ariel alba

Kidnapped kidnapper

An unusual love story captivates the audience in each of the episodes of 'Kidnap', a Thai series directed by actor, musician, singer and filmmaker Noom Attaporn Teemarkorn ('Midnight Museum'), known for his distinctive style and captivating narratives, in which it presents us with an intense plot where there will be no shortage of violence, kidnapping, intrigue, hand-to-hand combat... and romance.
Pawat Chittsawangdee (Ohm) and Thanaphon Usinsap, who after appearing as a guest actor in 'The Folly of Human Ambition' (2021) plays his first leading role in this series, are in charge of giving life to characters that have even become a trend on social networks, because every time they appear on screen their romantic approaches monopolize the throne of Instagram and Twitter.
Ohm Pawat Chittsawangdee is a young actor who got his start in the entertainment industry with the lead role of Frame in the 2016 series 'Make It Right', which was followed by 'Make It Right 2' and 'Make It Right: On the Beach'. BL lovers remember him for his performance in the film 'Dew', a performance that won him the Best Supporting Actor award at the prestigious 28th edition of the Bangkok Critics Assembly Awards in 2020.
His character of "Pat" Napat Jindapat in the series 'Our Skyy 2' (2023) and 'Bad Buddy' (2022), and that of Khemachat Dhamrong-rattanaroj in 'The Shipper' are also treasured by his fans.
The link between Ohm and the director of the series is not recent, as both had already worked on the drama 'An Eye for an Eye', from 2021. On this occasion, Ohm played the secondary character called
Nawa.
Ohm plays Min, a young actor and stuntman who agrees to work as a kidnapper to use the money from the kidnapping for the expensive medical treatment of his sick brother, as well as to pay a debt owed to gangsters.
However, when her employer asks him to kill Q, him young, spoiled, rich co-star whom he has kidnapped, Min can't bring herself to pull the trigger. Instead, he tells them the job is complete and takes the boy home to hide him.
What we will see next takes the viewer through a wealth of emotions, from despair to hope, from insecurity to love, with Min and Q trying to outwit their pursuers to save their lives and those of their loved ones.
In this way, the two boys create a loving bond and discover that they have a strong and undeniable connection with each other.
Although the relationship does not begin as "Cupid's rules dictate", with the lover arriving with a flower in his hands to give as a gift, this love seems very logical to me because Min never exercises violence on the kidnapped person, while Q He finds in the kidnapper a strong and kind being who can protect him. His protector is always there for him.
Stockholm syndrome is one of the reasons that moves Q, a feeling that grows in his chest when there is an emotional bond towards the person who has kidnapped him. After experiencing something like this, people are not the same. Q is an innocent boy. His only "crime" is that of being the son of Khacha Yuenyongwisut (Lift Supoj Janjareonborn), the incorruptible police officer who is carrying out a criminal investigation in which those who hire Min to carry out the kidnapping are involved.
Let's face it, developing a strange bond with his kidnapper is not original, as it has been explored before. Films such as the British 'A Life Less Ordinary' (1997), by director Danny Boyle; the American 'Kill Me Later' (2001), by Dana Lustig, the Indian 'Highway' (2014), by Imtiaz Ali; and the American gay film 'The 24th Day' (2004), by Tony Piccirillo, have addressed the issue from various perspectives.
The Thai film 'Bangkok Love Story', by director Poj Arnon ('Tell the World I Love You'), from 2007, tells us a tumultuous relationship between two strangers who become close, but deep down there are no points of coincidence with this series, because in the film there is not a kidnapping but a rescue, while the mission entrusted to a cold hitman is not to kidnap, but to physically eliminate a police informant.
The difference that I appreciate between the previous films and the series directed by Noom Attaporn Teemarkorn is that Min is not the typical predator or the obsessive character with psychiatric problems represented by Ricky (Antonio Banderas) in the Spanish film 'Tie Me Up!' (1990), by Pedro Almodóvar, or Massimo Torricelli in the Polish '365 DNI' (2018), by Barbara Białowąs and Tomasz Mandes, to name just two examples.
'Kidnap' does not take lightly a criminal action such as kidnapping, with the legal implication to which the kidnapper is exposed and the trauma it causes to its victims.
What drives Min not to commit a crime is his kindness and love. This is what causes Min to not execute the order given by the employers and instead save the person he must kill. Together, the two young people will experience a traumatic situation in the best way they find possible.
Ohm and Thanaphon Usinsap represent a couple in the story with ups and downs, and Lima syndrome is also present in the plot, since the kidnapper responds to the victim. Since these syndromes exist, which in this case for me is true love, not a condition, there is this way of addressing it in the series. To tell a story this extreme, you also need a lot of delicacy and a lot of respect for the subject.
On the other hand, the strong chemistry between both roles is also partly due to the prior teamwork that the actors do before each scene, bringing to fruition sequences that are out of the ordinary, between kidnapper and victim.
In this character of Q, the actor who plays him comes out on top, combining strength and defenselessness, with a happy and noble character, which does not lack sensuality.
For his part, Ohm continues to stand out in his career in the complex role of Min with a difficult balance between the boy in need of money to save his brother's life and even his own in the face of the bullies who demand payment of a debt. and the nobility and innocence that hides in his heart.
It is not credible to me that a criminal network would entrust the mission of kidnapping and murdering a person with no prior experience. However, this is understandable, since it favors the development of the plot.
Ohm Thipakorn Thitathan, Min's younger brother; Phromphiriya Thongputtaruk (Papang) as Suea; Chelsea Napapat Sattha-atikom, in him acting debut, as Khanomjeen, Min's friend; Pym Pympan Chalayanacupt as Yada, Suea's boss; Title Kirati Puangmalee as Min's senior James, among other actors and actresses, bring a range of intense and complex performances.
Obviously this conflict arouses the interest of the public who loves to see the two main characters together, and also those who follow the other Ohm in his role as Min's brother, who left me wanting to see more of his artistic work after discovering it like August, in 'Last Twilight', and Zo in 'Our Skyy 2' and 'A Boss and a Babe', all from 2023.
By reading the comments on MDL one can see that the majority of the audience really enjoys every scene, every situation that these characters present. There is annoyance, but also a support that makes the audience who finds the series fascinating complicit.
Except for the rookie Nontachai Vinyousupornchai, the other three screenwriters, PingPong Suwanun Pohgudsai, Chalermpong Udomsilp and Sornpanath Patpho, have extensive experience in writing scripts, especially those in the BL genre, having written the scripts for 'Never Let Me Go ' (2023), 'Cherry Magic' (2024), 'Remark' (2016), 'The Gifted' (2018), 'ThirTEEN Terrors' (2015), 'Vice Versa', 'The Eclipse', among others, which demonstrates his commitment and vision in the development of the series.
In summary: 'Kidnap' offers a moving vision of the protagonists' journey as they deal with their growing attraction and the development of a beautiful romance, while searching for a sense of belonging in a world that is hostile to them.
I'll come back to the review to update it.

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Joker, the antihero we didn't know we wanted has become someone we need.

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

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"You should know, our friendship is called love"

The phrase that gives the review its title is pronounced by George to Alexander, the protagonists of 'Les amitiés particulières', the French film directed by Jean Delannoy in 1964.
Didier Haupedin, the actor who plays Alexander, was only 12 years old when he starred in the film that adapts the work of the same name by Roger Peyrefitte. The main theme is the relationship between the teenager George (Francis Lacombrade) and the boy Alexander, both students at a Catholic boarding school in the south of France in the mid-19th century.
Who would later star in films such as the Italian 'L'innocente', directed in 1976 by Luchino Visconti, and the Spanish 'Cotolay (The Boy and the Wolf)', by José Antonio Nieves Conde, and many others, will always be remembered for this performance, because it is impressive, for its young age, the variety of registers it is capable of offering, from childish joy and innocence to the expression of great inner disappointment and pain.
At only 14 years old, Brooke Shields, the American film, television and theater actress, model and writer, was filmed by the cameras of director and producer Randal Kleiser, in 'The Blue Lagoon' (1980). Already before, at 11, she got the lead role in the film 'Pretty Baby' (1978), by Louis Malle, in which she played a sexually exploited girl. Just turned 15, he starred in the drama 'Endless Love', by Franco Zeffirelli (1981).
After some minor roles, Irish-American actress Saoirse Ronan had her first leading role when she was not yet 15 years old, in the film 'City of Ember', the film adaptation of Jeanne DuPrau's novel. Immediately after, he starred in 'The Lovely Bones', directed by the Oscar-winning Peter Jackson, the New Zealand producer, screenwriter and director, known especially for producing, directing and co-writing the 'Lord of the Rings' film trilogy, as well as its prequel 'The Hobbit' trilogy.
The British 'Romeo and Juliet', a film adaptation of the play of the same name by William Shakespeare, filmed in 1968 by Franco Zeffirelli, has in its main roles the young and inexperienced Argentine actress Olivia Hussey and the also debuting British actor Leonard Whiting, who at the time of filming were 15 and 17 years old, respectively.
These are some of the many actors and actresses who began their acting careers at such a tender age.
'Love Sick', the remake of the 2014 series of the same name, brings us as protagonists two debut actors who, like those already mentioned, began their acting career at an early age, since Almond Poomsuwan Suwansatit, who plays Punn, is 16 years, while Progress Passawish Thamasungkeeti, the actor who plays Noh, has one less.
Directed by Cheewin Thanamin Wongskulphat ('Why R U?' - 2020), this director, producer and owner of Copy A Bangkok, who is credited with being the first producer of the Y series in Thailand, now repeats as director of the series, since in 2015 he directed 'Love Sick Season 2'.
Edited by Theerasan Petmai ('Addicted Heroin' – 2024) and a large youth cast, all newbies, the LGBT+-themed romantic youth drama 'Love Sick' adapts the web novel "Love Sick: The Chaotic Lives of Blue Shorts Guys", by Latika Chumpoo, to tell us a story with a simple plot that we have seen in other romantic dramas starring heterosexual or homosexual couples.
The boy who, despite having a girlfriend, is forced by his father to go out with a friend's daughter. To avoid this, he asks a schoolmate to pretend that they have a relationship and he, after resisting a couple of times, accepts, since he needs the other boy, as president of the Student Council, to intercede on behalf of the Club Music, of which he is the leader.
And for the pretend game to begin, both will need to have the help of one of them's sister, who is obsessed with the boys' love stories, and who will have to convince the father that the boy is not interested in the boys' love stories girls, but in those of the same gender. However, the fake relationship soon begins to seem real.
The problem, of course, is that friction makes affection. And, if a certain sexual chemistry is added to that from the beginning, why do we want more. Both face the discovery of their sexual orientation and problems at home, at school, with their girlfriends and friends.
This has been the premise of great exponents of this subgenre baptized in English as "faux-mance", among which stand out, among others, 'Marriage of Convenience' (1990), 'Nick and Norah: A Night of Love and Music', 'How to Lose a Guy in 10 Days' (2003), 'Holidate' (2020), 'Isi & Ossi' (2020), 'To All the Boys I've Loved Before (2018), 'Midnight at the Magnolia', 'The Proposal', 'Badly Wounded Hearts' (2022), 'Wedding Season' (2022), or the gay-themed 'Xi yan' ('The Wedding Banquet'), by Ang Lee, and 'Single All the Way' (2021), by Michael Mayer.
We all know the classic structure of romantic dramas with a fake boyfriend story: the boys meet each other, they may even dislike each other, but due to circumstances they must pretend to be boyfriends... and then they fall in love, they separate for some reason only to end... make the audience enjoy a fairy tale.
Although there have been some films and series in the genre that have attempted to break these conventions, most stick to the formula. Because? Because many of us love to see two people who initially have no feelings for each other fall in love, and if it comes with an LGBT+ twist, much better: it's not about what happens, but about how it happens, about making us leave aside our disbelief and awaken our faith in love. And in 'Love Sick', a series that has no intention of breaking any mold, the tenderness shown by the two protagonists will definitely melt your heart.
The truth is that with its message of love and acceptance, 'Love Sick', whose main component is romanticism, emerges as a delicious and tender romantic drama, with touches of humor, which is a gift for everyone, as it presents the discovery of first love by the two protagonists, who will falsely experience a courtship, which will give rise to hilarious, sparkling and emotional situations, before giving way to true love.
I n its favor, the fans were already there before its premiere, as the series pays tribute on its tenth anniversary to the first Thai BL series and also the initiator of the expansion of Asian boy love dramas to the rest of the world continent and the world. This will forever remain in my memory, the story of two ordinary boys like anyone else, who fake a courtship out of convenience and whose only intention is: the desire to live among others.
In 2014 I fell in love with the series after watching it half a dozen times. The excitement of seeing Captain Chonlathorn Kongyingyong and White Nawat Phumphothingam, playing Noh and Punn, respectively, and the rest of the youth cast still lingers.
After a long time, this week before the start of its remake I watched both seasons again, and in the process I wrote their corresponding reviews on MDL. I confirmed with joy that it still has the same effect on me as when I saw it back in the day.
Despite being newbies, Almond Poomsuwan Suwansatit and Progress Passawish Thamasungkeeti are charismatic and attractive: they perfectly sell this relationship to us and make us want them to end up together. The first makes his character the classic young man who hides his homosexuality and seems to be in love with his schoolmate, by saving photos of Noh on his phone, and takes the opportunity to approach him. Meanwhile, Noh, faced with so much tenderness and affection, cannot help but fall in love with the president of the Student Council.
'Love Sick' stands out for giving us everything one expects from this type of series, with the context of having as its setting an exclusive school for boys, full of diverse characters and a beautiful message about acceptance and discovery. It may fall a little short in the dramatic tensions department, but the tenderness of their romance more than makes up for it.
Although it is full of clichés, the story of Punn and Noh has candid moments that move and manage to bring a knowing smile to the viewer. Furthermore, looked at generously, the story invites a debate about the very nature of love, the family's reaction to their children coming out of the closet, and relationships based on mutual care that survive over time.
They are both teenagers living their first experience of love. One is a child who cannot ignore the feelings that are born and grow in his chest, and the other who, loving too, fears that his love may cause harm to those around them. They both repress their feelings. And that is what makes them so genuine and real, as they struggle with who they are and who they want to be, as they navigate their struggles to understand the limits of love, to learn to love, to discover who they truly are.
Starring actors who play two gay boys, and in which sexual orientation is not a dramatic focus, the tone of the series is festive, bright and, despite some flaws, it is deeply inspiring.
'Love Sick' may not be perfect, but it is a worthy tribute to the original series that tells a story of love and friendship between two boys who mutually discover their sexuality. It is, in short, the series that we needed to remember it and for those people who did not see the two-season drama broadcast on Channel 9 to enjoy the story.
It is appreciated the existence of a series in which its characters portray LGBT+ people in which conflicts do not prevail and also the warmth with which 'Love Sick' transmits the story it wants to tell.
The good tone of the story is rounded off by five luxurious secondary characters who elevate the dramatic moments: Lift Supoj Janjareonborn ('My Only 12%'), who assumes the role of Punn's father; Joy Dhanyabhorn Sondhikandha ('Hidden Agenda'), as Punn's mother; Pym Pympan Chalayanacupt ('Kidnap'), as Aim's mother; Tontae Tinnakorn Puwasakdiwong ('Venus in the Sky'), as the Sports day emcee, and Jennie Panhan ('The Shipper'), as Im.
All of them manage, together with the protagonists and the rest of the cast, to develop an imperfect story that continues an important path in favor of representation and diversity.
'Love Sick' may not become the BL series of the year, however, it has a certain luminosity that is worth highlighting, especially for the fact that it can demonstrate that homosexual relationships are as normal, as sweet, as heterosexual ones.
With a rich youthful vibe, the feel of the series is very young and fresh. The music helps a lot, as the soundtrack has been revised and expanded by Boy Sompob, who, as in the original series, is once again in charge of this section, and promises that listening to the iconic music again will really invoke nostalgia.
Directors and writers of the original series expand this world through the eyes of these two new boys who try to navigate trying to control their emotions and doubts, sharing with their girlfriends and friends and, ultimately, exploring their identity through 15 episodes 55 minutes long.
That is to say, the adaptation to the original series brings new depth to this story. Through the dialogues, the internal thoughts of the protagonists and numerous well-used flashbacks we will learn about all the things that the boys do not dare to express out loud, as well as those that have to do with the beautiful moments of a shared childhood, which allow us to fill in all the gaps and reveal to us the reason why these teenagers are so close to each other.
These scenes, which do appear in Latika Chumpoo's novel, were not incorporated into the 2014 series, which puts in context who these teenagers are, what ties unite them, while adding layers of tenderness that make the The link between Pun and Noh is as genuine as it is inevitable and fragile.
In short, the series is pleasant and harmless. It is true that the performances of the new actors are somewhat weak and their script could have needed some more layer of depth, especially when it came to portraying the characters. But sometimes nothing else is needed to work. And he does it.
The light plot with captivating characters full of chemistry is what makes this teen romance series, despite its flaws, perfect for distracting the mind and warming the heart.
True to the original in tone and spirit, its pace is a little faster, more polished and elegant: it's well made and the boys are promising. They are, in short, the new and future protagonists of BL series.
"You should know, our friendship is called love", the phrase with which I end the review, could very well have been said by our two protagonists.

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Misunderstandings turned into second chances and the possibility of healing emotional wounds

Based on Moscareto's web novel of the same name, 'Business as Usual' revolves around Chae Jin Hwan (Seong Seung Ha, in his professional debut) and Kim Min Jun (Chae Jong Hyeok, 'My Dearest Nemesis' - 2025) in two different timelines.
In one, we see Min Jun, an introverted and insecure college student with self-esteem issues, communication difficulties, a tendency to overthink, jump to conclusions, and misinterpret situations, fall in love with an extroverted, popular, and naturally cheerful boy, with whom he will experience, in their first relationship, a brief, bittersweet, and self-destructive romance.
In the other, unexpectedly, eight years after a tumultuous breakup marked by insecurities, misunderstandings, and lack of communication, and without any contact with each other during that time, fate brings them together again when they unexpectedly end up working at the same publishing company, creating an atmosphere fraught with tension, both professional and personal.
Female director Min Chae Yeon, who with 'Happy Merry Ending' (2023) had ventured for the first time into LGBT+ dramas, and screenwriter Kang Rim, mix the two stages throughout the series, giving the viewer the possibility of comparing and appreciating the evolution of the relationship between the two protagonists when they met while they were university students, and how in the present day their still unresolved feelings complicate their working relationship, in a more powerful way than if they had presented the story in a normal, linear way.
In this way, the director and screenwriter better exploit the story, depicting in consecutive scenes how two lovers, for the wrong reasons, had to end their relationship in the past and were able to rekindle their love story. Jealousy, fear of abandonment, low self-esteem, insecure attachment, and early insecurities are transformed into second chances and the possibility of healing emotional wounds. The death of love and its subsequent rebirth.
The original poster for the series, which shows the two protagonists in a warm and homey setting, their faces just seconds away from a kiss. The phrase "A clumsy first love, where we were each other's 'smaller half'" informs the viewer of the complex relationship between the two and the impact of their reunion. It is striking, perhaps because we have been spoiled by countless romantic films from Hollywood (and the rest of the world, really; the structure and characters are boringly similar), the realistic and imperfect drawing of the two protagonists, who constantly make mistakes and who have very defined personalities. As the minutes go by, you get to know them as if they were two close friends.
Kim Min Jun and Chae Jin Hwan are looking for love, and they meet at the perfect moment, when the former needs someone loving and attentive to pamper him and treat him like a prince in a fairy tale. Jin Hwan is the perfect fit, a romantic waiting for the opportunity to prove his commitment in a serious relationship. Or at least that's what Min Jun thinks. And he's Seong Seung Ha at his most seductive. Kim Min Jun can't resist.
But then (from Min Jun’s perspective) comes the phone conversation in which he can’t quite hear what it’s about or if it’s about himself, the other’s hurried departure from the house because something unexpected and urgent has come up, following his steps down the street to see where he’s going, discovering who he’s meeting, seeing from a distance how his beloved hugs another man, how it seems to him to see them kiss, the jealousy that grows, the insecurity that always existed now reaches the size of a skyscraper, the conversation that should happen but never comes because he doesn’t wait for his return, because he doesn’t answer his calls, because he gets rid of his cell phone… and the relationship collapses.
Beyond the physical change—which can be interpreted in various ways (representation of the passage of time, life's hardships, the monotonous life, the 9-to-5 office job, a faded love, never having experienced love again, returning home, alone, every night...)—it's interesting how, approaching 30, Min Jun feels the weight of societal expectations to achieve more in life, yet feels trapped and dissatisfied, both in his work and his love life.
And suddenly, the man of his dreams reappears before him. He still looks as attractive, charismatic, and charming as ever, and this reminds him how different they are, while feeling like he hasn't made any progress since their breakup eight years earlier. Determined to keep his past from interfering with his work life, Min Jun tries to maintain his usual routine, keeping it strictly professional... and move on. After all, he's one of those who believes that "First loves should stay in the past; that's the point." However, Jin Hwan remains determined to rekindle their romance, responding, "I was looking for something more than friendship. I want something with real potential".
And now I wonder: Will things be different this time, or is it better to leave the past behind? Will they be able to overcome the misunderstandings of the past?
With a plot that explores the deepest emotions and the complexities of unresolved love, 'Business as Usual', less so in the reason why the two leads broke up in the past, reminds me of Lim Hyun Hee's fellow South Korean drama 'Our Dating Sim' (2023).
To work, 'Business as Usual' needed two actors fully committed to the project, dedicated to creating and developing the characters. Seong Seung Ha and Chae Jong Hyeok accepted the commitment and give their all on screen. They are formidable in both timelines; no one could have better embodied Chae Jin Hwan and Kim Min Jun.
Both draw on the strength of their characters to create memorable performances. The chemistry between the two actors is palpable. The work of Seong Seung Ha and Chae Jong Hyeok is mainly observed in the knowing glances they give each other. It is clear that there is a lot of work put into the two actors behind each scene.
I like how Min Jun's character evolves over time. Reuniting with Chae Jin Hwan makes him bolder, more open, and more confident. I have no doubt he's ready for a healthy relationship.
Min Chae Yeon worked on the script with Kang Rim for years, but when it came time to film, she asked the actors to improvise and find the most natural way for them to behave and interact with each other. In statements on social media, she has stated that she tried to finish the scenes in a single take, with the aim of capturing the spontaneity of the performances, and she also had Seong Seung Ha and Chae Jong Hyeok spend time together before filming, so they would be more believable as a couple and rehearse ways to start and continue conversations, especially moments of intimacy. These series of decisions are risky; it is safer to stick to the script and plan every detail, but with luck and talent, the result is worth it.
The work of the protagonists is joined by a supporting cast, The work of the protagonists is joined by a supporting cast, made up of, among other actors and actresses,Jung Do Myung as Chae U Hyeok (college classmate), Lee Sang Won as AR Publication director, and Lee Ui Seop as Kim Geon Ju, the college classmate, is also a strong presence in the BL world after starring in the dramas "Summer Indigo" (2025) and "Taming the Bad Boy" (2024), and the film "My Idol" (2024).
Great photography, cool colors, and a pleasant soundtrack add a lot of depth to the story.

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Two opposite poles, an unlikely romance, an unexpected union

Two opposite poles, an unlikely romance, an unexpected union
From the first scene, 'Wandee Goodday' makes viewers fall in love with it. In a beautiful, dimly lit room, a young orthopedic surgeon seeks to ease the pain of having been rejected by his platonic love... by practically having sex with a stranger.
Wandee, the name of the risky and irreverent protagonist of the Thai series of the romantic comedy genre with an LGBT+ theme, after being rejected decides to go crazy and drink away his sorrow. Drunk, on his way home, he meets Yoryak (Gigante), a Muay Thai fighter, and decides to propose to him to have revenge sex. Wandee and Yoryak spend a passionate night together, after which they agree to become friends with benefits.
However, things change when Wandee lies to her colleagues and tells them that she is dating someone. As the official synopsis points out, Wandee then asks Yoryak to pretend to have a romantic relationship with him for four months. The couple goes from being friends with benefits to being fake boyfriends, but little by little, their relationship transforms into something much more meaningful and substantial. Moments of emotional connection, in addition to the physical connection that already exists between the two of you, will allow you to develop deep feelings.
The fuse of the series lights at a good speed through a give and take of more or less witty replies and counterreplies. The quick transition from scene to scene will make BL lovers jump for joy.
Inn Sarin Ronnakiat ('Miracle of Teddy Bear') and Great Sapol Assawamunkong ('Manner of Death'), in the roles of Wandee and Yoryak, respectively, star in this series in which the limits of love and friendship are not at all clear . The audiovisual promises that between sexual dates, the doctor and the fighter, one fighting to get a medical scholarship and the other to win the title of world champion, will experience a rollercoaster of emotions, dramas and personal crises. And this is exactly what viewers expect.
Seeing both actors in action is super hot, and yes, the story tells us that love comes even if you are not looking for it, even better! They are both single, they meet again one night on the streets of Bangkok, they have sex and decide to repeat it several more times without any commitment. But who wouldn't fall in love with them?
Not being emotionally available is the excuse that many people use to start a strictly sexual relationship, but what if your heart really wants something else? That is not the worst scenario for Wandee, but the fact of having run into Yoryak, a boy who will soon be open to taking the relationship to another level.
The always necessary figure of the "killjoy" does not take long to appear, this time assumed by Ter Kawin, played by Pod Suphakorn Sriphothong ('Dark Blue Kiss'), the serious and responsible doctor, who after rejecting Wandee for considering that he is "too vanilla" for his taste, he has come to the conclusion that Yoryak is a bad influence on Wandee, and that he does not deserve to be with someone as good as him, so he will try to separate them, causing problems and discord between the three. But really, is it not that he is jealous? Has he fallen in love with the person he rejected? The series also proposes combats, and not only between the four ropes.
Golf Tanwarin Sukkhapisit, the non-binary actress, filmmaker, writer and politician, directs this tongue-in-cheek comedy adapted from Nottakorn's novel Y 'Wandee Witthaya', with a slight title change by GMMTV.
Characterized by an attractive visuality in its artistic conception, the series surprises us with something more than just a new ship. Because, I can't hold back: what chemistry between Inn and Great. Because if 'Wandee Goodday' manages to surpass other dramas of the romantic comedy genre, part of the blame lies with these two actors in an absolute state of grace. The romantic and sexual vibrations between its characters immediately infect the most cautious viewer, creating a strong empathy with protagonists infinitely better written than the secondary ones.
The verbal humor and the witty retorts and counter-replies that they throw at each other are fabulous. Added to this is the restless and aggressive air of the Thai capital, which seduces the viewer, with the background music, the crowds, the monks walking the streets, the historical monuments, the social and cultural landscape of the days and nights of the Thai capital, boxing matches that promise action and scenes of pure adrenaline.
But to the magic of addressing another historical, social and cultural context, is added the literary basis that inspired Yokee Apirak Chaipanha, who has been an ally of Golf on multiple occasions, to once again put a text with his name in his hands. to be brought to the screen.
In addition, other series by the renowned director are also represented in one way or another, including 'Our Skyy 2', 'Moments of Love', 'The Eclipse' and 'The Bedtime Story'. Golf's narrative fiction and its recurring themes, such as sexual diversity, the complexity of homosexual characters, family relationships, sex, and others, are mixed with Asian authenticity, both in the boxing ring and in consultations and rooms. surgery at the hospital where Wandee works, as well as in her cozy home, all main settings of the series.
At the same time, other attractive stories take place, such as that of Plakao (Drake Sattabut Laedeke), known for his participation in other BL, such as 'Bad Buddy', an interesting character who, in addition to being Wandee's friend, is a person who does not want experience sexual contact with other boys.
Likewise, the story of O-yei and Cherry, Yoyak's brother and coach, and her boyfriend will be interesting, an always expected second couple that increases tensions and conflicts, roles assumed by Thor Thinnaphan Tantui ('The Warp Effect') and Fluke Nattanon Tongsaeng ('Ai Long Nhai'), respectively.
The cast includes AJ Chayapol Jutamas as Ohm, Ployphach Phatchatorn Thanawat as Taemrak and Emi Thasorn Klinnium as Khwan.
The nuances of these and other secondary characters, all good actors and actresses in their respective roles, will be discovered as the episodes progress. Her performances, along with those of the main protagonists, the locations, and that tone that the director knows how to give to the story, is what makes 'Wandee Goodday' a series that, although it could have been excessive and routine, becomes a product enjoyable, fun, entertaining and very addictive.
It's true, 'Wandee Goodday is not the height of originality. Nor does it intend to provide a definitive anthropological approach to friendship and love relationships. I highly doubt that he intends to change television. It's not in their plans. But it seeks to contribute something to the romantic comedy genre, and I mean to be natural and realistic, without completely renouncing romanticism, but without falling completely into the ordinary and vulgar.
I liked how the series set out to achieve what many others of the same genre do not achieve, which is to talk like people today, do the things that people today do and relate like people today do. . It is this naturalness that gives Thai drama the freshness it needs to be credible, the freshness that any comedy would need. Its script and editing become true weapons in favor of the story and its tone, something that is appreciated.
And as I have already said in some way, the great success of 'Wandee Goodday' is its leading couple. In the same way we expect special effects to work in a science fiction series; or that true emotions are what drive a drama; For a romantic comedy to be crowned with applause from the public and critics, its couple has to be credible, compelling, with chemistry. And Inn and Great deliver here exceptionally. The weight of the series falls entirely on their complicity and the nuances of their relationship, something that these two actors do with indisputable charm and charisma.
The story of Wandee and Yoryak makes the audience laugh and cry with their love dilemmas, but above all it makes us reflect on whether there is that person who stays with you through thick and thin, even if at first it seems like just a game.
Because, in addition to entertaining, the series confirms that even when there is no commitment in a relationship, there are attitudes and actions that generate intimacy and emotional ties between two people despite not wanting it, resulting in uncontrollable love. Open relationships can be chaotic, but some have happy endings, so don't stop believing.
We are faced with an unbeatable example that two people can have an open relationship and later fall in love. So don't lose hope if you have a friend with benefits. Whoever said that starting a relationship with sex is wrong is wrong.
But now that I think about it, 'Wandee Goodday' is not exactly a story about friends with benefits. Although it all begins with a sexual encounter, the relationship between Wandee and Yoryak is about the power of destiny and the way it manages to bring two people together.

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My "guilty pleasure": why do I need 'Sangmin Dinneaw'?

That "guilty pleasure" thing is something I've never liked. Mainly, because any movie or series that makes me have a good time being guilty has very little. However, sometimes any film or television product that manages to make me forget reality for a while is welcome.
We all have that little guilty pleasure when it comes to series. That series that you love to watch even though it doesn't fit into your canons of taste. You know you shouldn't watch it either because it's bad or because your best friend told you to watch both seasons of 'To My Star' by Hwang Da Seul at once, or to repeat 'The On1y One', the LGBT+ television gem by Taiwanese filmmaker Liu Kuang Hui, but even so, you decide to continue with the series and enjoy it like there was no tomorrow, consuming episode after episode.
Some series have simply been the best accompaniment to disconnect from everyday life, and others have captured me because of the topic they deal with.
For this very reason 'Sangmin Dinneaw' has been one of my guilty pleasures during the evenings of these last Sundays, when a broken ankle has me tied to the bed.
So to combat the impossibility of going out, I ended up getting hooked on the Thai romantic comedy directed by Thitipan Raksasat. It's not that I felt especially guilty watching it, it must be said, it is true that it does not fit the type of fiction that I usually consume. And I did well taking the risk.
Sometimes, you end up with your brain so fried after the entire student or work day that all you want is to be able to see something without pretensions. And look, without any kind of shame and dishonor, I tell you that the BL series starring Choi Sang Min as Sang Min, and Petch Ratana Aiamsaart as Dinneaw, fulfills what I was looking for these days.
Don't look at me wrong. I am neither committing any crime, nor am I attacking any norm regarding audiovisual enjoyment. There is a time for everything. To see what's new from Backaof Aof Noppharnach, the latest installment by Filipino JP Habac, the next trendy romantic drama starring Fandy Fan after 'A Balloon's Landing' (which I owe a review), the future project that War ý Yin Anan They are brought up after delighting me with 'Jack & Joker U Steal My Heart!', or to remember the work of Golf Tanwarin Sukkhapisit.
And if you think not, remember that you are taking away the most beautiful and democratic thing about movies and series: there is a product out there for each and every one of us. Let's not forget that we are talking about entertainment and, precisely for that reason, we should not force ourselves to watch something we do not want to see simply because we have to.
Well, because of 'Sangmin Dinneaw' I haven't made any progress on other series I had pending. The series is to blame for the fact that I haven't taken advantage of that time to catch up and advance my long list of things that have been postponed, but at the same time I had a great time with Sangmin and Dinneaw. The two of them and the four friends is the best thing that could have happened to me during these weeks with their extravagant episodes.
Although the character of Dinneaw caused me problems at first, little by little his shy but suggestive interpretation has won me over. Because, deep down, in the eight episodes that make up the series, what is important in the character ends up being themes such as transformation and identity, discovery and acceptance.
If you don't know what it's about, I'll tell you that 'Sangmin Dinneaw' follows two young people, childhood friends, one South Korean and the other Thai, who meet again after being separated for ten years.
In all that time, Sangmin never contacted the people who lovingly welcomed him in Thailand when he was a child, and now he returns wrapped in a halo of mystery, without revealing the reason for his trip, but his frequent phone calls and having to take a medication several times a day indicate that something is disturbing your life.
Although neither of the two young protagonists masters the other's language well, they are magically able to communicate with each other. And not only with each other, since the visitor must talk to all the inhabitants of the town and the tourists who arrive at the hotel run by Orn, Dinneaw's mother (a role played correctly by actress Koy Naruemon Phongsupap), a middle-aged widow who maintains a very close relationship with his only descendant.
Soon we will meet two other fundamental characters in the story. I'm talking about Pop Arthit (Joke Chaloemdet Thammawut), the owner of a classic herbal liquor bar, and Tor (Non Ratchanon Kanpiang), Dinneaw's best friend and a meat dumpling seller at the market where he also works. Dinneaw selling crafts made in a family-owned pottery workshop.
In a cozy rural environment near the city of Ayuddhaya, the story also explores the relationship between mother and son, the pursuit of dreams, first love, and friendship.
Everyday life will lead the two main characters to reconnect with their shared past, and they will gradually discover a deeper connection that transcends friendship.
In short, morbidity is assured, since Sainam (Little Siravit Imsee), the owner of a hotel in Amphawa, is a negative character who will not hesitate to use his economic power to try to conquer Dinneaw with bad tricks; his two friends Pop and Tor have their romantic encounters, despite the second being unilaterally in love with Dinneaw, while a hot third couple will make us laugh.
But yes, the quota of silly humor, eccentric characters and comically extravagant scenarios that I had planned to see in 2025 and possibly the next 100 years are already given to me by Earth and his character Heng in 'Ossan's Love Thailand', and even with scenes and much more finished and polished situations, why do I need Pony (Sutirod Seepech?
But if I already have the inappropriate behavior and workplace harassment of a boss towards his subordinate with Yamnarm Chakrit with his Kongdech against the main character in 'Ossan's Love Thailand', why do I need Sainam?
If I already have two childhood friends who discover they have a connection beyond friendship through Max and Tul in 'Together With Me', why do I need Sangmin and Dinneaw?
If I already have Gim (Lookwa Pijika Jittaputta), a loving mother with a close relationship with her son Gun (Fourth) in 'My School President', why do I need Orn and Dinneaw?
If I already have Nuea (Rattanamongkol Nutchapon) dressed in a typical Thai woman's costume in 'Grey Rainbow', why do I need Sangming?
Yes, I already have two boys who really love each other celebrating their first Loy Kathrong together, and they even have to celebrate it days before the night of the full moon of the twelfth month of the traditional Thai lunar calendar, because on those two days of festivities they will be distanced physically because each one is in different cities, as happened to Achi (New) and Karam (Tay Tawan) in 'Cherry Magic 30', why do I need Sainam and Dinneaw, when Does the second not love the first?
If I already have a boy wrapped in a towel when leaving the bathroom in front of his platonic love, as Arc (Force) shows himself before Arm (Book) in the first episode of 'Perfect 10 Liners'... why do I need Sangmin and Dinneaw?
If I already have love triangles, like the one between Match (Jet), Mix (Jame) and Ryu (Big) in 'My Mate Match'... why do I need Sangmin, Dinneaw and Tor?
If I already have Matteo (Alan Campana) and Shokun (Bigboss) enjoying the pleasures and dangers of BDSM in 'Hit Bite Love'... why do I need Ryktor (Krin Preechachaisurat) and Guy (Boom Thunpisit Larpsumritphon)?
Above all, when I am not convinced by Sainam's manipulation of Dinneaw to get him to go to work at his hotel because: who would guarantee that the boy would try to prevent the tourist's bag from being stolen, causing him to be fired from his job?
Could it be that the classic Thai dance of the six cross-dressing boys ties me to the series? The mystery that surrounds the Korean visitor? The plots so exaggeratedly ridiculous? To know if I will get to know what happens at night between Pony and his stuffed animal? The lightness and lightness of the series? The performances of the actors and actresses? The chance to see images of the ancient capital of Thailand for more than 400 years, the three rivers that surround it: Chao Phraya, Lopburi and Pa Sak? See if they show images of the archaeological zone and its ancient ruins, including the Ayutthaya Historical Park, recognized as a World Heritage Site by UNESCO in 1991? Is it because I need to know what happened to the gecko attached to the towel that covered Saingnam when he left the bathroom?
I admit it, I have no filter. The series has caught me and I think I won't resist until I see the last episode.
If the rest for my fractured ankle lasts another month...
Review update after the 6th episode:
The series changed its tone from being a comedy to being a dark drama (and in this case I make a negative review, since the transition was very violent, aggressive I would even say, with a fairly big mood change in episode 6). With the change of register or tone, the series breaks with the harmony of the narrative.
- Subplot involving memory loss, medical negligence, and pressuring a patient to undergo highly dangerous invasive surgery when the patient has repeatedly expressed that he does not want to undergo it? The way in which doctors should seek patient approval fails here.
- A love story between two doctors who arrived at the last minute?
- A mysterious illness that Sangmin has had for years that causes headaches and could only be cured with surgery, otherwise he would die of a headache?
- A surgery that can only be obtained in Thailand and not in South Korea, which led Sangmin to travel?
-Why wasn't Sangmin's presence at Dinneaw's house based on his nostalgia, his desire to return to a place where he was once happy? In my opinion, this option would have been much more romantic and familiar, and for him to suddenly reappear or begin to suffer from health problems.
- Tor suddenly falls in love with Athit and agrees to stop being friends with benefits and become boyfriend and girlfriend?
- Did you have brain surgery and the patient did not shave his head or at least part of it? The computer/laser guided system like the one the doctor described in episode 6 would be used in the operation would need to remove a section of the patient's scalp/skull. I find this to be a strange brain surgery for a strange post-traumatic brain injury.
- Sangmin not only lost his memory, but apparently became unable to distinguish between a person and a dog, and starts acting like a chimpanzee?
- A veteran doctor with years of experience who demonstrates that he does not have communication skills with the patient's family in one of the most important medical procedures after a surgical intervention?
- Why was the scene not used to, through the specific knowledge, skills and abilities of the main doctor, inform the viewer about the strange disease, the surgical procedure and the current and possible future status of the patient?
- New characters arriving at the last minute, with their own stories and nothing to do with the main plot? In a long series it could be justified, but not in one with only 8 episodes.
- Too many stories and characters that have no purpose other than to fill screen time.
-What do Ryktor and Guy contribute? Initially, the character of the first, forcing his boyfriend to have sexual relations with him despite his refusal, provided a certain humorous nuance that benefited the series. But today I could say that even if they had never been on the show, it would still work.
- Sainam in love with Dinneaw but in dark arrangements to acquire the hotel he runs with his mother?
- Why did Hanna side with Sangmin's mother, when everything seems to indicate that she knows about the violent relationship between mother and son?
- Breakdown of patient confidentiality?
- A mother, homophobic by the way, who has never worried about her son and today travels to Thailand from South Korea to look for him and take him home, without worrying about his state of health and whether he can take a plane trip after undergoing surgery?
Was Sangmin's attitude while third parties were discussing their immediate future and hitting each other was to look into the air and count sheep?
- Dinneaw suffering sudden and repeated fainting, then recovering quickly after a brief nap in Tor's arms? All this to show Athit's jealousy?
- Electrocute a patient through his clothing during cardiac arrest in the middle of a surgical operation?
- What happened to the butterfly? What is the story behind this? Sangmin poisoned?
- The suspense of the series finale totally destroyed thanks to the preview?

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"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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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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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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BY WAY OF INTRODUCTION

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

ABOUT THE DIRECTOR AND HIS WORK

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

THE HISTORY

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

OF ACTORS AND CHARACTERS

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

SOME THOUGHTS

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

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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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Singing an out of tune 'Beautiful'

There are relationships that are not worth fighting for. There are others whose members may not have said goodbye forever. But there are other broken relationships that still have a solution.
Sometimes you do everything right in a relationship, and yet love can abandon you, leaving only paralyzing pain and a ton of questions behind. Among these the "why?" It will drag you to the bottom of the abyss.
In this case, when he (or she) is gone, you can follow him or her. You can still convince him that you love each other, that you are perfect for each other, sing him an out-of-tune 'Beautiful', by Baekhyun, and make sure he doesn't get on the plane at the last minute and leave forever. You can also crash their wedding just before they say "I do", so they run away with you to the astonishment of each other's families, while mutual friends scream with joy. Or get into your car with a trailer caravan where you will live you don't know how many days, months or years, travel the distance that separates you from your loved one, stand conveniently under his window, a few meters from his bed, waiting for him to At some point I will allow you to enter it.
Or in the face of a cold and disconsolate response, you could very well be a regular at their restaurant with a name that hurts the insides and you, because you are clueless, because you don't know the reason why they abandoned you, you don't know its meaning.
What if you decided to collaborate in making the menu of said restaurant, become friends with the villagers, help clear up misunderstandings that involve your loved one's family, which is why he is not popular among the locals and why his humble business is going down the drain, and, between filming sessions and road trips, will you adapt and integrate into the quiet and simple life of the person you want to win back?
I would suggest that after reading the vague farewell note and discovering that your lover has packed his bags and left the apartment you have shared, you put strong pressure on your agency, and tell your representative and his subordinate that you will jump out of the car as soon as possible. leave if they don't locate him.
Or when you can't explain to yourself what you did wrong and you can't find answers to the cause of the breakup, you choose to win the affection of the best friend of the person who has put your life in check and her small and precocious daughter, knowing that every step In this sense, it will allow you to create new opportunities to reconnect with your ex.
Precisely the latter was what Seo Joon (Son Woo Hyun) did when Ji Woo (Kim Kang Min) broke his heart in 'To My Star 2: Our Untold Stories The Movie', a compilation of the BL Korean drama of the same name, with some scenes added and others deleted or moved from their original place in the new montage. Yes, I am referring to those two young people, one of them a famous celebrity and the other an ordinary chef, from two different worlds, with little in common, whose lives were shaken when they met and fell in love.
Well, it seemed like both boys would be together forever, but fate had other plans. After giving us some of the most romantic moments in Korean BL, they also filled us with sadness. But there the actor goes in search of his chef to continue enjoying, among other things, his delicious food.
And Hwang Da Seul, the director, took very seriously that no one is saved from death and a broken heart and that we must all face, throughout our lives, several different types of goodbyes. Knowing that every breakup has its reasons, its consequences and its bitter, and sometimes bloody, extensions, that life is not always laughter, love and joy, he summoned screenwriter Park Young to take up the story and develop a second season to imitate , very well filmically speaking, the breakdown of the relationship of that couple so loved by fans of the genre, and then reconciling them, because otherwise it could not be, since, otherwise, as an audience, we would not forgive them.
I imagine Da Seul digging through the films and television series of yesteryear and today to revisit those that deal with breakups and narratives that address every cliché about love and its components, always with a similar structure and, above all, with a happy ending, a sung ending, that is, "from a movie". And all in order to promote significant topics, such as the couple's commitment and communication.
And it does so with incredible bravery, taking the flaws of the first season, especially that of a pleasant but substanceless original story, to make a sequel with greater development of the characters, expanding the dynamics of their relationships and amplifying the emotions.
While it is true that it suffers from a saturated melodrama at times, with artificial conflicts that could have been polished or not incorporated, what is also real is the achievement of the elegant arcs of the characters, which highlight growth, maturity and redemption .
I know that many BL fans will not like what is related to the breakup and the subsequent suffering of the members of their favorite ships, but a work that shows deep conflicts and characters with greater psychological complexities is appreciated.
Without giving any type of spoiler, I will ask you the same question that comes into play during the first minutes of the story: what is the reason for Jin Woo and Seo Joon's breakup?
With this fuse that is lit at the beginning of the film, the characters develop in a narrative with which they will manage to improve the original series, with richer backstories, more character development and complex relationship dynamics, allowing 'To My Star matures, comes of age and becomes a sophisticated BL drama that unfolds in a fascinating journey, seeking and fulfilling the objectives of unraveling a failed relationship, while the protagonists and the audience wonder if they would have a second one. opportunity to reconnect and be happy.
What BL lover wouldn't be surprised by the breakup of their idealized perfect lovers? Seo Joon experiences the same anxiety when faced with Ji Woo's inexplicable departure after leaving a vague message containing a single word: "Let's leave him."
So, the film aims to explore why the breakup and, as I said, reconciliation. But now everything will happen far from the big city, as the cameras will focus on a small town several hours from Seoul, in Ji Woo's hometown and where he went after the breakup, and while he struggles to move his business forward in an Italian restaurant, Seo Joo continues to face problems in his acting career.
And if the proposal alone still doesn't catch your attention, I'll give you another colorful fact: through the experience of the two protagonists, the sequel explores the moving breakup of a couple with intrigue, intimacy and intense emotions. But it doesn't do so by adding a dramatic twist behind the breakup or an infamous evil destroyer of loves and homes.
No, the creators will pleasantly surprise us by letting us know that the reason for the discord is much more personal, simple but complex at the same time: Ji Woo has always preferred to repress his feelings and alienate those who care about him. Yes, it is not easy to live with him, and the series, through flashbacks, will make us understand why he is the way he is. In his case, he is not the typical individual that we see in other audiovisuals that explain his misunderstood actions, such as abandoning a person he loves and from whom he receives love, using the handy excuse of "suffering from childhood trauma." Ji Woo doesn't do anything wrong, he just stays away from Seo Joon and other people in his life to avoid being hurt.
Woo Hyun continues to show the same charm as his persistent Seo Joon. He continually and without hesitation expresses his feelings, says what he thinks and leaves no room for misunderstandings. He goes for it.
For his part, Kang Min continues to play his role as the grumpy but cute Ji Woo, but towards the end you will see him grow wings, all thanks to the persistence and love of Seo Joon.
If many BL sequels have disappointed for various reasons, 'To My Star 2' does the opposite, transforming a simple love story, but without much substance, into a moving saga of breakup and reconciliation. The maturity in the team, both acting and technical, is evident to deliver an ambitious product, the result of hard work and experience.
At this point in the note, you can already imagine what happens with Ji Woo and Seo Joon... But in case you weren't paying much attention, I can confirm that yes, they fight! However, in this case, new characters and new conflicts are added to the dynamic. With a duration of more than four hours that exceeds the slightly more than 2 hours of 'To My Star', with diversification of filming scenarios and an increased secondary cast, with their plots, traumas and life stories, events and characters were developed complexes that will enrich the main story through a compelling narrative.
And I leave for last, precisely because of its importance, an issue that is striking to me: it seems very light that in a country as conservative as South Korea where discrimination against members of the LGBT+ community still persists, marriage between people of the same sex, and homosexuals have difficulty fitting into society, since coming out is not welcomed in most families who consider homosexuality as something similar to a crime, show a rural community, generally defenders of patriarchal and heteronormative traditions, without its inhabitants ever questioning the "friendship" of the two protagonists when the type of relationship they maintain is evident and even trying to influence it so that it is fostered.

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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 dreams
From 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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