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'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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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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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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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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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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My "guilty pleasure": why do I need 'Sangmin Dinneaw'?
That "guilty pleasure" thing is something I've never liked. Mainly, because any movie or series that makes me have a good time being guilty has very little. However, sometimes any film or television product that manages to make me forget reality for a while is welcome.We all have that little guilty pleasure when it comes to series. That series that you love to watch even though it doesn't fit into your canons of taste. You know you shouldn't watch it either because it's bad or because your best friend told you to watch both seasons of 'To My Star' by Hwang Da Seul at once, or to repeat 'The On1y One', the LGBT+ television gem by Taiwanese filmmaker Liu Kuang Hui, but even so, you decide to continue with the series and enjoy it like there was no tomorrow, consuming episode after episode.
Some series have simply been the best accompaniment to disconnect from everyday life, and others have captured me because of the topic they deal with.
For this very reason 'Sangmin Dinneaw' has been one of my guilty pleasures during the evenings of these last Sundays, when a broken ankle has me tied to the bed.
So to combat the impossibility of going out, I ended up getting hooked on the Thai romantic comedy directed by Thitipan Raksasat. It's not that I felt especially guilty watching it, it must be said, it is true that it does not fit the type of fiction that I usually consume. And I did well taking the risk.
Sometimes, you end up with your brain so fried after the entire student or work day that all you want is to be able to see something without pretensions. And look, without any kind of shame and dishonor, I tell you that the BL series starring Choi Sang Min as Sang Min, and Petch Ratana Aiamsaart as Dinneaw, fulfills what I was looking for these days.
Don't look at me wrong. I am neither committing any crime, nor am I attacking any norm regarding audiovisual enjoyment. There is a time for everything. To see what's new from Backaof Aof Noppharnach, the latest installment by Filipino JP Habac, the next trendy romantic drama starring Fandy Fan after 'A Balloon's Landing' (which I owe a review), the future project that War ý Yin Anan They are brought up after delighting me with 'Jack & Joker U Steal My Heart!', or to remember the work of Golf Tanwarin Sukkhapisit.
And if you think not, remember that you are taking away the most beautiful and democratic thing about movies and series: there is a product out there for each and every one of us. Let's not forget that we are talking about entertainment and, precisely for that reason, we should not force ourselves to watch something we do not want to see simply because we have to.
Well, because of 'Sangmin Dinneaw' I haven't made any progress on other series I had pending. The series is to blame for the fact that I haven't taken advantage of that time to catch up and advance my long list of things that have been postponed, but at the same time I had a great time with Sangmin and Dinneaw. The two of them and the four friends is the best thing that could have happened to me during these weeks with their extravagant episodes.
Although the character of Dinneaw caused me problems at first, little by little his shy but suggestive interpretation has won me over. Because, deep down, in the eight episodes that make up the series, what is important in the character ends up being themes such as transformation and identity, discovery and acceptance.
If you don't know what it's about, I'll tell you that 'Sangmin Dinneaw' follows two young people, childhood friends, one South Korean and the other Thai, who meet again after being separated for ten years.
In all that time, Sangmin never contacted the people who lovingly welcomed him in Thailand when he was a child, and now he returns wrapped in a halo of mystery, without revealing the reason for his trip, but his frequent phone calls and having to take a medication several times a day indicate that something is disturbing your life.
Although neither of the two young protagonists masters the other's language well, they are magically able to communicate with each other. And not only with each other, since the visitor must talk to all the inhabitants of the town and the tourists who arrive at the hotel run by Orn, Dinneaw's mother (a role played correctly by actress Koy Naruemon Phongsupap), a middle-aged widow who maintains a very close relationship with his only descendant.
Soon we will meet two other fundamental characters in the story. I'm talking about Pop Arthit (Joke Chaloemdet Thammawut), the owner of a classic herbal liquor bar, and Tor (Non Ratchanon Kanpiang), Dinneaw's best friend and a meat dumpling seller at the market where he also works. Dinneaw selling crafts made in a family-owned pottery workshop.
In a cozy rural environment near the city of Ayuddhaya, the story also explores the relationship between mother and son, the pursuit of dreams, first love, and friendship.
Everyday life will lead the two main characters to reconnect with their shared past, and they will gradually discover a deeper connection that transcends friendship.
In short, morbidity is assured, since Sainam (Little Siravit Imsee), the owner of a hotel in Amphawa, is a negative character who will not hesitate to use his economic power to try to conquer Dinneaw with bad tricks; his two friends Pop and Tor have their romantic encounters, despite the second being unilaterally in love with Dinneaw, while a hot third couple will make us laugh.
But yes, the quota of silly humor, eccentric characters and comically extravagant scenarios that I had planned to see in 2025 and possibly the next 100 years are already given to me by Earth and his character Heng in 'Ossan's Love Thailand', and even with scenes and much more finished and polished situations, why do I need Pony (Sutirod Seepech?
But if I already have the inappropriate behavior and workplace harassment of a boss towards his subordinate with Yamnarm Chakrit with his Kongdech against the main character in 'Ossan's Love Thailand', why do I need Sainam?
If I already have two childhood friends who discover they have a connection beyond friendship through Max and Tul in 'Together With Me', why do I need Sangmin and Dinneaw?
If I already have Gim (Lookwa Pijika Jittaputta), a loving mother with a close relationship with her son Gun (Fourth) in 'My School President', why do I need Orn and Dinneaw?
If I already have Nuea (Rattanamongkol Nutchapon) dressed in a typical Thai woman's costume in 'Grey Rainbow', why do I need Sangming?
Yes, I already have two boys who really love each other celebrating their first Loy Kathrong together, and they even have to celebrate it days before the night of the full moon of the twelfth month of the traditional Thai lunar calendar, because on those two days of festivities they will be distanced physically because each one is in different cities, as happened to Achi (New) and Karam (Tay Tawan) in 'Cherry Magic 30', why do I need Sainam and Dinneaw, when Does the second not love the first?
If I already have a boy wrapped in a towel when leaving the bathroom in front of his platonic love, as Arc (Force) shows himself before Arm (Book) in the first episode of 'Perfect 10 Liners'... why do I need Sangmin and Dinneaw?
If I already have love triangles, like the one between Match (Jet), Mix (Jame) and Ryu (Big) in 'My Mate Match'... why do I need Sangmin, Dinneaw and Tor?
If I already have Matteo (Alan Campana) and Shokun (Bigboss) enjoying the pleasures and dangers of BDSM in 'Hit Bite Love'... why do I need Ryktor (Krin Preechachaisurat) and Guy (Boom Thunpisit Larpsumritphon)?
Above all, when I am not convinced by Sainam's manipulation of Dinneaw to get him to go to work at his hotel because: who would guarantee that the boy would try to prevent the tourist's bag from being stolen, causing him to be fired from his job?
Could it be that the classic Thai dance of the six cross-dressing boys ties me to the series? The mystery that surrounds the Korean visitor? The plots so exaggeratedly ridiculous? To know if I will get to know what happens at night between Pony and his stuffed animal? The lightness and lightness of the series? The performances of the actors and actresses? The chance to see images of the ancient capital of Thailand for more than 400 years, the three rivers that surround it: Chao Phraya, Lopburi and Pa Sak? See if they show images of the archaeological zone and its ancient ruins, including the Ayutthaya Historical Park, recognized as a World Heritage Site by UNESCO in 1991? Is it because I need to know what happened to the gecko attached to the towel that covered Saingnam when he left the bathroom?
I admit it, I have no filter. The series has caught me and I think I won't resist until I see the last episode.
If the rest for my fractured ankle lasts another month...
Review update after the 6th episode:
The series changed its tone from being a comedy to being a dark drama (and in this case I make a negative review, since the transition was very violent, aggressive I would even say, with a fairly big mood change in episode 6). With the change of register or tone, the series breaks with the harmony of the narrative.
- Subplot involving memory loss, medical negligence, and pressuring a patient to undergo highly dangerous invasive surgery when the patient has repeatedly expressed that he does not want to undergo it? The way in which doctors should seek patient approval fails here.
- A love story between two doctors who arrived at the last minute?
- A mysterious illness that Sangmin has had for years that causes headaches and could only be cured with surgery, otherwise he would die of a headache?
- A surgery that can only be obtained in Thailand and not in South Korea, which led Sangmin to travel?
-Why wasn't Sangmin's presence at Dinneaw's house based on his nostalgia, his desire to return to a place where he was once happy? In my opinion, this option would have been much more romantic and familiar, and for him to suddenly reappear or begin to suffer from health problems.
- Tor suddenly falls in love with Athit and agrees to stop being friends with benefits and become boyfriend and girlfriend?
- Did you have brain surgery and the patient did not shave his head or at least part of it? The computer/laser guided system like the one the doctor described in episode 6 would be used in the operation would need to remove a section of the patient's scalp/skull. I find this to be a strange brain surgery for a strange post-traumatic brain injury.
- Sangmin not only lost his memory, but apparently became unable to distinguish between a person and a dog, and starts acting like a chimpanzee?
- A veteran doctor with years of experience who demonstrates that he does not have communication skills with the patient's family in one of the most important medical procedures after a surgical intervention?
- Why was the scene not used to, through the specific knowledge, skills and abilities of the main doctor, inform the viewer about the strange disease, the surgical procedure and the current and possible future status of the patient?
- New characters arriving at the last minute, with their own stories and nothing to do with the main plot? In a long series it could be justified, but not in one with only 8 episodes.
- Too many stories and characters that have no purpose other than to fill screen time.
-What do Ryktor and Guy contribute? Initially, the character of the first, forcing his boyfriend to have sexual relations with him despite his refusal, provided a certain humorous nuance that benefited the series. But today I could say that even if they had never been on the show, it would still work.
- Sainam in love with Dinneaw but in dark arrangements to acquire the hotel he runs with his mother?
- Why did Hanna side with Sangmin's mother, when everything seems to indicate that she knows about the violent relationship between mother and son?
- Breakdown of patient confidentiality?
- A mother, homophobic by the way, who has never worried about her son and today travels to Thailand from South Korea to look for him and take him home, without worrying about his state of health and whether he can take a plane trip after undergoing surgery?
Was Sangmin's attitude while third parties were discussing their immediate future and hitting each other was to look into the air and count sheep?
- Dinneaw suffering sudden and repeated fainting, then recovering quickly after a brief nap in Tor's arms? All this to show Athit's jealousy?
- Electrocute a patient through his clothing during cardiac arrest in the middle of a surgical operation?
- What happened to the butterfly? What is the story behind this? Sangmin poisoned?
- The suspense of the series finale totally destroyed thanks to the preview?
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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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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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Kidnapped kidnapper
An unusual love story captivates the audience in each of the episodes of 'Kidnap', a Thai series directed by actor, musician, singer and filmmaker Noom Attaporn Teemarkorn ('Midnight Museum'), known for his distinctive style and captivating narratives, in which it presents us with an intense plot where there will be no shortage of violence, kidnapping, intrigue, hand-to-hand combat... and romance.Pawat Chittsawangdee (Ohm) and Thanaphon Usinsap, who after appearing as a guest actor in 'The Folly of Human Ambition' (2021) plays his first leading role in this series, are in charge of giving life to characters that have even become a trend on social networks, because every time they appear on screen their romantic approaches monopolize the throne of Instagram and Twitter.
Ohm Pawat Chittsawangdee is a young actor who got his start in the entertainment industry with the lead role of Frame in the 2016 series 'Make It Right', which was followed by 'Make It Right 2' and 'Make It Right: On the Beach'. BL lovers remember him for his performance in the film 'Dew', a performance that won him the Best Supporting Actor award at the prestigious 28th edition of the Bangkok Critics Assembly Awards in 2020.
His character of "Pat" Napat Jindapat in the series 'Our Skyy 2' (2023) and 'Bad Buddy' (2022), and that of Khemachat Dhamrong-rattanaroj in 'The Shipper' are also treasured by his fans.
The link between Ohm and the director of the series is not recent, as both had already worked on the drama 'An Eye for an Eye', from 2021. On this occasion, Ohm played the secondary character called
Nawa.
Ohm plays Min, a young actor and stuntman who agrees to work as a kidnapper to use the money from the kidnapping for the expensive medical treatment of his sick brother, as well as to pay a debt owed to gangsters.
However, when her employer asks him to kill Q, him young, spoiled, rich co-star whom he has kidnapped, Min can't bring herself to pull the trigger. Instead, he tells them the job is complete and takes the boy home to hide him.
What we will see next takes the viewer through a wealth of emotions, from despair to hope, from insecurity to love, with Min and Q trying to outwit their pursuers to save their lives and those of their loved ones.
In this way, the two boys create a loving bond and discover that they have a strong and undeniable connection with each other.
Although the relationship does not begin as "Cupid's rules dictate", with the lover arriving with a flower in his hands to give as a gift, this love seems very logical to me because Min never exercises violence on the kidnapped person, while Q He finds in the kidnapper a strong and kind being who can protect him. His protector is always there for him.
Stockholm syndrome is one of the reasons that moves Q, a feeling that grows in his chest when there is an emotional bond towards the person who has kidnapped him. After experiencing something like this, people are not the same. Q is an innocent boy. His only "crime" is that of being the son of Khacha Yuenyongwisut (Lift Supoj Janjareonborn), the incorruptible police officer who is carrying out a criminal investigation in which those who hire Min to carry out the kidnapping are involved.
Let's face it, developing a strange bond with his kidnapper is not original, as it has been explored before. Films such as the British 'A Life Less Ordinary' (1997), by director Danny Boyle; the American 'Kill Me Later' (2001), by Dana Lustig, the Indian 'Highway' (2014), by Imtiaz Ali; and the American gay film 'The 24th Day' (2004), by Tony Piccirillo, have addressed the issue from various perspectives.
The Thai film 'Bangkok Love Story', by director Poj Arnon ('Tell the World I Love You'), from 2007, tells us a tumultuous relationship between two strangers who become close, but deep down there are no points of coincidence with this series, because in the film there is not a kidnapping but a rescue, while the mission entrusted to a cold hitman is not to kidnap, but to physically eliminate a police informant.
The difference that I appreciate between the previous films and the series directed by Noom Attaporn Teemarkorn is that Min is not the typical predator or the obsessive character with psychiatric problems represented by Ricky (Antonio Banderas) in the Spanish film 'Tie Me Up!' (1990), by Pedro Almodóvar, or Massimo Torricelli in the Polish '365 DNI' (2018), by Barbara Białowąs and Tomasz Mandes, to name just two examples.
'Kidnap' does not take lightly a criminal action such as kidnapping, with the legal implication to which the kidnapper is exposed and the trauma it causes to its victims.
What drives Min not to commit a crime is his kindness and love. This is what causes Min to not execute the order given by the employers and instead save the person he must kill. Together, the two young people will experience a traumatic situation in the best way they find possible.
Ohm and Thanaphon Usinsap represent a couple in the story with ups and downs, and Lima syndrome is also present in the plot, since the kidnapper responds to the victim. Since these syndromes exist, which in this case for me is true love, not a condition, there is this way of addressing it in the series. To tell a story this extreme, you also need a lot of delicacy and a lot of respect for the subject.
On the other hand, the strong chemistry between both roles is also partly due to the prior teamwork that the actors do before each scene, bringing to fruition sequences that are out of the ordinary, between kidnapper and victim.
In this character of Q, the actor who plays him comes out on top, combining strength and defenselessness, with a happy and noble character, which does not lack sensuality.
For his part, Ohm continues to stand out in his career in the complex role of Min with a difficult balance between the boy in need of money to save his brother's life and even his own in the face of the bullies who demand payment of a debt. and the nobility and innocence that hides in his heart.
It is not credible to me that a criminal network would entrust the mission of kidnapping and murdering a person with no prior experience. However, this is understandable, since it favors the development of the plot.
Ohm Thipakorn Thitathan, Min's younger brother; Phromphiriya Thongputtaruk (Papang) as Suea; Chelsea Napapat Sattha-atikom, in him acting debut, as Khanomjeen, Min's friend; Pym Pympan Chalayanacupt as Yada, Suea's boss; Title Kirati Puangmalee as Min's senior James, among other actors and actresses, bring a range of intense and complex performances.
Obviously this conflict arouses the interest of the public who loves to see the two main characters together, and also those who follow the other Ohm in his role as Min's brother, who left me wanting to see more of his artistic work after discovering it like August, in 'Last Twilight', and Zo in 'Our Skyy 2' and 'A Boss and a Babe', all from 2023.
By reading the comments on MDL one can see that the majority of the audience really enjoys every scene, every situation that these characters present. There is annoyance, but also a support that makes the audience who finds the series fascinating complicit.
Except for the rookie Nontachai Vinyousupornchai, the other three screenwriters, PingPong Suwanun Pohgudsai, Chalermpong Udomsilp and Sornpanath Patpho, have extensive experience in writing scripts, especially those in the BL genre, having written the scripts for 'Never Let Me Go ' (2023), 'Cherry Magic' (2024), 'Remark' (2016), 'The Gifted' (2018), 'ThirTEEN Terrors' (2015), 'Vice Versa', 'The Eclipse', among others, which demonstrates his commitment and vision in the development of the series.
In summary: 'Kidnap' offers a moving vision of the protagonists' journey as they deal with their growing attraction and the development of a beautiful romance, while searching for a sense of belonging in a world that is hostile to them.
I'll come back to the review to update it.
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Joker, the antihero we didn't know we wanted has become someone we need.
The world has always been a place full of light and shadows. Regardless of the stage in human history, crises have often led us to think that we are living in the worst times. However, the economic situation, racial tensions, the resurgence of fascism, genocide on defenseless peoples, hunger and hopelessness have always been present in our history.In a world where money and power guarantee that athletes, some without deserving it, take a place on the national team of their sport..., in a world where the poor, including children and the elderly, live in misery and have to work sun to sun to try, without success, to pay their debts and be able to put a crust of bread in their mouth..., in a world where being rich certifies that you cannot go out on the streets at the wrong time, because they can kidnap you for ransom..., in a world that shows the most cynical face of economic power and the amorality of the media, political and economic universe..., in a world where the oppression of the individual prevails at the hands of an alienating system, inhabit the characters of 'Jack & Joker U Steal My Heart!'.
It is in this world where Joker, a master of disguise and a skilled conman, emerges as a rebellious political and social subject. This is how he decides to lead a double life. Boastful and gifted at conversation, he is secretly a notorious thief wanted by the police. Using his exceptional disguise skills, he steals from wealthy oppressors and redistributes their wealth to help the weak and needy.
Joker is, in short, an antihero. The figure of the antihero has reigned in cinema and television series since modernity. Far from the stereotypes of good and bad, these multi-dimensional characters are more attractive to the public than heroes and villains. The antihero presents more humanity, therefore more contradictions, and this can make viewers come to love them in a matter of seconds. And this precisely happens in this 12 episode drama produced by Dee Hup House.
Jack lurches his way through the jungle of crime, violence and corruption, at times as part of it and at other times as a staunch opponent. This jungle is contextualized in the quintessential space of the street, but also in that intramural focus of offices, bars and luxurious mansions where gangsters decide the paths of evil.
In this context, Joke and Jack, the two protagonists, and their friends Aran (Mark), Hoy (Bonz), Tattoo (Prom), Nang (Took) and the inhabitants of the Temple, will fight against Boss (Beam) and the Four Horsemen , maximum exponents of the sordid criminal world, to protect the humble residents.
We are facing a transgressive series that distances itself from the bombastic epic and expansive narrative of superhero stories. We are facing a series whose main character reminds us at times of Walter White from 'Breaking Bad', an antihero who represents criticism of the American dream, who brings to light the limitations of the American middle class and the neoliberal health system; Jack Sparrow, the famous pirate who brought chaos with him and was not afraid to lie and take advantage of others, while trying to help his friends; Loki, the well-known "God of lies", who has a tendency to betray his family, but at the same time provokes laughter with his actions and phrases full of egocentrism and who was finally able to redeem himself and become the favorite antihero of the Marvel films; or Deadpool, a popular antihero thanks to his black sense of humor, high-sounding language and sarcasm who, due to his originality and lack of fear of saying what he thinks, breaks the mold of those who were considered a Marvel hero and, for this reason, everyone likes him wants.
The main character of 'Jack & Joker U Steal My Heart!' It reminds us, without a doubt, of Joker, the character created by Bill Finger, Bob Kane and Jerry Robinson, and introduced in the first issue of the comic book "Batman", in April 1940, published by DC Comics, becoming one of the favorite characters for their originality, and, he is equally, or more popular than his archenemy Batman. Let us remember that his cruel past causes him to explode violently and, in the end, he manages to accept himself as he is, with all the evil, thirst for power and tireless fight with the Batman.
The chain of suffering and melancholy that drags the Joker of the Thai series by director Tee Bundit Sintanaparadee, recognized for directing the BL dramas 'I Saw You in My Dream' (2024), 'I Feel You Linger in the Air' (2023) , 'Hidden Agenda' (2023), 'Step by Step' (2023), 'Lovely Writer' (2021), and 'TharnType' (2019 – 2020), among others, is so palpable and shocking that the viewer has no other choice. The only way out is to identify both his family and society as the true villains of the show, in addition to allowing us to empathize with him.
But it will not be in a Gotham City inspired by New York in the 70s, for many, the darkest stage of the American city and where hope seemed to be lost, but in Bangkok in 2024, just as dark, violent and corrupt than that.
This is the perfect setting to tell a story that deviates somewhat from the original and twists its path of explaining how evil arises in the world, to reflect a beautiful love story between two boys, with which many people can feel curiously identified.
In this way, the sordid world of Joker, a high school student who is pressured by his parents to enroll in medical school, will turn upside down when he meets Jack, an 18-year-old taekwondo player who decides to leave the sport when he becomes discouraged the road, all in the effort to help his elderly grandmother, the only living relative he has left. The dreamy, reasonable and kind Jack, who likes to help others, will be forced to become a debt collector.
His and Joker's lives will change abruptly and unexpectedly when they find themselves involved in a complicated situation, giving way to a love-hate relationship.
The Joker of the audiovisual of the Southeast Asian country is liked and exudes a controversial charm for the population in general and the LGBT+ community in particular. And this is basically due to two things, the first is that as a viewer we manage to empathize with the human being and not just with the character. In this series, and due above all to the sublime performance of the actor who brings Joker to life, we are presented with a very human and sensitive person, despite the dramatic events that have led him to be who he is.
Second, one thing is obvious: their misdeeds are not fueled by the desire for money, personal ambitions, or other material goals. Their motivations are ideological and philosophical. It is the darkness rebelled after a dark childhood and adolescence, despite living in a wealthy family; it is the Shadow that emerges after the impact of a society that attacks and excludes, that ignores the weak, that feeds itself on its own corruption.
The character represents the Shadow that is in us. His actions remind us, without a doubt, of the concept of Shadow that Carl Jung told us about. Adverse impulses live within us that we must accept and bring to light to heal them and proceed to healing. The psychological profile of the Joker shows us that the character lets his Shadow escape to give way to a healing process thanks to love.
What will happen when Joker's actions affect the needy and vulnerable he aims to help? What will happen when the innocent are punished for their actions?
It is not the first time that Joker, who perhaps represents that part of us that longs to break the rules and react, is represented on screen. We remember the character played by Jack Nicholson ('Batman', 1989 - Tim Burton), who brings us a gangster, that of Heath Ledger ('The Dark Knight', 2008 - Christopher Nolan), who gives us an agent of chaos, that of Jared Leto ('Suicide Squad', 2016 - David Ayer), a true sociopath, or that of Joaquin Phoenix ('Guazón', 2019 - Todd Phillips), who draws a famous crime clown and the most villainous multifaceted character of the world of comics, which transcends even the limits of his own personality and offers us a clear warning sign and a direct invitation to reflect on current societies.
However, the cunning Joker, played by the young Thai actor and musician War Wanarat Ratsameerat, remembered for playing Than in the short film 'Because I Love You' from the series 'The Right Man', in 2016, which marked his debut acting, he is a very human and vulnerable character, which is why we empathize so intensely with him. It is impossible not to put yourself in his shoes when you see how, upon discovering that his actions affect others, he without hesitation tries to correct them, even if this means admitting to his family his failure and true identity, as well as paying with years in prison.
Very plausible solution is how we can feel sympathy for a character who tries to outwit his authoritarian parents and a brother who seems to enjoy his failures as a student, and reveals himself to the shortcomings of a society incapable of assisting and giving an effective response to those who need it.
Despite coming from a privileged family, Joker suffers from a lack of affection. Unlike Jack, he does not find affection in his family life, and this has turned him into a lonely being, hungry and thirsty for love. However, we are not dealing with a person with antisocial or sociopathic personality disorder characterized by committing violent and bloodthirsty acts.
For his part, although he comes from a cosmos in which poverty, lack of material goods and the absence of his deceased parents prevail, Jack has a sweet and generous grandmother who understands and supports the young man in his daily conflicts. Much of Jack's sweetness and nobility, undoubtedly, comes from the upbringing given to him by this noble being.
Adrift from their lives, trying to find their place in the world, both of them, with such different and contrasting personalities, meet and their universes collide. And this serves to address other topics, such as memory, absence, maturity, the process of growing up, self-esteem, family expectations, the feeling of never being enough in the face of the complexity of life, discovery, acceptance, recognition…
'Jack & Joker U Steal My Heart!' It also stands out for reflecting the pressure cooker state of urban centers, and is an undisputed daughter of its time. That a stranger in a collar and tie robs a bank after being previously considered its manager, or that a young woman is chased by three violent thieves, portrays the convulsive city and its suffocating system.
The series also works in its effort to make queer people visible. Its creators know that the LGBT+ community is growing rapidly: one in six members of Generation Z in the United States identifies as part of this human group. The data also shows that LGBT+ audiences have an increasing need to see LGBT+ characters in series and films with which they feel identified.
In all this endeavor, War, in a monumental role, does not carry all the dramatic weight of the series. From the first minute, "Yin" Anan Wong, the Thai-Hong Kong actor who plays Jack, stands out in his role as a reasonable man who believes in solving problems without the use of force and has the conviction that "The strength one possesses should be used only to protect the weak," but as a debt collector he will have to impose an intimidating presence, far removed from his personality.
The chemistry between the two main actors goes beyond the physical realm, but is emotional, psychological and completely satisfying. It turns out that these two actors know each other well. They have been lovers in 'En of Love: Love Mechanics', 'En of Love: Tossara', 'En of Love: This is Love Story', all from 2020, and 'Love Mechanics' and 'Love Mechanics: Director's Cut', 2022, BL series in which War plays Mark and Yin plays Vee. They are also the protagonists of 'The Best Story' (2021), in which the former plays Best and the latter plays Dew.
Their performances, authentic, vivid, intense, are sublime as they masterfully embody the raw emotions and internal struggles of their characters through words, silences, looks...
Screenwriters Myminorh Sarun Kaensap ('Peaceful Property', 2024), Pacharawan Chaipuwarat ('Shadow', 2023), Yui Athima Iamathikhom ('Wannabe', 2022), and Anawat Kitchawengkul ('GGEZ', 2018), combine perfectly the genres of action, romance, crime and drama, to deliver a coherent, complex and uncomfortable story that works as a great mirror of contemporary society.
On a technical level, it is important to highlight that the series has an impeccable setting, raw photography and a beautiful soundtrack that take the viewer through sensations and moments that make this a journey into the depths of human despair and the need to stay afloat, especially thanks to love and nobility.
With a masterful performance, a forceful script and a clear social discourse, 'Jack & Joker U Steal My Heart!' it's not just a boy's love story. It is a necessary work to understand that today there are issues that cannot be ignored. Violence, political corruption, social class contradictions, poverty, and evil have origins that must be faced and despite how dark the present may seem, crises do not last forever. Better times will always come, if people like Jack and Joker come together to do the right thing.
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"You should know, our friendship is called love"
The phrase that gives the review its title is pronounced by George to Alexander, the protagonists of 'Les amitiés particulières', the French film directed by Jean Delannoy in 1964.Didier Haupedin, the actor who plays Alexander, was only 12 years old when he starred in the film that adapts the work of the same name by Roger Peyrefitte. The main theme is the relationship between the teenager George (Francis Lacombrade) and the boy Alexander, both students at a Catholic boarding school in the south of France in the mid-19th century.
Who would later star in films such as the Italian 'L'innocente', directed in 1976 by Luchino Visconti, and the Spanish 'Cotolay (The Boy and the Wolf)', by José Antonio Nieves Conde, and many others, will always be remembered for this performance, because it is impressive, for its young age, the variety of registers it is capable of offering, from childish joy and innocence to the expression of great inner disappointment and pain.
At only 14 years old, Brooke Shields, the American film, television and theater actress, model and writer, was filmed by the cameras of director and producer Randal Kleiser, in 'The Blue Lagoon' (1980). Already before, at 11, she got the lead role in the film 'Pretty Baby' (1978), by Louis Malle, in which she played a sexually exploited girl. Just turned 15, he starred in the drama 'Endless Love', by Franco Zeffirelli (1981).
After some minor roles, Irish-American actress Saoirse Ronan had her first leading role when she was not yet 15 years old, in the film 'City of Ember', the film adaptation of Jeanne DuPrau's novel. Immediately after, he starred in 'The Lovely Bones', directed by the Oscar-winning Peter Jackson, the New Zealand producer, screenwriter and director, known especially for producing, directing and co-writing the 'Lord of the Rings' film trilogy, as well as its prequel 'The Hobbit' trilogy.
The British 'Romeo and Juliet', a film adaptation of the play of the same name by William Shakespeare, filmed in 1968 by Franco Zeffirelli, has in its main roles the young and inexperienced Argentine actress Olivia Hussey and the also debuting British actor Leonard Whiting, who at the time of filming were 15 and 17 years old, respectively.
These are some of the many actors and actresses who began their acting careers at such a tender age.
'Love Sick', the remake of the 2014 series of the same name, brings us as protagonists two debut actors who, like those already mentioned, began their acting career at an early age, since Almond Poomsuwan Suwansatit, who plays Punn, is 16 years, while Progress Passawish Thamasungkeeti, the actor who plays Noh, has one less.
Directed by Cheewin Thanamin Wongskulphat ('Why R U?' - 2020), this director, producer and owner of Copy A Bangkok, who is credited with being the first producer of the Y series in Thailand, now repeats as director of the series, since in 2015 he directed 'Love Sick Season 2'.
Edited by Theerasan Petmai ('Addicted Heroin' – 2024) and a large youth cast, all newbies, the LGBT+-themed romantic youth drama 'Love Sick' adapts the web novel "Love Sick: The Chaotic Lives of Blue Shorts Guys", by Latika Chumpoo, to tell us a story with a simple plot that we have seen in other romantic dramas starring heterosexual or homosexual couples.
The boy who, despite having a girlfriend, is forced by his father to go out with a friend's daughter. To avoid this, he asks a schoolmate to pretend that they have a relationship and he, after resisting a couple of times, accepts, since he needs the other boy, as president of the Student Council, to intercede on behalf of the Club Music, of which he is the leader.
And for the pretend game to begin, both will need to have the help of one of them's sister, who is obsessed with the boys' love stories, and who will have to convince the father that the boy is not interested in the boys' love stories girls, but in those of the same gender. However, the fake relationship soon begins to seem real.
The problem, of course, is that friction makes affection. And, if a certain sexual chemistry is added to that from the beginning, why do we want more. Both face the discovery of their sexual orientation and problems at home, at school, with their girlfriends and friends.
This has been the premise of great exponents of this subgenre baptized in English as "faux-mance", among which stand out, among others, 'Marriage of Convenience' (1990), 'Nick and Norah: A Night of Love and Music', 'How to Lose a Guy in 10 Days' (2003), 'Holidate' (2020), 'Isi & Ossi' (2020), 'To All the Boys I've Loved Before (2018), 'Midnight at the Magnolia', 'The Proposal', 'Badly Wounded Hearts' (2022), 'Wedding Season' (2022), or the gay-themed 'Xi yan' ('The Wedding Banquet'), by Ang Lee, and 'Single All the Way' (2021), by Michael Mayer.
We all know the classic structure of romantic dramas with a fake boyfriend story: the boys meet each other, they may even dislike each other, but due to circumstances they must pretend to be boyfriends... and then they fall in love, they separate for some reason only to end... make the audience enjoy a fairy tale.
Although there have been some films and series in the genre that have attempted to break these conventions, most stick to the formula. Because? Because many of us love to see two people who initially have no feelings for each other fall in love, and if it comes with an LGBT+ twist, much better: it's not about what happens, but about how it happens, about making us leave aside our disbelief and awaken our faith in love. And in 'Love Sick', a series that has no intention of breaking any mold, the tenderness shown by the two protagonists will definitely melt your heart.
The truth is that with its message of love and acceptance, 'Love Sick', whose main component is romanticism, emerges as a delicious and tender romantic drama, with touches of humor, which is a gift for everyone, as it presents the discovery of first love by the two protagonists, who will falsely experience a courtship, which will give rise to hilarious, sparkling and emotional situations, before giving way to true love.
I n its favor, the fans were already there before its premiere, as the series pays tribute on its tenth anniversary to the first Thai BL series and also the initiator of the expansion of Asian boy love dramas to the rest of the world continent and the world. This will forever remain in my memory, the story of two ordinary boys like anyone else, who fake a courtship out of convenience and whose only intention is: the desire to live among others.
In 2014 I fell in love with the series after watching it half a dozen times. The excitement of seeing Captain Chonlathorn Kongyingyong and White Nawat Phumphothingam, playing Noh and Punn, respectively, and the rest of the youth cast still lingers.
After a long time, this week before the start of its remake I watched both seasons again, and in the process I wrote their corresponding reviews on MDL. I confirmed with joy that it still has the same effect on me as when I saw it back in the day.
Despite being newbies, Almond Poomsuwan Suwansatit and Progress Passawish Thamasungkeeti are charismatic and attractive: they perfectly sell this relationship to us and make us want them to end up together. The first makes his character the classic young man who hides his homosexuality and seems to be in love with his schoolmate, by saving photos of Noh on his phone, and takes the opportunity to approach him. Meanwhile, Noh, faced with so much tenderness and affection, cannot help but fall in love with the president of the Student Council.
'Love Sick' stands out for giving us everything one expects from this type of series, with the context of having as its setting an exclusive school for boys, full of diverse characters and a beautiful message about acceptance and discovery. It may fall a little short in the dramatic tensions department, but the tenderness of their romance more than makes up for it.
Although it is full of clichés, the story of Punn and Noh has candid moments that move and manage to bring a knowing smile to the viewer. Furthermore, looked at generously, the story invites a debate about the very nature of love, the family's reaction to their children coming out of the closet, and relationships based on mutual care that survive over time.
They are both teenagers living their first experience of love. One is a child who cannot ignore the feelings that are born and grow in his chest, and the other who, loving too, fears that his love may cause harm to those around them. They both repress their feelings. And that is what makes them so genuine and real, as they struggle with who they are and who they want to be, as they navigate their struggles to understand the limits of love, to learn to love, to discover who they truly are.
Starring actors who play two gay boys, and in which sexual orientation is not a dramatic focus, the tone of the series is festive, bright and, despite some flaws, it is deeply inspiring.
'Love Sick' may not be perfect, but it is a worthy tribute to the original series that tells a story of love and friendship between two boys who mutually discover their sexuality. It is, in short, the series that we needed to remember it and for those people who did not see the two-season drama broadcast on Channel 9 to enjoy the story.
It is appreciated the existence of a series in which its characters portray LGBT+ people in which conflicts do not prevail and also the warmth with which 'Love Sick' transmits the story it wants to tell.
The good tone of the story is rounded off by five luxurious secondary characters who elevate the dramatic moments: Lift Supoj Janjareonborn ('My Only 12%'), who assumes the role of Punn's father; Joy Dhanyabhorn Sondhikandha ('Hidden Agenda'), as Punn's mother; Pym Pympan Chalayanacupt ('Kidnap'), as Aim's mother; Tontae Tinnakorn Puwasakdiwong ('Venus in the Sky'), as the Sports day emcee, and Jennie Panhan ('The Shipper'), as Im.
All of them manage, together with the protagonists and the rest of the cast, to develop an imperfect story that continues an important path in favor of representation and diversity.
'Love Sick' may not become the BL series of the year, however, it has a certain luminosity that is worth highlighting, especially for the fact that it can demonstrate that homosexual relationships are as normal, as sweet, as heterosexual ones.
With a rich youthful vibe, the feel of the series is very young and fresh. The music helps a lot, as the soundtrack has been revised and expanded by Boy Sompob, who, as in the original series, is once again in charge of this section, and promises that listening to the iconic music again will really invoke nostalgia.
Directors and writers of the original series expand this world through the eyes of these two new boys who try to navigate trying to control their emotions and doubts, sharing with their girlfriends and friends and, ultimately, exploring their identity through 15 episodes 55 minutes long.
That is to say, the adaptation to the original series brings new depth to this story. Through the dialogues, the internal thoughts of the protagonists and numerous well-used flashbacks we will learn about all the things that the boys do not dare to express out loud, as well as those that have to do with the beautiful moments of a shared childhood, which allow us to fill in all the gaps and reveal to us the reason why these teenagers are so close to each other.
These scenes, which do appear in Latika Chumpoo's novel, were not incorporated into the 2014 series, which puts in context who these teenagers are, what ties unite them, while adding layers of tenderness that make the The link between Pun and Noh is as genuine as it is inevitable and fragile.
In short, the series is pleasant and harmless. It is true that the performances of the new actors are somewhat weak and their script could have needed some more layer of depth, especially when it came to portraying the characters. But sometimes nothing else is needed to work. And he does it.
The light plot with captivating characters full of chemistry is what makes this teen romance series, despite its flaws, perfect for distracting the mind and warming the heart.
True to the original in tone and spirit, its pace is a little faster, more polished and elegant: it's well made and the boys are promising. They are, in short, the new and future protagonists of BL series.
"You should know, our friendship is called love", the phrase with which I end the review, could very well have been said by our two protagonists.
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Two opposite poles, an unlikely romance, an unexpected union
Two opposite poles, an unlikely romance, an unexpected unionFrom the first scene, 'Wandee Goodday' makes viewers fall in love with it. In a beautiful, dimly lit room, a young orthopedic surgeon seeks to ease the pain of having been rejected by his platonic love... by practically having sex with a stranger.
Wandee, the name of the risky and irreverent protagonist of the Thai series of the romantic comedy genre with an LGBT+ theme, after being rejected decides to go crazy and drink away his sorrow. Drunk, on his way home, he meets Yoryak (Gigante), a Muay Thai fighter, and decides to propose to him to have revenge sex. Wandee and Yoryak spend a passionate night together, after which they agree to become friends with benefits.
However, things change when Wandee lies to her colleagues and tells them that she is dating someone. As the official synopsis points out, Wandee then asks Yoryak to pretend to have a romantic relationship with him for four months. The couple goes from being friends with benefits to being fake boyfriends, but little by little, their relationship transforms into something much more meaningful and substantial. Moments of emotional connection, in addition to the physical connection that already exists between the two of you, will allow you to develop deep feelings.
The fuse of the series lights at a good speed through a give and take of more or less witty replies and counterreplies. The quick transition from scene to scene will make BL lovers jump for joy.
Inn Sarin Ronnakiat ('Miracle of Teddy Bear') and Great Sapol Assawamunkong ('Manner of Death'), in the roles of Wandee and Yoryak, respectively, star in this series in which the limits of love and friendship are not at all clear . The audiovisual promises that between sexual dates, the doctor and the fighter, one fighting to get a medical scholarship and the other to win the title of world champion, will experience a rollercoaster of emotions, dramas and personal crises. And this is exactly what viewers expect.
Seeing both actors in action is super hot, and yes, the story tells us that love comes even if you are not looking for it, even better! They are both single, they meet again one night on the streets of Bangkok, they have sex and decide to repeat it several more times without any commitment. But who wouldn't fall in love with them?
Not being emotionally available is the excuse that many people use to start a strictly sexual relationship, but what if your heart really wants something else? That is not the worst scenario for Wandee, but the fact of having run into Yoryak, a boy who will soon be open to taking the relationship to another level.
The always necessary figure of the "killjoy" does not take long to appear, this time assumed by Ter Kawin, played by Pod Suphakorn Sriphothong ('Dark Blue Kiss'), the serious and responsible doctor, who after rejecting Wandee for considering that he is "too vanilla" for his taste, he has come to the conclusion that Yoryak is a bad influence on Wandee, and that he does not deserve to be with someone as good as him, so he will try to separate them, causing problems and discord between the three. But really, is it not that he is jealous? Has he fallen in love with the person he rejected? The series also proposes combats, and not only between the four ropes.
Golf Tanwarin Sukkhapisit, the non-binary actress, filmmaker, writer and politician, directs this tongue-in-cheek comedy adapted from Nottakorn's novel Y 'Wandee Witthaya', with a slight title change by GMMTV.
Characterized by an attractive visuality in its artistic conception, the series surprises us with something more than just a new ship. Because, I can't hold back: what chemistry between Inn and Great. Because if 'Wandee Goodday' manages to surpass other dramas of the romantic comedy genre, part of the blame lies with these two actors in an absolute state of grace. The romantic and sexual vibrations between its characters immediately infect the most cautious viewer, creating a strong empathy with protagonists infinitely better written than the secondary ones.
The verbal humor and the witty retorts and counter-replies that they throw at each other are fabulous. Added to this is the restless and aggressive air of the Thai capital, which seduces the viewer, with the background music, the crowds, the monks walking the streets, the historical monuments, the social and cultural landscape of the days and nights of the Thai capital, boxing matches that promise action and scenes of pure adrenaline.
But to the magic of addressing another historical, social and cultural context, is added the literary basis that inspired Yokee Apirak Chaipanha, who has been an ally of Golf on multiple occasions, to once again put a text with his name in his hands. to be brought to the screen.
In addition, other series by the renowned director are also represented in one way or another, including 'Our Skyy 2', 'Moments of Love', 'The Eclipse' and 'The Bedtime Story'. Golf's narrative fiction and its recurring themes, such as sexual diversity, the complexity of homosexual characters, family relationships, sex, and others, are mixed with Asian authenticity, both in the boxing ring and in consultations and rooms. surgery at the hospital where Wandee works, as well as in her cozy home, all main settings of the series.
At the same time, other attractive stories take place, such as that of Plakao (Drake Sattabut Laedeke), known for his participation in other BL, such as 'Bad Buddy', an interesting character who, in addition to being Wandee's friend, is a person who does not want experience sexual contact with other boys.
Likewise, the story of O-yei and Cherry, Yoyak's brother and coach, and her boyfriend will be interesting, an always expected second couple that increases tensions and conflicts, roles assumed by Thor Thinnaphan Tantui ('The Warp Effect') and Fluke Nattanon Tongsaeng ('Ai Long Nhai'), respectively.
The cast includes AJ Chayapol Jutamas as Ohm, Ployphach Phatchatorn Thanawat as Taemrak and Emi Thasorn Klinnium as Khwan.
The nuances of these and other secondary characters, all good actors and actresses in their respective roles, will be discovered as the episodes progress. Her performances, along with those of the main protagonists, the locations, and that tone that the director knows how to give to the story, is what makes 'Wandee Goodday' a series that, although it could have been excessive and routine, becomes a product enjoyable, fun, entertaining and very addictive.
It's true, 'Wandee Goodday is not the height of originality. Nor does it intend to provide a definitive anthropological approach to friendship and love relationships. I highly doubt that he intends to change television. It's not in their plans. But it seeks to contribute something to the romantic comedy genre, and I mean to be natural and realistic, without completely renouncing romanticism, but without falling completely into the ordinary and vulgar.
I liked how the series set out to achieve what many others of the same genre do not achieve, which is to talk like people today, do the things that people today do and relate like people today do. . It is this naturalness that gives Thai drama the freshness it needs to be credible, the freshness that any comedy would need. Its script and editing become true weapons in favor of the story and its tone, something that is appreciated.
And as I have already said in some way, the great success of 'Wandee Goodday' is its leading couple. In the same way we expect special effects to work in a science fiction series; or that true emotions are what drive a drama; For a romantic comedy to be crowned with applause from the public and critics, its couple has to be credible, compelling, with chemistry. And Inn and Great deliver here exceptionally. The weight of the series falls entirely on their complicity and the nuances of their relationship, something that these two actors do with indisputable charm and charisma.
The story of Wandee and Yoryak makes the audience laugh and cry with their love dilemmas, but above all it makes us reflect on whether there is that person who stays with you through thick and thin, even if at first it seems like just a game.
Because, in addition to entertaining, the series confirms that even when there is no commitment in a relationship, there are attitudes and actions that generate intimacy and emotional ties between two people despite not wanting it, resulting in uncontrollable love. Open relationships can be chaotic, but some have happy endings, so don't stop believing.
We are faced with an unbeatable example that two people can have an open relationship and later fall in love. So don't lose hope if you have a friend with benefits. Whoever said that starting a relationship with sex is wrong is wrong.
But now that I think about it, 'Wandee Goodday' is not exactly a story about friends with benefits. Although it all begins with a sexual encounter, the relationship between Wandee and Yoryak is about the power of destiny and the way it manages to bring two people together.
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