only did they accept the challenge of adapting the work while remaining faithful to the overall tone and themes of the original work, but at the same time, they made it accessible and engaging for audiences.
In my opinion, Seo Ji Eun and Seong Yu Hwan have understood these two aspects, which have helped them craft a better script, understanding the background of the work, which characters are involved, and how important their role is to the series, as well as what they hope to convey to the viewer. Through their work as screenwriters, they have managed to keep Tak Bon's voice as an author alive.
Their collaborative work demonstrates their ability to discern which characters should be given more exposure and which should be used to help the story flow, reviewing the plots to see which supporting characters will help the main characters achieve their goals and which won't; and finally allowing the protagonists' thinking to evolve, taking it from a passive beginning to a point where the characters have grown so much that they have changed their thoughts and convictions.
In conclusion, the adaptation gives fans of "Who Can Define Popularity?" the opportunity to see the story captured in one of their favorite manhwa come to life in exciting new ways, capturing the spirit and essence of the original work.

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Jazz and internalized homophobia holding hands

'Jazz for Two' is subtle in mixing several themes to bring us a romance between two boys, with the world of jazz as a context, marked by internalized homophobia in one of the members of the couple.
A lover of this rhythm, Song Soo Lim, known for directing 'A Shoulder To Cry On', adapts the popular Clazju webtoon in live action, published in Lezhin Comics in 2017, offering us a romantic and musical drama with a complaint against a problem which can lead members of the LGTBIQ+ community to feel ashamed of their identity and question their own validity as people, as well as making them feel isolated and alone, which can lead to mental health problems such as anxiety, depression and post-traumatic stress.
With its unique combination of music, romance and drama, the series, produced by MODT, confirms the growing appeal of BL dramas and webtoon adaptations, both by fans and the industry.
With the inclusion of jazz music themes, the series is not just a story of high school students, but a testament to the power of storytelling to explore universal themes such as love, identity, friendship, grief, musical studies, personal improvement, the discovery of sexual orientation, the process of overcoming complexes and traumas, acceptance, intolerance, homophobia, internalized homophobia and internal family struggles, in its narrative arc about a journey of discovery for the four protagonists .
In an intimate tone, the series is structured around Han Tae Yi (Jee Ho Geun), a cold, scheming and expressionless musical prodigy who has brilliant trumpet skills and a captivating voice, and Yoon Se-Hun (Jin Kwon), a jazz otaku who wants to be recognized for his music and has just transferred to Wooyeon Arts High School.
When the gaze of Yoon Se-Hun, playing the piano with a slight smile on his lips, and that of Han Tae-Yi, surprised, from the door of the old music room, meet, a dazzling visual combination occurs. This eye contact will be enough to change their lives. We are facing a spontaneous piano recital that is actually the overture to romance and seduction.
Have you ever met someone who makes you feel restless and calm at the same time? Have you fallen in love with a person who, although beautiful, seems complex and mysterious to you? Have you crossed your life with someone who keeps your heart rate at 112.5774 beats per minute?
If this happens when you listen to jazz, it also happens when you meet the love of your life. Se-Hun's arrival at Tae Yi's school represents an alteration in the latter's routine, where the hours in which he does not study or make music are spent immersed in his thoughts, among which an apparent hatred towards him stands out musical genre caused by the suicide of his brother, who was a genius jazz pianist, which is why he lost the will to live. On the one hand, Se-Hun's brilliant appearance contrasts with his own, while on the other, he has been shocked by his piano performance.
The attraction between them does not take long to materialize and little by little we witness how the surly and cold Tae-Yi opens up to the feelings that invade him, slowly but unstoppably revolutionizing his life emotionally. However, he rejects Se-Hun's feelings and distances himself from him.
If the reason why Tae Yi's brother commits suicide has always been a mystery, I am even more intrigued by the young man's question to his uncle: "Was my brother weak (in character)"? This made me think early on that both had had sexist and even homophobic teachings from their father. Would Han Tae Joon's (Byun Sung Tae) death have been related to this cause? Why does Tae Yi reject all approaches from Song Joo Hee (Kim Min Ah), Song Joo Ha's (Kim Hung Ha) sister? There was no doubt in my mind that Tae Yi was gay before Seo-Hu came into his life.
In this way, a very sensitive topic that is rarely addressed in BL is introduced in such an open and stark way: internalized homophobia. Marked by trauma, having to comply with what is demanded of him by a conservative country with strong patriarchal and heteronormative traditions, with an internalized homophobia that prevents him from admitting his own homosexuality, in a fascination that reflects his struggle of feelings: hatred and desire, Tae Yi rejects the boy he loves over and over again.
Tae Yi has all the cards against him: traumatic and painful experiences, such as bullying, physical or emotional abuse, the loss of friends and family. Tae Yi is a victim of the discrimination, rejection or shame that some LGTBIQ+ people feel towards their own sexual orientation or gender identity. It is a common problem among people who have grown up in societies that stigmatize or repress sexual diversity.
The series, for my taste, is a very subtle and interesting criticism of the discourse that seeks to suffocate minorities by stating that being homosexual is something abnormal and depraved. But instead of taking you down the path of vindication in search of conquering our rights, Song Soo Lim directly shows us the consequences that something that seems so general has on a normal person.
In theory, something that would not have to affect Tae Yi, who spends his days at school, his house or his uncle's bar, oblivious to everything and everyone, except forgetting his deceased brother. But it does affect him, because after meeting Seo-Hun his whole world collapses, feeling a fascination for him that borders on obsession. Tae Yi transforms into another person, but he doesn't know how to react to him. He doesn't know what the consequences will be of his actions of admitting to himself that he loves another man.
How to repress and hide a part of yourself that is suffocating you little by little and eating you away from the inside. But also, this inhibition not only affects you, but all the people around you who are also swept away by that gale.
'Jazz of Two' is a series that proposes us to reflect on internalized homophobia, on the many generations that have been affected by that intrinsic message that society constantly sends you and that tells you that you are not normal, that there is something wrong with you and that you have to hide, make yourself invisible. How you learn to put certain feelings or opinions in a box and wear a mask to feel safe, at the cost of never being your true self.
And I really liked that the drama portrays this process realistically, not in a perfect entity, but in a fallible young man, who is struggling with his reality, who makes mistakes, who takes steps back and is afraid. Tae Yi lives two separate worlds. That of the talented high school student, that of a genius with a trumpet on his lips, on the one hand, and that of a gay boy in love with the jazz-loving student, on the other.
It might seem for these reasons that we are talking about a dark and depressing series. But it's not like that. Its director also shows us what it means to build community and how your queer family, especially the other three young protagonists, and their uncle, can be there for you in difficult times.
'Jazz of Two' is sometimes a mirror that many have found difficult to observe. It will remind us of so many moments in which people who carry a great deal of internalized homophobia within themselves feel just as uncomfortable as Tae Yi, with the same feeling of hopelessness and helplessness.
For this reason alone it is worth giving great recognition to the series, to the members of the technical and artistic team. How can we not consider the series timely, revolutionary, provocative and innovative in a country like South Korea, where relationships between people of the same sex are not yet recognized and equal marriage is not legal, when in the United States, a nation supposedly less conservative, every day states pass laws that seek to bring LGBT+ people back into the closet, or in Spain a children's movie is censored because it shows a lesbian kiss.
But it's not just the main couple who is damaged by internalized homophobia. The second, made up of Song Joo Ha and Seo Do-yoon (Song Han-gyeom), two other students at the school and the latter's friend of Tae Yi, will also suffer for this reason. And even a third, made up of Yoon Se Jin (Ko Jae Hyun), Se Hun's brother) and Han Tae Joon, Tae Yi's brother, composer of the jazz piece that gives the series its title.
Just like that of the main couple, the chemistry between Seo Do-yoon and Song Joo-Ha is also unique. Both characters show their passionate emotions, capturing the viewer's attention. It also adds curiosity about what type of relationship there would be between them through the question posed by the first: "What happens if I cross the line?", incorporating new tensions and questions to the story of four sensitive and pure teenagers who go through friendship. and love.
The viewer can appreciate that it is not a simple plot, as it may seem at first glance, by showing us the social reality of South Korea, to which is added a homosexual love relationship marked by internalized homophobia, with jazz music as background.
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