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Denounce the situation of harassment and discrimination suffered by South Korean LGBT+ students
'Taming The Bad Boy' (일진조련기) does not seek to portray a homosexual romance, nor does it seek to portray the friendship between five South Korean gay teenagers, students at a high school.Lim Hyungkyu, its director, aims much higher. Scripted by Yoo Guijong, the short series produced in 2024 by Flying Penguin, denounces the situation of harassment and discrimination suffered by South Korean LGBT+ students in the classrooms, by other students, but which in reality can also be by managers, school officials and teachers, including their parents and other family members.
In a highly conservative, patriarchal and heteronormative society, through the relationship between Park Jin U, a role played by newcomer Lee Ui Seop, a student transferring to a new school, and Ko Tae Seop (Holland - 'Ocean Like Me'), who approaches the newcomer out of curiosity, only to soon discover that she has developed feelings for him, 'Taming The Bad Boy' reflects the situation of isolation and mistreatment that members of the South Korean LGBT+ community suffer from their peers. classroom.
The series is not suitable for all audiences, not even for many BL lovers who expect tender and warm romantic scenes between two boys, since the plot crudely exposes the intimidation, harassment and discrimination due to gender identity experienced by children. students of said South Korean human group, as well as the lack of safe and inclusive environments in schools.
Through the relationship of the protagonists and that of the two of them with Jungbeom (Joo Jongbeom), Seongyu (Ki Myeongje) and Changmin (Son Changseong), three classmates who are also homosexual, and among them five and several homophobes and harassers, among them These Mynhyuk (Byeon Jeong Hyeon), known for playing Park Jae Han in the BL film 'Hold', from 2022, the dramatized denounces the lack of protections against discrimination by the government due to the lack of a comprehensive law that protects LGBT+ people in educational and other environments, including work, as well as the lack of interest of the government and educational authorities in ensuring that LGBT+ youth have support resources to safeguard their education and their physical and mental health.
Through the figure of the teacher, a role played by the popular actor Hong Seok Cheon, known for starring in the film 'Perfect Love' (2003), the series makes visible how the South Korean sexual education curriculum does not include any content about LGBT+ issues. In this case, the educator seems to be a member of this community, so when homophobic students make negative comments about gays, the teacher defends the members of said community, even at the risk of being fired and being exposed to harassment as well and discrimination.
Often a product, television or film, emerges that attempts to raise awareness about complex issues. This is the case of 'Taming The Bad Boy', a plot that may have been reviewed too many times before, but should not be detracted for this reason by being produced in a homophobic country, which persecutes and harasses gays, lesbians, transsexuals, bisexuals…
In just over an hour, the short series becomes a contemporary vision of gay men who struggle to define what is real: for themselves, their romantic relationships and their high school studies in a school whose students despise and humiliate them just for being different.
I won't say much because I don't want to spoil it, but the fact that there are scenes of harassment, loaded with violence, in my opinion, reflects the director's audacity in addressing the issue head-on.
Of course, there are the occasional furtive kiss, glances and knowing smiles between two secret lovers. There are also boys who express their identity through dance and equally confidential conversations in intimate spaces. Kisses between two boys and dialogues about dreams and desires in a series about gay teenagers in Seoul, what would be wrong with that?
The supporting cast is good in their realistic performances.
If you are interested in a drama with a very real approach to the complex topic proposed, you will enjoy 'Taming The Bad Boy'.
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"The song of the heart" and the fairy tale
Film and television have told stories in which human beings become animals. In 'The Lobster', 2015, a film by Yorgos Lanthimos ('The Favorite', 'Poor Creatures'), one of the most original voices of the new Greek cinema, brings in this work, which sparked great discussion after winning the Jury in Cannes, David, played by a great Colin Farrell, in his mandatory stay in a hotel full of singles where he has to find a partner with whom he shares something in common within 45 days or he will be transformed into an animal by choice, as happened to his brother who was turned into a dog and is now in his care.The script of this film, which provoked very mixed reviews, but whose originality was never discussed, was awarded the ARTE International Award for Best CineMart Project 2013 at the 42nd edition of the Rotterdam International Film Festival. The reader will remember that, set in a dystopian near future, the film tells a love story, where the search for a romantic partner is a matter of life or death.
Asian teledramaturgy is not far behind. In 'A Good Day to Be a Dog', a South Korean fantasy rom-com, actress Park Gyu Young ('Celebrity') plays a woman who is cursed to transform into a dog when she kisses a man. A math teacher will come to his aid, the only person who can undo his curse, but who is afraid of dogs due to a traumatic event that he no longer remembers.
But what if the story were reversed? What if, instead of humans becoming wild creatures, the latter were the ones who would transmute their short, small wings, and their clumsy gait on land and their elegance under water, for two feet, useful upper joints, and the ability to walk upright? If instead of people becoming agile and skilled predators, like most felines, these were the ones who would transform their bodies equipped with powerful claws and teeth into individuals with scant fur and a capacity for inventiveness and intelligence, which distinguishes them from the rest of the higher animals?
But why does it seem like I'm talking about penguins and black panthers?
Well, because these animals transform into human beings is Potae Anusara Korsamphan's proposal in 'Caged Again', a romantic and fantastic comedy with an LGBT+ theme with a very original premise and charming character dynamics. Yes, it's true: Disney has previously told us stories about fish and mermaids that become humans, but I'm not aware of any stories about seabirds and big cats transformed into people, much less in non-animated fiction. Although it is also affirmative that we have a giant white teddy bear who, miraculously, turns into a young man.
This absurd comedy, a very stimulating and highly symbolic rarity, follows Junior, a young penguin with the ability to listen to and understand human language, who, transformed into a young boy, flees the zoo in search of achieving his ultimate goal: traveling to the North Pole. However, he will be trapped once again in a mysterious male boarding school. In it, he meets Sun, a quiet and reserved black panther who has also taken human form and after being betrayed by someone he trusted, he no longer seeks to have new friends until he meets Junior. For Sun, the former penguin is the best and only true friend he has ever had in his life. They will both live incredible adventures and maybe…, maybe they will find something more.
In their adventures, Sun and Junior will meet the boyfriends Nat (Arm Sappanyoo Panatkool) and Ton (Apiwat Porsche Apiwatsayree), a couple of BL actors already known to the public for playing Jaonan / "Nan" and Sippakorn in the 2022 drama 'Ai Long Nhai'. Both will welcome the boys under their roof.
Such a plot seems impossible to develop without falling into ridicule, but the debut Thai director shows that, by taking reality to its extremes, as a good comedy does, she manages to illustrate her interest in making her declaration of principles about the possibility that beings Humans and animals can live together in harmony.
As a curiosity, just the day after the premiere of the series, on Saturday, November 16, more than 200 monkeys escaped from a cage at the municipal animal center located in the Thai town of Lop Buri, dozens of kilometers north of Bangkok, to invade the surrounding streets, climb onto the roofs, enter a police station and some homes. The only thing missing, to match this fact with the plot, was that the macaques, before escaping, had had the capacity to transform into humans.
In the main roles of the series that tells an unconventional love story, which mixes elements of magic, fantasy, adventure and teenage romance, are actors Ben Benjamin Greenwell, in his acting debut, as Sun, and Jay Sorathon Chaloemlapsombutis ('I Will Knock You'), like Junior, who manage with their performance to put the audience in intense reflection about freedom, love and the beauty of life. Both actors share a natural and electrifying chemistry that brings a tender and refreshing vibe to the series.
After watching the first five episodes of the 10 that the series has, we can make some preliminary assessments: not only will we find these two animals converted into humans. We will have a monkey transformed into a student named Jodd (Jaonine Jiraphat Sodjam) who will walk not from branch to branch, but from adventure to adventure, helping his friends, especially June, who is being chased by members of an illegal trafficking gang of wildlife, and a learned owl who is very intelligent, but needs to gain discipline, who will also support the rest of his schoolmates and whose name is Jeng (Nokia Chinnawat Phattharathanachot).
Sun and Junior will have an ally in the centuries-old goddess (Panpan Yeeyee) who can only be seen by those who are not human, and who will also enter human bodies to help the animals turned into people.
The fact of not having a high budget is one of the reasons to highlight the music, the beautiful cinematography, the production design and the impressive special effects, which give authenticity to the elements of fantasy and magic.
On the other hand, the costume design and set design allow us to enhance the fascinating world created to put the characters in it.
Cleverly, the series plays with the idea of the predator that is always trying to catch its prey, and a prey that instead of fearing feels safe around the predator. But also with other concepts, such as the panther as a symbol of bravery and the energy of the night, as an allegory of courage, valor and power.
A panther has transformed into a young man. And there we see Sun showing the wild, stealthy and solitary nature of one of these mammals climbed in the trees, from which it also stalks its prey.
The scriptwriters did not miss anything: Thamuya Thasananukulkij, Krongkanok Ruetaimas and Supoj Norrabud always kept in mind the panthers' love of swimming.
We can see that it is a very fierce and aggressive spirit animal towards enemies in its constant confrontation with Nam. It seems that for Sun, the character played by Jeng Chotipat Suthadsanasoung, a young actor whom we have seen in the BL series 'The Trainee ' and 'Fish Upon the Sky', is a spotted hyena with whom he will compete for food, shelter and to protect Junior.
In the same way, as an animal of power we distinguish Sun as a being that helps us not fear the darkness, but rather see it as an ally from whom we can learn great powers and lessons.
Junior's character is just amazing. And the choice of the actor to play him helps greatly in this. Like all penguins, they can swim at high speeds. Friendly, faithful and inclusive, Junior accepts the friendship of those who approach him.
Intelligent, with excellent orientation skills, he can join any academic club he puts his mind to.
In my opinion, the creators chose the penguin and the panther out of all the animals to make them the protagonist of a BL because this feline, as an animal totem, is a symbol of protection and power; for being respected as true martial artists of the animal world.
The panther is synonymous with superhuman strength, speed, reflexes, agility, endurance, durability, healing and senses. There is a belief that whoever has the panther as their totem will have the blessing of a fierce and aggressive totem. Likewise, because it is associated with the sun, and solar vitality in some cultures; for its ability to stealthily follow its prey for hours until the perfect moment to strike; for its ability to guide people through challenges and provide strength in difficult times. The stealthy and solitary nature of the black panther is considered a representation of inner strength and the ability to navigate life's obstacles with grace and resilience.
And these qualities will have to be demonstrated by Sun around Junior throughout the series.
While the penguin is the favorite because these seabirds have a love story that has made everyone who knows them fall in love, never better said. The way he courts the penguin and the commitment he shows has made him a symbol of fidelity and love in nature.
'Caged Again' shows that when it comes to love, communication and fidelity, penguins are excellent teachers, and can teach human beings how to live as a couple. They are a symbol of deep love and loyalty. They signify a lasting commitment and a lasting union between two people. They have only one partner for life, so they are known for their loyalty and fidelity in love.
Penguins can communicate and express love through their unique and distinctive vocalizations. These vocalizations are so special that they are often called "the song of the heart" as they represent the love and togetherness of these couples.
It may be very strange for some people, especially because of its very concept, but if you can get past that there is a series with very interesting humor and romance, and a story that will provoke mixed thoughts in the public.
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Created to be featured on the variety show "Gozen 0ji no Mori"
'Nekutai magatteru yo', which in English would be translated as "Your necktie is crooked", by Japanese director Ikeda Ayano, is a Thai-Japanese BL short film starring Perth Nakhun Screaigh as Rokko, and Lay Talay Sanguandikul as Ratanapol.The film marks the return after four years of two of the actors who first participated as a couple in the 2020 Thai BL drama 'My Engineer', playing Ram and King, respectively.
The short film, just 7 minutes long, was created with the purpose of being presented in the variety program "Gozen 0ji no Mori" (Midnight Forest). It is a one-hour Japanese television interview program in which participants talk about a wide variety of topics that have recently happened in Japan during the Reiwa era, the current era of Japan that began in May 2019.
As assistant director of the program "Gozen 0ji no Mori", Ayano Ikeda conceived the idea of interviewing the two actors visiting Japan under the legend "Reunited in Tokyo", while a short dramatized film aired, without great claims, in which both participated, and which also served as a letter of introduction to the public.
Due to the popularity of BL in Japan, the television space has invited Perth on several occasions to talk about Thai dramas of this genre. Taking advantage of the coincidence of Talay being in that nation, he was also invited to present himself.
The short film also pays a kind of tribute to the culture of the two countries, since the story revolves around two young Thais, one of them an actor (Talay) and the other a translator of the Thai-Japanese languages (Perth). , who separated after having had a romance, because each one took a different path to build a future, and now, six years later, for work reasons, they meet again in Japanese lands and, as they are still in love, they have the opportunity to continue their love relationship.
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The consequences of infidelity
The usual thing is to go to the movies (or turn on your cell phone or computer and check the internet), to fall in love, or at least to see kisses and hope for a happy ending.That is not exactly the theme of '.avi', since this South Korean 'LGBT+' short film portrays the deflagration of affection, distancing, disagreement, deception, betrayal...
But at what point does what was united break? When does what seemed like lifelong happiness become an unbearable burden? There are many reasons for the disagreement, and where they are missing, in this case, one of the members of the couple will be responsible for providing them.
In this little masterful gem, the first film by South Korean Lim Kyu Hyung, two young people, Min Cheol and Chan Gyu, seem the height of rapport and affection, making plans for the future once they have to join their country's army to do the military service. They will find time and ways to meet and enjoy love.
However, when a video of her boyfriend having sex with another man arrives in Chan Gyu's hands, everything irrevocably changes forever. A shared world becomes the loneliest of places.
Although the plot sounds a bit generic, watch it for the beautiful cinematography and excellent performances. South Korean aesthetics are not something you will regret investing your time in. Seo Tae Woong ('Cheer Up') is an interesting casting choice, but it's Kim Chan Kyu ('Discipline Z: Vampire', 'Summer Déjà-vu'), who catches our attention as the indignant and hurt boyfriend Min Cheol who tries to find the truth behind the images.
Both actors had already starred in the romantic drama LGBT+ 'Twins' (2024).
The profound effects of infidelity on those who have been deceived are reflected in a fascinating way. Furthermore, the intimate moments between the two characters are subtle, elegant and hot. The use of body language and silences takes the cake in the film's treatment.
Erotic and dramatic is a combination that we love. The hot chemistry between the two lead actors is VERY good to watch. The film is visually impressive, leaves us speechless from time to time and makes us want to punch Min Cheol. But to understand it... would we also be attracted to understanding his actions, with his back to his boyfriend?
'. avi' is definitely a drama about relationships worth watching, since it explores the consequences of infidelity, of the betrayal of one of the members of the couple who acts as if he were an escort, but I would have liked it to explore not only from the perspective of the deceived, but also that of the cheater.
The dialogue is wonderfully intense and the performances memorable. Honestly, if Kim Chan Kyu and Seo Tae Woong are in a movie, just watch it.
Despite their separation, the journey they take is impressive to watch. If you're looking for a happy ending or a reconciliation between these two, you're barking up the wrong tree.
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A Solid BL Thai Crime, Mystery, Romance and Suspense Drama
From the authorship of Sammon, the prolific Thai novelist of works of the BL genre, two magnificent suspense, mystery, medical-forensic, police and romantic dramas captivate the viewer.Both have communicating vessels in terms of themes, styles, almost absolute pre-eminence of the hospital space as a dramatic epicenter, the rural environment, treatment and organization of information, ambiguity of the characters, script approaches, and interweaving of the respective investigative processes with their respective social contexts. However, they will not be one and another copy and carbon copy, since both have notable differences in their plots and the characteristics and behaviors of their characters.
Both titles – caustic, not at all complacent with their socio-historical surroundings – provide suggestive insights into homosexual romance in the midst of a criminological investigation, the eternal struggle between good and evil, police investigations that turn investigators and others involved into victims of powerful dark forces, moral double standards, the return of the narrative hero to the small provincial town where he was born after several years, already converted into a professional, the hatred of those who are different and the polarity of a Thailand divided into ethical, civic, human, cultural and religious issues.
These series are 'Manner of Death', directed by Chookiat Sakveerakul and Aum Natthphong Aroonnet, and 'Spare Me Your Mercy', by director Worawit Khuttiyayothin; the two adaptations, the first of the novel of the same name, while the second is of the work "Euthanasia", both written by Sammon.
The romance, mystery, suspense and police drama by Chookiat Sakveerakul and Aum Natthaphong Aroonnet recreates the investigation of a homicide carried out by a forensic doctor, who will be joined by the main suspect to, together, follow clues and find the real killer. The investigative process will lead them to discover illegal abortion practices, human trafficking, political, police and administrative corruption, sexual abuse against minors, human trafficking, illegal drug use, among other topics; Meanwhile, the two young people will discover they have feelings for each other.
Worawit Khuttiyayothin's crime-thriller-mystery-romance drama follows a police captain's investigation into the strange deaths of several terminally ill patients in a small provincial town, and with the death rate rising Among the patients, everything seems to indicate that each tragic outcome is part of a series of crimes in which the Palliative Care doctor who cared for the patients on the eve of their death, including the sub-inspector's mother, may be involved.
Worawit Khuttiyayothin, whose work expresses interest in strong, mysterious and complex homosexual male identities ('Century of Love', 'Laws of Attraction', 'To Sir, with Love'), finds in the construction of the characters of the police captain Thiu Wasan and Dr. Kan Kantaphat Akkharamethi, and in the defense of the characters by the actors JJ Krissanapoom Pibulsonggram ('#HATETAG', 2021), and Tor Thanapob Leeratanakachorn ('Hormones', 2013), respectively, four allies of notable weight.
The suspicions that Kant, a highly respected doctor, admired and loved by the other members of the medical team as well as by patients and families, is involved in the crimes, arise as a barrier to the romantic relationship he builds with Wasan, a prestigious police officer whose career is based on ethics and moral values, always dedicated to defending those most in need. As a police officer, you must be the one who defends justice. As a lover, you sincerely hope that the man you are in a relationship with is innocent of all charges.
Thiu and Kan are owners of a fascinating personality that does not leave anyone around them indifferent.
'Spare Me Your Mercy' has a procedural format with cases in which we will learn about each of the initial circumstances that lead the patient and his family to require the services of Dr. Kan and the clinic where he works, and with the subsequent death of said patient. in mysterious circumstances.
With the complicity of screenwriter Sirilux Srisukon ('Trab Sin Dind Fah' 2008), the director uses both the unusual psychological profile of the police officer and the doctor, the former for his sagacity in the area of criminal investigation, and the latter as suspected of being involved in the crimes, as well as the ductility of both actors, to model two very attractive characters who circumambulate between determination and the veil, courage when confronting to all types of crimes and inspire distrust, sensitivity and coldness, the precise and the ambiguous, light and shadows, life and death, truth and lies, good and evil.
Like any police investigation sub-inspector, Thiu works in tandem with another police officer, in this case the experienced Lieutenant Kawin Kongthong (Phuak Pongsatorn Jongwilas), a man who shows seriousness and good sense when using the language and skills of the police officer to find culprits in a provincial city where a criminal act rarely occurs.
To highlight the performances of Fresh Arisara Wongchalee as the nurse On, Aim as "Boss" Chanchai, the pharmacist; Gandhi Wasuwitchayagit as Somsak La-amornchai, the hospital director, and Prim Atchareeya Potipipittanakorn as "Rin" Suphaphorn, the medical examiner, among other actors and actresses.
Worawit Khuttiyayothin observes the compass taken by directors of great police and suspense dramas (John Huston, Orson Welles, Akira Kurosawa, Jean-Pierre Melville, Martin Scorsese, William Friedkin and Brian De Palma, among others) in the way of peeking, putting on the screen and follow the evolution of the process of following the clues, identifying the culprit, eliminating suspect by suspect from the list of possible criminals, but personalizing their authorship to the time to put together your dramaturgical composer, to which you add the factor of romance and mystery.
His series, ascetically formal and with meticulous narrative rigor, makes his organizational arts an identifying mark. Each small compositional fragment gives it a unity of meaning that configures sizes and ultimately explains the tapestry of each scene.
The series captivates the viewer from the first scenes, both for the announced romance, the chemistry of the two protagonists, the perfect mix of exciting and mysterious murders, sensuality, intrigue that manages to attract even the most passive viewers and leave them glued to the screen, wanting more. A magnificent puzzle that, while making many dream of kissing and sex scenes starring Thiu and Kan, challenges the audience to join the clues to unravel some meaning at the heart of the story.
Some of the strongest things about this series are the element of mystery and the dichotomy between good and evil, between light and darkness.
In this sense, Worawit Khuttiyayothin also establishes a lucid correlation between the murders of patients with terminal illnesses, the high cost of hospital fees and charges, and the loss of family interest in protecting and caring for their patients at this stage of the illness being exhausted and suffering in the face of a situation that has no satisfactory solution, the search by some sectors of society for the decriminalization of what is also known as "mercy killing" as a driving effect on the development of palliative care, while another part of society opposes, crime and assisted suicide, since in Thailand euthanasia is not expressly allowed, but it is not expressly prohibited either, when religious, ethical, scientific and legal issues intermingle in the debates in around the legalization of "death with dignity."
While the initial appeal of 'Spare Me Your Mercy' for many people will probably be enjoying this new BL couple in action, since no one at this point can argue about the chemistry and complicity that exists between these two actors, I think the story as a whole is what really keeps the audience hooked and expectant.
So I ask the reader, as you follow each clue and test your intuition: Can you get to the bottom of the case, or will you fall into the trap? Can you anticipate the twists and turns the story may take, or do you think you have it all figured out from the beginning?
And I ask myself other questions: Will the young doctor be able to prove his innocence or is he really the one behind the crimes? What can happen when the patient is willing to undergo euthanasia but the law does not yet support it? As a doctor who saves lives... would you agree to take the lives of your patients? Will Thiu choose love or duty? Will Thiu be able to decipher the mystery of the murders, be faithful to the law and avoid falling into the temptation that the doctor represents? Could it be that fulfilling the mission of providing a dignified and suffering-free death to clinically terminally ill people when their condition will inevitably end in death could not be considered an act of mercy? Do you think Thiu and Kan will end up making 'Spare Me Your Mercy' the best BL of 2024?
Too early to write a definitive review. I will continue updating it as the next episodes are aired until the end.
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In 2023, a story about a young man who spies on his company president's favorite reclusive artist to get his job back, captured the hearts of Korean series enthusiasts in general and lovers of boy love stories in particular.
TVING's original drama 'Unintentional Love Story', based on the manhwa and webtoon of the same name, written by Phoebe, starring Cha Seo Won as Yoon Tae Joon, and Gong Chan as Ji Won Young, showed us a second couple, played by actors Woo Tae Min ('You Make Me Dance', 2021), and Han Do Woo ('Love Playlist: Season 5' (2021), the former playing Go Ho Tae, and the latter playing Kim Dong Hee.
Loved by fans and the cause of the so-called "sub-disease" or love for the protagonists of the stories attached to the main one, at the end of the series complaints rained down requesting that the story of Ho Tae and Dong Hee be resumed to tell the exciting previous relationship between these two young people that was not included in the series, especially one that reflected their exciting school days.
Ultimately, the request was to represent in another work the vague narrative and interesting relationship of the couple made up of Go Ho Tae and Kim Dong Hee; but equally, that the future main couple was assumed by the same actors, with the same character names.
Thus came the idea of filming a spin-off to tell a sad, but at the same time beautiful and tender story of two children who grew up together and discovered mutual love.
Directed by Yang Kyung Hee, a renowned director who has filmed several BL stories, such as 'A Tractor Loaded with Love' and 'The Director Who Buys Me Dinner', both from 2023, or 'I Wanna Bite It' ('Kissable Lips' ), from 2022, and 'Florida Banjeom', from 2021, and with the script masterfully crafted by Shin Yoo ('Where Your Eyes Linger', 2020), the film 'The Time of Fever' ('When your temperature touches my fingers' '), introduces the viewer to an immersive narrative journey.
At the forefront, Won Tae Min shines as a straight swimmer who one day discovers he's in love with his best friend, along with Han Do Woo's nuanced portrayal of the character he plays, and the support of a talented cast who bring depth to their respective roles.
ABOUT THE DIRECTOR AND HIS WORK
In the film, its director approaches the issue of homosexuality with an intimate and personal approach, a topic that, as has already been said, he has addressed on previous occasions.
Yang Kyung Hee's work is marked by a display of sexual and emotional discovery, a theme that is addressed in a very suggestive way in 'The Time of Fever'. Far from reaching that need to search for personal identity from the beginning, with this film, the South Korean director takes up a love story not told in depth in an original story already brought to the small screen.
Therefore, from the perspective of the journey to the roots, a reunion between two old friends ends up becoming a labyrinth of passions. What stands out about the script is that it gets rid of superficial flourishes or moral dilemmas about the conception of masculinity. Although at certain moments he highlights the clichés surrounding homosexuality, he then puts them aside to reveal an internal story. Thanks to this, it gives the public a love story without consuming, where the fact that they are men becomes something circumstantial, but necessary.
In this way, the film talks about feelings and the attractiveness of emotion, where the physical becomes the result of an intimacy that occurs prior to sexual relations. It cannot be denied that that depth about what it means to love, desire or suffer is what makes the difference. Although the story follows a structure that has already been seen previously in other films, also with LGBT+ themes, perhaps, that naturalness of the unexpected love between two people with a common past makes it become a different film.
THE HISTORY
Produced by Number Three Pictures Co., Ltd., the film tells us that Ho Tae and Dong Hee have grown up as brothers since childhood. Ho Tae, who was born in Gangneung and moved to Seoul the year he graduated from primary school due to problems with his father's business, was never particularly interested in studying. For this reason, he started swimming at the school he transferred to in the South Korean capital.
Owner of enough talent to occupy a high position on the swimming team, he is forced to return to his hometown after his father's funeral, because his mother decided that they would return to start a business.
Upon returning home, Ho Tae, now 17 years old, discovered that Dong Hee, who is two years older than him, had filled the space that had been empty for a long time. Dong Hee, who had been expelled from his father's house after admitting to his family that he is homosexual, found a roof over his head in Ho Tae's uninhabited house.
Born as sons of friendly mothers, both, without any full siblings, grew up together as older and younger neighborhood brothers.
In the summer of Dong Hee's third year at High School, Ho Tae returned. The two meet again and end up living together under the same roof.
Despite their close brotherly bond, Dong Hee, who has hidden his homosexuality after being beaten by his father, who also called him "mentally ill" for this reason, cannot help but feel emotional when he sees Ho Tae, who is like a real brother to him, but he is also his first love, and he tries to repress his feelings. But it's not easy to bury these feelings.
Similarly, Ho Tae, who sees his friend as a kind young man who likes to smile, confronted with Dong Hee's presence, also develops feelings for the boy whom he has not seen in a long time, but is confused by those feelings sensations stirring inside him that he had never experienced before.
In an effort to escape his confusing emotions, Ho Tae begins dating girls in superficial relationships, which inadvertently causes pain to the previously independent Student Council president and valedictorian of his school.
As their dynamic changes after an unforeseen event, the delicate balance of their relationship hangs in the balance.
OF ACTORS AND CHARACTERS
Having a cast with few performers allows the acting direction to be focused and give greater impact to those who participate. In this way, in 'The Time of Fever' the protagonist duo is exploited above all. On the one hand, Woo Tae Min offers a metamorphosis in his character that gives him the ability to shine at an acting level. Along with this, you can see that he has a connection with the camera, giving realism and naturalness to his character at all times. Furthermore, the mischief with which he balances the most subjective effect contrasts with the sensitivity that he lets emerge at every step. It should also be noted that he is generous with his co-star, given that they form a team with great chemistry, where the tension necessary for this type of narrative is perceived.
On the other hand, Han Do Woo uses that connection with his co-star to his advantage, given that what begins as a performance in the background ends up exploiting his quality as an actor. On the one hand, it has that exquisite familiarity, which combines perfectly with the tone of the film and, then, it knows how to perfectly convey that whirlwind of sensations that lives inside. Likewise, it would be important to highlight the difficulty of being on a more restrained level, in the face of a reaction that follows that slower line, but letting out all the emotional tear that it suffers, with gestures and physical expression, something that it achieves perfectly.
With solid performances from both actors, I would highlight actor Do Woo's deeply repressed emotional performance. Won Tae Min's acting, which was childish but serious, is also very good.
They both express their feelings and emotions well. Both powerfully show the vision of two people leaning on each other's shoulders and seeming lost in deep thought.
Personally, I can perfectly empathize with the feelings and circumstances of the two characters.
SOME THOUGHTS
Korean LGBT+ films and series have gained significant popularity in recent years, captivating audiences with their heartfelt narratives and compelling characters. This lineup is joined by the spin-off of 'Unintentional Love Story'.
From the trailer, I anticipated that the reunion between the two old friends would provoke a complex mix of emotions, particularly for Dong Hee, whose affection for Ho Tae runs deeper than brotherly love. Upon learning that 'The Time of Fever' was in the process of filming, I was deeply curious to witness the synergy between these two young actors, and I must admit that they did not disappoint me.
This is one of the Korean LGBT+ film productions that delve into themes of love, friendship and self-discovery within the context of same-sex relationships. Through its delicate depiction of emotions and nuanced storytelling, this film offers viewers a unique combination of romance and drama, providing insight into the complexities of love and identity in contemporary Korean society.
The temporal background of the work is from the fall of 2013 to the spring of 2014, and from there it jumps, in its final scenes, to the present, to make it coincide with the story told in 'Unintentional Love Story', in which It tells the reunion of Dong Hee with Ho Tae, when the former returns to his hometown after studying in Seoul, while the latter runs a business with his mother.
As was the case with the OST sung by actress Cha Seo Won in 'Unintentional Love Story', the OST sung by Won Tae Min in 'The Time of Fever' is one of the many notable aspects of the film.
In addition to "You Call My Name", by B1A4, used as the final song, we will hear in the soft and emotional voice of the actor who plays Ho Tae the song "What If (원태민), composed by Kwak Jeong Im, which captures the deep emotions of the film, and "Someday Again" (언젠가 또 다시), by Masa (도우).
The viewer will feel as if the lyrics of the songs and the content of the film are intertwined, further increasing the emotions.
And the kiss scenes, especially the first one... still shake me because of their tension and the tremor of that moment.
The cameo of Gong Chan, who played Ji Won Young in 'Unintentional Love Story', is a special and long-awaited appearance.
The cinematography is exquisite. The day and night views of Donghae-si, Samcheok-si and Gangwon-do, Samcheok Meister High School and Mangsang Beach, where the film was shot, are beautiful.
Even knowing that the ending would not be happy, in order to connect the story with that told in 'Unintentional Love Story', the exploration that 'The Time of Fever' makes about sexuality is one of the most attractive that South Korean cinema has given. in a long time, with maturity, without resentments and with much more reality than fantasy. A story that will break our own internal and external limits, as it will make us cry, it will tear our hearts, but we will always keep in mind that the story of Ho Tae and Dong Hee does not end here.
Despite the lack of sincerity of the two in not expressly acknowledging their feelings, the rapprochement between both characters, very well carried out by Woo Tae Min and Han Do Woo, is honest and credible, a teenage friendship that is slowly growing. They are the story and it is the chemistry between them that allows the film to be beautiful, at the same time sad and heartbreaking.
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This review may contain spoilers
The fear and insecurity that homosexuals suffer in an intolerant and homophobic country
The third short film by Kim-Jho Gwang-Soo (김조광수) takes up Min Soo, the character created by him and first introduced in 'Boy Meets Boy', in 2008, and later in 'Just Friend?', the following year, for tell us about the most recurrent film themes and objectives of this renowned South Korean film director and screenwriter: sexual awakening, coming of age, sexuality, gender identity, being queer in a heteronormative and homophobic society.But in this film, the filmmaker introduces other topics, such as sexual desire, bullying, the problems of homosexuals facing a homophobic society, the fear of homophobia. The final scene is quite devastating with the Irish song Danny Boy.
Peter Kim, nickname by which this filmmaker is also known, seeks to illustrate in 'Love 100° C' (사랑은 100℃ / Sarangeun 100℃), the desires and dangers that homosexuals face in South Korean society through a hearing-impaired gay teenager named Min Soo. From the first scene we are introduced to the teenager, while he masturbates with photographs of his classmate Ji Seok, a supposedly heterosexual, homophobic person, of course, whom he secretly loves.
Despite his deafness, Min Soo is a self-aware young man. He suffers from bullying from his classmates not because he is gay but because of his hearing problem, since the other high school students confuse the condition with an impairment in his brain. For the same reason, his brother, a year younger, also bothers him. Min Soo needs a hearing aid, but he can read people's lips if they talk to him correctly.
It is probably not difficult to imagine that he would also suffer homophobic attacks if his sexual orientation were discovered.
Min Soo's life changes when one day a young and attractive masseuse from a bathhouse he frequently visits begins to flirt with our protagonist. For the first time in his short existence, Min Soo receives kind and respectful treatment from a person who is not his mother, the only one who thinks he does not have a mental deficiency.
The handsome bathhouse worker treats him as an equal and offers him a free massage. Next comes a beautiful scene between the two boys communicating through whistles and applause to the beat of the background music of the short film itself.
The shot of Min Soo swinging his legs between the masseuse's crotch, one sitting on the bed where he will receive the massage and the other standing before him, is moving.
Kim Jho films the next sequence, that of the massage or rubbing, slowly moving the camera and stopping it on her soft skin, like that of any child. There is nothing obscene or disturbing in the scene and there is a lot of poetry and art. Finally, in the sauna, the masseuse performs oral sex on Min Soo, who writhes in a state of sweaty enjoyment and ecstasy.
Afterwards he is jubilant at home. His mother notices that something has changed in her son's life, as he is now happy and communicative. The experience with the man has given him a new confidence, a unique power. The steam room becomes his refuge, a place where he can experience sexual pleasure with someone who respects him despite his youth and disability. He is a free young man.
Feeling confident and valued, he is able not only to confront his annoying brother, but also to tear up the photo of Ji Seok, the boy he was in love with, thus, in the past, the boy he was in love with, when he bullies him again.
But his life is turned upside down again when one day he enters the bathhouse looking not so much for the warm waters and steam at 100 degrees Celsius, but for love at that same temperature, just when the masseuse suffers a homophobic beating. No one present dares to intervene while the young man is attacked by another while receiving kicks, expletives and homophobic phrases. Min Soo can only react by running away and hiding in a nearby alley, where he cries inconsolably.
Back in the bathhouse, but this time alone, Min Soo comes to understand, as well as transmit, the message that the film carries: the fear and insecurity that homosexuals suffer in an intolerant and homophobic country like Korea South.
Although Kim Jho's work has mainly bordered on the territory of Boy's Love, which is why he is able to attract a female audience, with this film, released in September 2011, the film producer and LGBT+ rights activist also pursues conquer gay men with a story perfect for these people, especially when contextualized.
This endeavor will not be difficult for him to achieve, thanks to the adorable Do Jin Kim, the first hearing-impaired film actor in South Korea. This young man, 20 years old at the time of filming, conquers us from the beginning with his silly, sweet and effeminate smile. Although the director manages to establish the conflicts in each scene with the good script and excellent work behind the cameras, the actor carries the film on his thin shoulders, showing us what drives Min Soo's decision-making process.
We will find the character created by Kim-Jho Gwang-Soo in his next film. In 'Two Weddings and a Funeral' Min Soo also does not react to a homophobic attack against one of his friends. The difference is that Min Soo from 'Love, 100°C' is not an adult over 20 years old, but a teenager already separated from the world due to his hearing disability, but both, each in their respective films, fear facing a intolerant and violent society.
In his two previous short films, the filmmaker explores the terrain from fairy tales and fantastical dreams, but 'Love, 100°C' demonstrates that it is honest realism that best adapts to the world vision of its director and screenwriter.
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A violent encounter between two cultures, two sexes, two Chinas, two generations.
Wai Tung (Winston Chao) is a Taiwanese-American man who is happily settled in New York with Simon (Mitchell Lichtenstein), his American boyfriend. Already close to 30 years old, Wai-Tung has not yet married, and his Taiwanese parents are impatient with the fact that they want to see him married and have children.But what shines is not the golden and cheerful champagne, but a sad and sordid story. Wai-Tung has not dared to confess his homosexuality because his father has recently recovered from a heart attack, in addition to coming from a conservative family and he fears that they will not accept that he is a gay man.
Wai's parents, unaware of the situation, have found him a girlfriend from Taiwan and gotten him engaged; and they plan to travel to the United States to introduce the girl and celebrate the nuptials. From there, the crazy dizzying entanglement: While Wai must announce that he already has a girlfriend, Simon proposes celebrating a wedding of convenience with his Chinese roommate Wei-Wei (May Chin), a young immigrant who needs a green immigration card. to remain in the United States.
With its Oscar nomination for Best Foreign Language Film, a Golden Globe nomination in the same section, and six nominations for the Independent Spirit Awards, including Best Film, all in 1993, 'Xi yan' ('The Wedding Banquet ') won the Golden Bear at the Berlin Film Festival, shared with the Chinese film '"Woman Sesame Oil Maker'
With a lot of ingenuity and a good dose of humor and drama, the success of the film is guaranteed by the truthfulness of the story and the way in which the creators do not seek melodrama and basic humor, but rather do justice to the characters. .
In this well-conceived, bittersweet, funny and very entertaining film, which never stumbles, it tells us how Simon's strategy, which seemed to be safe, causes even more problems when Mrs. Gao (Gui Ya Lei) and her husband, Mr. Gao (Lung Sihung), Wai-Tung's parents, arrive in New York to celebrate a big wedding with Wei Wei. As a result, all kinds of emotional conflicts and human relationships happen behind the Chinese-style wedding banquet.
Friendly and surprising film of cultural shocks that launched Lee to universal recognition, the multi-award-winning director demonstrates a certain creative maturity as an author. Halfway between comedy and social melodrama, he bases his story on the critical-testimonial subtlety of situations and dialogues, which range from hilarity to touching sentiment, managing to overcome cultural barriers and achieve, in this way, international recognition. . As a curious fact, Lee participates as an extra among the guests at the wedding banquet.
With sequences as successful as the wedding banquet - following Chinese traditions - that titles the film, the humor comes from both the characters and the situations, giving rise to a funny and emotional unusual comedy.
'The Wedding Banquet' offers a sharp study of mentalities and points out the problems of Chinese emigrants in the United States, in search of an identity and that "American dream" that most of the time will not be realized.
With a low budget, so it was filmed with natural light, and dialogues in English and Chinese, the film talks about the confusion of identities, traditional family values and their clash with modern life. Not in vain did the Taiwanese director say in this regard: "It is a violent encounter between two cultures, two sexes, two Chinas, two generations. Also, in some way, a clash between Eastern and Western society."
With this very skillful and entertaining social comedy, turned satire on the middle class with more heart than bite, Lee seems to have the objective of breaking spears in defense of homosexuality, with his dialogues and erotic situations very explicit in this sense.
Hence Lee recognized: "it is an important aspect in this film, because American cinema has traditionally treated homosexuals and also the Chinese badly. I would like them to be respected more. (…) in America it is seen as something comical, but in Taiwan it would be a drama. I wrote it based on my own experience, because it was also an act of rebellion for me not to get married, and in real close situations," referring to the fact that he was inspired to write the story by a couple of his friends.
Due to its emotional charge, with this film, the Taiwanese director, screenwriter and producer continues, as he did in previous films, such as 'Pushing Hands' and 'Eat Drink Man Woman', his exploration of the relationships and conflicts between tradition and modernity. , eastern and western. Lee also deals with repressed and hidden emotions in many of his films, including 'Crouching Tiger, Hidden Dragon,' 'The Ice Storm,' 'Hulk,' and 'Brokeback Mountain.'
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Finding love in premonitory dreams
Finding love in premonitory dreamsFrom the first scene, 'I Saw You in My Dream' not only grabs the viewer, it also proves to be a special LGBT-themed romantic drama with its cozy vibes, delicate emotions and tender sentimental messages.
Each well-written scene highlights the protagonists and their charming personalities, helping me understand them as individuals. I empathize with the skillful narrator, who describes a tender bond between two neighbors and childhood friends. We are facing a healthy and beautiful youthful romance.
The possibility of romance does not take long to emerge on the screen. Although initially focused on platonic interactions, the main characters are one a university student and the other a freelance photographer, who have shared their entire lives in games, noble fun, and a lot of camaraderie.
However, everything changes when Ai, just on the day she turns 20, in the middle of the Christmas and New Year holidays, begins to have premonitory dreams, that is, those that end up happening later. Having dreams that seem to foresee future events causes him distress and confusion, since they are related to Yu, his friend, whom he sees suffering a tragedy or kissing him in the privacy of a darkened room. This triggers in him, on the one hand, the desire to protect him, and on the other, love, but at the same time he does not know how to handle the situation due to the fear of losing his friend.
This is how the series immerses the viewer in the complex labyrinths of friendship, love and self-discovery, presenting the moving story of two inseparable friends, who find themselves on an emotionally challenging journey. What they believe about themselves and what they feel about each other is not a constant – unlike many situations shown in the series that seem to remain unchanged: games in the garden of the house or in one of their bedrooms, the search for hidden treasures, sharing the birthday gift...
In the environment of their childhood and adolescence, their homes have witnessed countless laughter, games and shared secrets. However, as they reach adulthood, they face new desires and emotions, and endless questions about who they really are and what love is. What makes this period of changes a sea of confusion for the protagonist is that over time he realizes that he loves Yu. Do you have to hide your feelings to preserve a friendship intact or is it time to take a risk to be authentic with yourself?
Ingkarat Damrongsakkul, the actor who plays Ai, is sensational. He brings sweetness and youthful innocence to an emotionally honest performance. Ruy, as he is known by his nickname, embodies his character so convincingly that Ai feels like a genuine person with complex thoughts and feelings drifting from his premonitory dreams.
This role is perfectly designed to highlight the best qualities of the actor who starred in 2015, at the age of 12, in the film 'How to Win at Checkers (Every Time)', a drama for which he won the coveted Best Actor award cast at that year's prestigious Suphannahong National Film Awards/National Film Association of Thailand Awards.
'Quarantine Stories', 'Fierce & Furious Academy', '2 Moons' and '#HATETAG' are other BL series in which Ryu had the opportunity to take on important roles.
For his part, Putter Phubase Pratumrat, who plays Yu, radiates a pleasant charisma. The actor who starred in one of the stories of the series 'My Universe', specifically the one titled 'Lucky Love', and who made his debut in 2022 in a supporting role in the BL 'Our Days', has a cheeky charm boy next door guy who helps you understand why Ai dreams about him. Unlike his friend, Yu is an outgoing and confident boy who likes photography and video games.
Ryu and Putter are a joy to watch: they establish an engaging and comfortable relationship, while sharing wonderful chemistry, which never makes accompanying them in their developing relationship boring at any point.
Visually beautiful, 'I Saw You in My Dream' contains many reflective messages about the loves between two boys of the same sex, members of the small Thai Catholic community, something that is new in BL series from that country, especially if we take into account that for the Catholic Church, homosexual acts and behaviors constitute a serious mortal sin because sexual relations must have a procreative purpose and take place within marriage, which is indissoluble and made up of the union of a man and a woman according to their identity. biological.
As Ai experiences various challenges, she must learn to handle these difficulties with maturity and confidence. Fortunately, our hero has a great support system, from loving parents to supportive and respectful friends.
Likewise, the story of Ing (Game Orarig Tanoi), who in turn is secretly in love with Yo (Surf Patchara Silapasoonthorn), Yu's younger brother, will be interesting. Both will give rise to an always-awaited second couple that will increase tensions and conflicts.
Tee Bundit Sintanaparadee, the director, opts for a sweet romance, filmed in warm tones with soft touches of romantic comedy. The Thai director, who with the series 'I Feel You Linger in the Air', 'Hidden Agenda', 'Step by Step', 'Something in My Room', 'Lovely Writer' and 'TharnType', among others, has been years is a chronicler of love and the daily struggles of a young generation, he returns to familiar territories to reveal some of his obsessions: homosexuality, family, traditional culture, the school process, the work environment, youth and its ups and downs emotional.
For this, it has the collaboration of Prig Apichayar Sinithichayanon ('Hidden Agenda'), Chot-anan Kasamwonghong ('The Rebound', '609 Bedtime Story' and 'The Eclipse', Wannapa Lertkultanon and Natithep Wong-In, in charge of writing the script based on the famous Afterday novel of the same name, who build real and sincere characters and follow them in an unprejudiced and natural way.
'I Saw You in My Dream' is at the same time a coming-of-age and a coming out, that is, a traditional growth story in which a firmly closed closet timidly begins to open to the outside and from which those who are inside. The director obtains from the young cast naturalistic performances – although clearly marked by a classic script in its structure and route – that are largely credible and fresh.
At the same time, it explores in a simple and kind way the process of growing up and self-discovery, and the complexity of human relationships even in a context that seems to be simple and comfortable for the characters. After all, they are lifelong friends, they are doing what they love to do most, which is sharing time together, and they have beautiful memories of what their lives have been like.
The casting decisions are correct, the cast being made up of actors and actresses committed to fiction and the performances being very natural. Nothing is forced in this series and that makes the story take its time and immerse the viewer in the thoughts of each character, without looking for a plot, a turning point or a moment of dramatic explosion.
The choices regarding locations, even those public places due to their scarce presence of personnel outside the filming, are successful because they do not distract from the central point of 'I Saw You in My Dream': the indescribable bond in words between Yu and Ai. The characters are the ones who have to be there; There are no distractions of any kind during the series. At times it may seem like it is moving slowly, but deep down it is because it is a work more focused on the development of the characters, instead of a traditional narrative structure of beginning-middle-end, although it does not lack this aspect either.
The series seeks to portray first love, self-discovery, friendship, family ties, study, passions, among other issues, in a very natural way. Although young people go through situations full of doubt and confusion, the audiovisual gives a certain luminosity to the messages it transmits and the way its characters are followed.
The director knows how to capture the sensitivity of the story he wants to tell and the feelings that blossom in the protagonists. At no time does it fall into common places, neither in relation to the construction of the characters nor in the development of the plot. Let everyone be as they are, do not judge them or justify them.
The characters are very real and sincere and the cast does a good job of carrying them forward. The actors manage to portray the universe and the stage of life in which they find themselves in an unprejudiced, natural and enjoyable way, showing the sensations and reactions of young people their age.
The setting is also achieved. The cheerful landscape of both boys' houses, the shared garden, the fence that divides one home from the other, the university, the church and the places they visit, are settings that color the series with a certain nostalgia, joy and romanticism.
The other notable aspect, and nothing minor in the plot and form of the series, is the music. This plays a fundamental role in the story, being a means to express the characters' feelings without them having to recognize them or have uncomfortable conversations. Many times they even don't know what's happening to them and the music lets those sensations flow. Plus, the soundtrack is original, catchy, and sounds good.
The musical score by Banana Sound Studio, and the songs composed by Sorawit Sangpupas and Thanawin Keawsri, and performed by Ryu and Putter, are not so much company as they are an essential complement to the story. That is, the songs help tell the story, but not in the usual way of the musical genre but rather as a soundtrack that expresses youth, doubts, and also fears.
In summary, 'I Saw You in My Dream' is a coming of age and an effective coming out that turns out to be sensitive and intimate, simple and complex at the same time, quite original, without the need for large concrete conflicts to resolve.
The work of Tee Bundit Sintanaparadee invites the viewer, depending on the moment in life they are going through, with empathy or nostalgia the process of growing up, of making decisions, of self-discovery, of being young but not so young, of risking what one feels, and to travel through love even when there are doubts and fears: wait for it in premonitory dreams.
YA
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The Challenges of Balancing Faithfulness to the Original Work with Creative Interpretation
Why do friends-to-lovers stories continue to surprise us? In the world of television series, there's a cliché that has captured our hearts for generations. I'm referring to when the main characters are friends before they fall in love. There are often many moments that show how well they know each other.In these cases, how can we not empathize with the obstacles the characters face during the plot? Well, don't doubt it: a common reason for not being together, for one to hide their love for the other, is that they might ruin their friendship.
It may be a matter of days, a few months, or it may take the characters a lifetime to realize that the affinity they feel for that special person in their everyday lives has crossed the line from friendship to become a romantic interest.
As viewers, don't we get a chill when we realize that these two friends who get along so well and even read each other's minds because they've known each other forever, even since they were children in many cases, are actually developing a "friends to lovers" trope right before our eyes? We've never waited so eagerly for the next episode! We've never devoured a series so quickly!
Personally, I feel like this trope is so underrated, and I don't understand why. Not all friendships have to turn into romances, but sometimes it just makes sense. True love is based on trust and truly being there for each other, so I wonder why best friends wouldn't fall in love with each other.
The truth is, friends to lovers stories have been with us for a long time and remain a surefire twist that we love to discover little by little, frame by frame. They are an inexhaustible source of fascination that makes us want to stay immersed in the next episode, from the first to the last, just to see if that exchange of glances full of intentions finally turns into the first kiss that changes everything.
What if we add to this the fact that the characters have incredible chemistry, and are so funny in the awkwardness and confusion typical of someone who's never been on a date? What if the performances are so well-crafted that they actually feel real? What if one of the protagonists has an unrequited love, while the other is oblivious to it all? What if we add a third wheel to this explosive "Molotov cocktail", and the newcomer mistakenly reads the lovelorn boy's diary, in which he confesses his love for his friend, and thinks it's a novel in progress? What if he approaches the booklet's writer with the intention of giving him ideas for the literary work, and this approach is interpreted by the boy our protagonist has fallen in love with as his best friend being stalked?
What if, out of frustration with his crush because he simply can't take hints that he likes him, the protagonist change the name of that person on your phone to "Stalker", confusing everyone else looking at it, especially the guy he loves? What if the main character's best friend thinks the newcomer is the stalker, and to avoid the "stalking", decides to accept his crush's proposal to be his girlfriend for a week? What if, after accepting, the eternal crush gives contradictory signals, further confusing his clueless friend, now his boyfriend for the next seven days? What if the clueless joker tells his friends that his best friend proposed to him and he accepted? What if the group of friends answers his doubts with almost straightforward answers, and he still has no idea? What if the romantic comedy is hilarious and the slow-burning tension is top-notch? What if they end up hooking up? Well, we still don't know the latter, but we hope so.
This is precisely what 'Something is Not Right' is about, the South Korean series that revolves around Do Ba U (Choi Min Ho), who harbors an unrequited love for his childhood best friend, Ji Hoon (Jeong Je Hyeon). Hopeless, in order to overcome his feelings, he proposes to Ji Hoon that they go out for a week, something that, to Ba U's surprise, his friend accepts.
Why this sudden change in Hoon's attitude? Because Jung Ha Min (Ji Min Seo) has entered Ba U's life, and Hoon suspects Ha Min is stalking Ba U. That's why he sees this "temporary relationship" as a way to scare him away. Will Ba U be able to put his unrequited love behind him by the end of the week? Will it really be unrequited love? Or will this fake relationship with an expiration date be the beginning of something real between them? Will the two discover that their friendship has transformed into love?
The following episodes will allow the viewer to discover whether the plot will evolve into a new trope, that of the love triangle, or if Ha Min will become the "fairy godmother" to Ba U and Ji Hun. But the truth is that while Ji Hun hasn't realized that the stalker he's worried about is himself, Jung Ha has no sense of personal space, and both reads the diary Ba U left behind in a coffee shop and eavesdrops on other people's messages and conversations, refusing to take no for an answer.
In a story that perfectly and equally blends confusion, unrequited love, to confess or not to confess, friendship or love, and the arrival of someone new who gives off the vibes of someone interested in opening up the already fragile relationship between two people and turning it into a love triangle, or in other words, trying to win the protagonist's heart, faced with the proposal, Ba U, who was only expecting to be rejected, never thought that Ji Hoon would agree to be her boyfriend for a week.
The 8-episode drama, directed by newcomer Seong Yu Hwan, is a spin-off based on one of the supporting characters from Tak Bon's webtoon "Who Can Define Popularity?", which in turn served as the source material for the Korean BL series 'Blueming'.
While the plot isn't anything special, the way the creators present the story is fascinating, with such precise characterization of their characters, genuine, funny and silly in their own way, including the secondary characters, which makes the series so interesting, fun, and fresh.
Contrary to what some viewers think, this enjoyable and hilarious romantic comedy is not a remake of 'Blueming,' nor does it seek to remake the story, surpass it, or ruin it. The original work (I'm referring to the webtoon "Who Can Define Popularity?" and not the Korean BL series 'Blueming,' as some viewers believe) has been adapted to highlight the supporting characters Do Ba U and Ji Hoon as the main protagonists, even introducing new characters that didn't exist in the manhwa and casting new actors to portray the already familiar characters from the series directed in 2022 by Hwang Da Seul, and based on a script written by Seo Ji Eun, who with 'Why R U? Korean Remake' (2023) demonstrated expertise in adapting the original Thai BL story of the same name written by Kittiphat Jumba.
In this regard, 'Blueming' is a series very far from the original manhwa, so the two have very little in common beyond their concept. Therefore, it's no surprise that other creators are revisiting some of the characters from the original work to launch a completely new series therefore, it's no surprise that other creators are revisiting some of the characters from the original work to launch a completely new series starring those who were the secondary characters of both the Korean series and the webtoon. On the other hand, if they are productions from two different companies, why should 'Something is Not Right' feature the same cast as 'Blueming', another of the complaints of some viewers?
Like any other adaptation, be it a novel, short story, graphic novel, poem, play, comic book, etc., 'Something is Not Right' doesn't have to be faithful to the original work, beyond what the adaptor wishes to preserve.
The first thing viewers should keep in mind is that 'Blueming' is NOT the definitive version of the story captured in "Who Can Define Popularity?"
Another element for audiences to keep in mind is that while the original manhwa may offer new perspectives and unique narrative opportunities, it may also struggle to find an audience without prior exposure to the source material.
Should it be faithful to the original work or have creative freedom to transform elements of the story for the benefit of the series?
This is the question many viewers will be asking. While some creators prefer to replicate the original work as is, preserving the script, characters, setting, and time, the producers, directors, and writers of 'Something is Not Right' chose to take more liberties, altering key aspects of the plot or characters, even though they knew this decision could provoke criticism from the webtoon's fans.
However, we must keep in mind that this creative freedom is a powerful tool for reinterpreting and bringing the original text to life. There will always be debates about whether adaptations are faithful and of high quality, but it's evident from its first two episodes that 'Something is Not Right' has the potential to add a unique visual and emotional dimension to the webtoon on which it is based.
To the creators' benefit, despite the considerable changes, the fluidity of the plot helps tell the story very effectively, gaining the approval of most audiences and fans of the manhwa.
When adapting the original, the creators abandoned the so-called Literal Adaptation and Condensed Adaptation approaches in favor of Expanded Adaptation, an approach that expands the original work by adding scenes, subplots, or characters not present in the original, thus providing greater depth and context to the story, and Interpretive Adaptation, which allows for greater creative freedom when adapting the original work.
Not only did they accept the challenge of adapting the work while remaining faithful to the overall tone and themes of the original work, but at the same time, they made it accessible and engaging for audiences.
In my opinion, Seo Ji Eun and Seong Yu Hwan have understood these two aspects, which have helped them craft a better script, understanding the background of the work, which characters are involved, and how important their role is to the series, as well as what they hope to convey to the viewer. Through their work as screenwriters, they have managed to keep Tak Bon's voice as an author alive.
Their collaborative work demonstrates their ability to discern which characters should be given more exposure and which should be used to help the story flow, reviewing the plots to see which supporting characters will help the main characters achieve their goals and which won't; and finally allowing the protagonists' thinking to evolve, taking it from a passive beginning to a point where the characters have grown so much that they have changed their thoughts and convictions.
In conclusion, the adaptation gives fans of "Who Can Define Popularity?" the opportunity to see the story captured in one of their favorite manhwa come to life in exciting new ways, capturing the spirit and essence of the original work.
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Having roommates will definitely go from "sharing the house" to sharing everything; the bad jokes, the bad times and the existential crises. Although it is impossible for everything to be rosy, returning home to be yourself and having someone to talk to about the good in all circumstances is always a relief. The constant company of other people around you helps to observe the panorama beyond the tip of your nose.
The premise of this 'rom-com' may seem corny and implausible: Latte, Tawan, Peak and Almond are four young people who share a rental house. One night of drinking and playing spin the bottle, the first three discover that Almond is still a virgin.
In this way, the young man who has never enjoyed sex makes a bet: if one of them manages to connect him with the person he likes, he will cover a year's rent.
However, the creators of 'Knock Knock, Boys!' (Thai: บ้านหนุ่มโสด โหมดพร้อมเลิฟ/Ban Num Sot Home Phrom Love), make this 'fairy-tale' story a hilarious and emotional delight. This is how the story of love, dreams and friendship begins.
The series stars Nokia Chinnawat Phattharathanachot, who we saw in one of the episodes of the drama 'If I Love a Boy', specifically in 'Han on Me', and in 'Thank God It's Friday', both from 2019, playing this time to Almond.
Carrying out the daring and romantic mission is carried out by Latte (Boss Jaonine Jiraphat), who we know for his role as Tar in the drama 'Find Yourself'; Thanwa (Seng Wichai Saefant, star of the dramas 'Secret Crush on You' and 'War of Y', and Peak (Best Vittawin Veeravidhayanant), an actor we remember for playing Pluto in 'Love With Benefits' and Daonuea in 'Check Out'.
Directed by Natavut Leewairoj, the youth comedy-drama with an LGBT+ theme leaves us with a great lesson: living with roommates will mean that the jokes and fun will not stop, and the complicity and support at home, whether to set up night games, to prepare food, doing the laundry or helping you find the love of your life will be nearby whenever you need it.
The upbeat music, composed and produced by Susui and performed by Smart Wattana, makes 'Knock Knock, Boys!' remind us that true love and soulmates are also in our closest friends, which can even be those we just met. It also commemorates that in the same way that a loving relationship is built every day, so is friendship. Furthermore, an external look always helps us see more clearly.
The series will also address other topics, such as internalized homophobia, the school and work environment, family relationships, sexual repression and the fear of living sexuality freely.
Together with Almond, we will learn that not everything has to be perfect if you have the right roommates, because any difficulty or setback will be fixed as we go.
They are four opposite but complementary roommates, real, fun and imperfect young people who explore their sexuality, embrace their ambitions and face their insecurities while dealing with the difficulties of youth, such as coming of age, conventions, secret loves. , bisexuality, the discovery and acceptance of homosexuality without dramas or tragedies and a commitment to normalization, in a beautiful and fun youth story.
I would like to highlight the use of humor to dedramatize difficult moments such as coming out or recognizing one's virginity or pansexuality.
The drama aims not only to fulfill what one expects from such a premise, but also to overcome any idea or preconception, entering from a perspective full of love and humor into the lives of four friends, two of them in their early twenties, the other pair are university students still in adolescence, all in constant existential crisis, who oscillate between love dramas, student and work confusions and identity doubts, finding their salvation in each other.
Nokia leads with Almond's desperation to fit in and purest innocence. Jaonine puts security and emotional independence into her Latte; Best brings the entanglements of a heterosexual courtship just to make his father happy and Peak's sickly perfection, while Seng brings Thanwa's sexier carefreeness and self-love.
The four complement each other, argue, hug each other while drinking a drink of alcohol or face life as it comes and, above all, they never fail each other.
Much of its success lies in the perfect chemistry between the four young people, especially between the two couples in love: Peak and Thanwa, and Latte and Almond.
The cast closes with the performances of Mon Taechin Phaisanwan as Sean, Pak Varayu Pusomjitsakul as Jumper, Tuss Thotsawat Sing-uppo as Max, and Ten Tosatid Darnkhuntod, among other actors and actresses.
'Knock Knock, Boys!' It is a fantasy that we have all been able to or wanted to have, but that is more enchanting, natural, genuine and immensely fun in this production that will bring us many surprises.
I recommend this hilarious and unprejudiced Thai series, with its satirical humor with heart and its commitment to cultural, sexual and gender diversity, through the vicissitudes of four strangers who go from friends to lovers.
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However, the cooking-loving boy manages to convince the tall, sincere uniformed man with a natural and calm charm about his true identity after showing him his personal identification.
To his surprise, the next day he meets up again with the police officer, who works at a small police station, near the convenience store where he works part-time, in search of late-night snacks.
Becoming a regular customer at Isumi's workplace, both young people can see each other daily.
From then on, whenever they meet, Amasawa asks him for recommendations on what would be most appropriate to eat, and Isumi, concerned about Amasawa's eating habits, offers, "How about I come and cook for you?" Visiting Amasawa's house, they grow closer through home-cooked meals.
After the chance meeting, Isumi can't help but fall in love with the charming police officer, while struggling with the complexities of first love. Will the kind policeman feel the same way about him?
As the two deal with their feelings and the challenges of adulthood, the story touches on themes of acceptance, self-discovery, family, friendship, culinary art.
'Sugar Dog Life', the live-action adaptation of the manga of the same name with its Japanese title シュガードッグライフ, Hepburn: Shugā Doggu Raifu, by Yoriko, and serialized in the monthly yaoi manga magazine Gateau in 2019, is faithful to the original, by drawing various tropes, such as soul mates, a romance with a difference in age and height, with characters with great disparity in their personalities and distinctive characteristics, with the striking black hair and blonde hair that adorn the head of the protagonists, and the Grumpy Guy x Tall Kind Ball of Sunshine type dynamic.
Directed by directors Honda Ryuichi ('Pussycat Daisakusen'), Ouchi Takahiro ('Mimicry Freaks') and Kozue Sasaki, the Japanese series seeks to tell an addictive and friendly story with ordinary characters, while offering a rich palette of emotions capable of attracting viewers, and to do so it relies on a good script, notable performances and shots full of color and life to express a shy and honest love.
Although it is the story of a romance, there are no sex scenes in 'Sugar Dog Life'. It is, in that sense, a "discreet" series, which suggests more than what it shows.
Along with the visual and performance spectacle, the music composed by Erina Koyama stands out. Its opening theme "Sweets", performed by Super Dragon, and ending theme, "Futari Yōbi", by YaYuYo, make the framework of the story even more attractive.
The script, by Motoko Takahashi, Ayumi Shimo, Shiori Ueno and Fumino Kimoto, brings us the original manga in cinematographic language, to tell us a fun love story between a boy university student and a police officer five or six years older, starring Tawada Hideya and Tanaka Koki, who play Amasawa Kyosuke and Sakuraba Isumi, respectively.
Hideya Tawada, from Bungō Stray Dogs, is known to BL lovers for giving life to Kōhei Sugihara, the protagonist of 'Silhouette of Your' ('Hidamari ga Kikoeru' (ひだまりが聴こえる), director Kamijo Daisuke's debut film, filmed in 2017.
His character has an honest, slow but lively dialogue. This ductile and consistent actor manages to correctly reflect the calm and naturally flirtatious personality of the police officer. This role constitutes one of his best works to date and has served to demonstrate that he moves with the same ease through the comic genre as the dramatic one.
For his part, Kōki Tanaka, a member of the vocal and dance unit Super Dragon, who had a supporting role in the LGBT+-themed series 'One Room Angel', from 2023, manages to overcome the challenge thanks to his fantastic performance of a young orphan with culinary skills, a tsundere personality and vibes of a slightly "cunning", "naughty" and "pure-hearted" boy. The actor gives vitality to his character straight out of a manga.
Isumi, who has a kind and youthful image, harbors sensitivity and a desire to help others.
The chemistry between him and Hideya Tawada on screen gives rise to some intense scenes in which we sense the sincere love relationship that arose from a misunderstanding.
In the supporting cast, Souta Uemura stands out as Yōhei, Isumi's best friend, and Raiku as Shōji, another friend and fellow student. Their roles are important in the story by allowing a different side of Isumi to be shown compared to when she is with Amasawa.
On the other hand, while Isumi shows his pain at thinking that Amasawa only sees him as a friend, Yōhei feels alone and abandoned by Isumi, who before his eyes is building a world in which he has no place. However, their friendship is constantly strengthened.
The sensitivity with which 'Sugar Dog Life' is told is evident in the most moving scenes, capable of showing with great honesty and with complete naturalness the relationship between the two protagonists and its evolution throughout the time they shared.
Although its plot does not have any major dramatic twists, the series seeks to explore the emotional connection between two young men, and carries out a gentle development of their romantic relationship, offering a unique perspective on love and romance.
YA
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BL and debate on a complex and novel social issue in the genre: male prostitution
It is estimated that almost 3 million Thais are in prostitution out of a population of 65 million inhabitants where, although prostitution is illegal, culturally, contexts of tolerance have been established, reaching the point of creating favorable scenarios to encourage economic growth. based on trips and sexual tourist events.Bangkok's nightlife scene is majestic, with its lounges, such as The Pimp, Sherbet, Pegasus, St. Moritz or Le Pent, which copy the model of Japanese host bars in high-net-worth environments. Large, elegant nightclubs, with shows and luxury in abundance. You enter a place like this and at the door you already see that the matter is going to be expensive. They are places frequented by the upper and wealthy Thai class.
Inside, it's all tables where you watch the local guys drink high-priced liquor, accompanied by customers, both men and women, extremely smiling and pleasant. The hosts say whatever nonsense. The customers laugh. One drops the glass of drunkenness. His partner wipes his shirt and caresses his cheek.
Designed to receive groups of friends, and when I say friends I mean all male, the waiters of the also known as gentlemen's clubs greet the visitor with two cards. The one for drinks and the one for the hosts. But it's not a brothel. Hosts are not on the menu for sexual reasons. If you pay the high price, what they will do is sit with you at the table, serve you drinks and make you laugh all night. If you pay good drinks, you might touch some meat, kiss, munch, and you can even bite the neck and leave a mark as a souvenir. But no taking something home, at least at the price listed on the menu. It is paid by the company.
There is certainly some similarity with Japanese host clubs. But while in Japan you sit down with your rented girl or boy to tell her your sorrows and what stresses you about work, in Thailand it's for dancing and getting drunk. The hosts entertain the client by making them play rock, paper, scissors while laughing, or a video game on their mobile phone. Whoever loses, drinks. And the client always pays.
Of course, all this has a price. The guys in the lounge are carefully selected and have to be fun as well as remarkably attractive. Don't expect to drink a cheap beer either. The normal thing is to buy reserve whiskey.
How much can a joke mean in a lounge? Quietly about 5,000 bahts, 125 euros, if you don't lose control with what the hosts ask for. And that's knowing that, unless a miracle happens, they will go home like almost everyone else in a normal nightclub. Alone.
I think of all this when I watch 'Deep Night' ('Khuen Ni Mi Khae Rao'), the Thai series that bears the indisputable seal of "Cheewin" Thanamin Wongskulphat, the actor, director and owner of Copy A Bangkok, the production company and agency of casting, who is credited as the first producer of the Y series in Thailand, and who also made successful works such as 'YYY' (2020), 'Why R U?: The Series' (2020), the three seasons of 'Make It Right: The Series', all from Line TV, and 'Love Sick', his first drama, from 2015.
I think of all this when I watch 'Deep Night' ('Khuen Ni Mi Khae Rao'), the Thai series directed by "Cheewin" Thanamin Wongskulphat.
The series tells the exciting and stormy story of Khemthis, played by Shogun Paramee, the latest letter of introduction of GMM 25 in full ascendancy in his first leading role, who plays the beloved son of Madame Freya (Tanya Thanyaret), the owner of Deep Night Club, the most important host bar in the country, and Wela Ratthakorn, characterized by First Piyangkun, an already established figure within the genre with dramas such as 'War of Y' and 'Y Destiny', always in leading roles, this time representing no not only the number one artist on the trapeze, but also the host preferred by clients.
The series will attract the attention of many for different reasons, including the incredible chemistry in front of the camera of the two main characters.
A new aspect for BL fans is the social and cultural landscape of Bangkok nights and, especially, the elegant nightclub that represents the setting, a kind of acrobatic cabaret that serves as a backdrop to address a topic. new within the world of BL: male prostitution and escort services, since Wela and the other club hosts are auctioned and offer sexual and companionship services to clients who pay for their attention, without reaching penetration.
'Deep Night' shows us a form of male prostitution typical of Thai nightclubs. Since prostitution is illegal, these establishments seek to hide this social phenomenon when the prostitute, here called the host, is not paid directly or in cash, but rather through the payment of sexual services to the establishment and through the purchase of alcoholic beverages with those in which the client manages to spend the night being accompanied by the young sex worker.
The series shows how Thai rentboys are auctioned off in nightclubs. The hosts of the Deep Night Club are sex workers, although they only participate as mere companions or escorts. Who says that a person in the conditions shown in the series who receives money for their services, for not having penetrative sex, does not practice what is known as the oldest profession in the world?
Wela cannot do anything to prevent the provision of sexual services that the client demands. You can't do anything to avoid a drunk who insults you, someone who bites your neck, mauls you, touches you in an impudent manner, kisses you, and puts their hands under your clothes.
You can only ease your luck a little by frequently asking the client's permission with the excuse that you need to go to the bathroom. The host needs to ask permission from the person who paid, and justify leaving his table, even for a few minutes, hoping that the night goes by quickly and he is finally free.
The client acts like the client of any prostitute in any brothel anywhere in the world. He is the owner of the situation gained by punching bills or gulping drinks, which in this case is the same thing. The legal limits are set by the club. The sex worker cannot be a minor or be an undocumented alien or other violation of the laws.
Being exposed, Wela is forced to recognize that he has had to carry out this work in order to obtain the money that would allow him to pay off the debt left by his father. Then, new approaches arise: The main annoyance, anger and wound of a person in his place is due to reasons that the series hides, denies or ignores: the suffering of the prostitute for having to get ahead with his life, pay debts, be able to carry a plate of food on the table, being able to dress and put on shoes for his son, being able to pay for his elderly mother's surgery or his little brother's studies through this job.
Wela never questions the reality that life has brought him to. Wela never has a thought about what she is doing with her life, whether she has chosen the right path. He knows it's not the right way. For some reason, he has been hiding everything related to his work from his mother and everyone else for years, because he is aware that it contains both illegalities and shameful, defamatory, degrading, immoral content.
Instead of questioning himself about his behavior, of making the viewer understand why he has been forced to prostitute himself, which would be consistent with a person in his place, what he does is praise his sponsors, applaud the good things he has done. the club has been towards him or how kind the owner of the club has been in giving him the job.
The series does not offer us lessons, which would be extracted from focusing on specific issues like these. The main character does not give hope to people in his place. Wela does not redeem herself, she does not find redemption. He does not seek redemption.
I don't like that the series has approached this whole phenomenon of prostitution so lightly, in a festive tone, in which we will never get to know the human suffering behind the fact that a person decides to enter the world of prostitution .
And I understand that the creators have decided to face the issue in this way so lightly, so superficially, and not with crudeness, with realism, as the problem deserves to be exposed, because otherwise the series would be moving away from the BL genre to become an LGBT+ drama with greater depth, realism and complexity than this other genre would propose.
I also regret that the majority of fans of the genre prefer to ignore the obvious, and instead of joining the debate and reflection proposed by the creators and producers, they dedicate themselves to commenting on whether Japan would look good in a sequined suit or if Dai should touch up her hair. beard frequently.
With his resignation as host No. 1, Wela will no longer be bitten on the neck by a client, nor will he be groped, groped, kissed or touched in his private parts by someone who paid to do precisely this with him.
When the time comes, Freya has to admit mistakes in allowing prostitution in the club and apologize to the hosts "for the chaos that was previously in our club until today's special event occurred."
Whether or not it was their interest, the creators have given their opinion regarding the debate that is being waged today within Thai society about whether or not to legalize prostitution.
To all of these, I was hoping that Japan and Seiji would save the series from my disappointment. If Seiji always considered Ken only as a friend, if he had thousands of occasions to have a romantic or sexual relationship with him and he was never interested because for him Ken was nothing more than a friend, why does Seiji's sudden interest in Ken? ? When did Seiji realize that he loved both of them at the same time, when he always showed interest in Pan and never in Ken, despite the latter's constant hints first and statements later?
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Joo Ha (Lee Joo Ha) is also not afraid to let Min Hwan know that she has also fallen in love with Soeun, her best friend.
Your problem lies in how to let them know.
Is the problem because they love people of the same gender? Will they be able to overcome doubts and insecurities and express their true feelings? Will they decide to flee to face the conflict and repress emotions in order to please the other? Will they choose to hide the truth and generate temporary tranquility that in the long run will gradually cause happiness to be lost, and therefore the relationship to deteriorate? Isn't avoiding conflict the cause of that feeling of guilt, that you owe something, and therefore you don't have the right to demand or claim from the other?
From my words, anyone might think that we are facing a drama that would make us cry, but no.
From the romantic comedy genre with an LGBTIQ+ theme, the hilarious miniseries 'Fake Buddies' (가짜 친구 / Gajja Chingu) promises to make the viewer laugh in this mess that, in addition to fake friends, explores communication problems.
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An attempt to harm mental health, but in a negative way
Certainly, the boys are in various settings, such as a bathtub of water less hot than their bodies, busy trying to bring out the emotions in a failed attempt to make an exciting BL drama.If watching series like this is harmful to mental health, it is equally harmful to write a few words, even to talk about its low quality.
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