basilgray

A possible sign of what's to come

One can certainly understand the wide praise given to Khemjira. Being lauded as one of the most important BLs of 2025, it is certainly a production worth seeing.

And yet, it possesses irritating flaws. Some writing choices leave much to be desired, bordering on the absurd: for instance, why is Khem so very often alone despite the seriousness of his situation. Jet and Chan are supposed to be watching over him, but is often left unattended. Aspects like this make the series poorer.

Green, who plays Ramphueng, gives a particularly powerful interpretation of her character. So does Pung as Yos. The series gains strenght from its supperb supporting cast. The four main actors try their best, and yet one could wonder what they'd do if they had more experience under their belts.

One is left scratching one's head over the introduction of Khachen. A missed opportunity, for this character is not in any way instrumental to the plot; contrary, for instance, to the monk introduced also later in the plot, who proves essential to the resolution. Khachen's introduction should have been 2 to 3 episodes earlier, allowing for further delving into Master's past.

The series could have gained more from going deeper into the backgrounds of the characters. As such, Khem is left bordering the dangerous territory of damsel in distress and Master the role of the emotionally distant, all-powerful knight in shining armor.

Khemjira as a series does try to stray away from the common tropes of Thai BLs. Certain innovations in storytelling, the architecture of its filming, certain acting choices, do provide the outlet for it. And yet, sometimes it tends to go back to known territory. Old habits tend to die hard.

As such, I tend to see Khemjira as a work signaling a wider transition in the Thai BL industry: from somewhat poor BLs to those who encompass complexity. It is a work worth seeing, perhaps mostly for providing the tone for richer productions in the future.

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Ludicrous

KinnPorsche holds a certain mythic status within Thai BL productions. In some ways, it deserves this status, due to a confluence of factors. To a certain extent, it was able to push the boundaries of the genre.
On the other hand, perhaps due to being mired with production issues, it seems to fall flat on many of its promises.
Many of the characters are simply caricatures, never to be developed. Though sometimes intense in its portrayal of emotions, it oftentimes lacks a more in-depth understanding of the motivations of characters.
With a strong opening, it seems that the series just lost its track on the way, abandoning all intents of continuing the story, instead choosing to rely on its scenery. By the end, it was simply a glorified soap opera, with no apparent intent at resolving the many strands of its story.
It is clear that it is a project of love and intent:Miles and Apo need to be recognized as a driving force that, through their insistence, tried to do the best of a dwindling script.

Midway, it became ludicrous, and its absurdity became installed.

It demands to be seen once as, for better or worse, it holds a place in the history of these kinds of productions.

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It's a wonderful drama - and that's no lie

Usotoki Rhetoric is a gem. Imaginative, with attention to detail, it's an intelligent drama that demands attention and thought.
It was clearly made with care, and there's a human quality to its production that shines through.
Nonetheless, I do think some of the plot points presented need a second season in order to be properly addressed. As it stands, some of the ramifications of the plot remain somewhat underdeveloped - we need to know more of Soma's background, who the mysterious landlady is, the identity of Kanako's father... and so many other aspects.
The premise is rich, so are its many possibilities.
As it stands, while the drama does work with its singular season, one can't help but feel a lingering sense that future instalments would add increased depth to it.
A worthy watch, with plenty to ponder.

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Mythic status well deserved

"Not me" holds a mythic status, and it is well deserved.
Considered by many as having created new frontiers in the BL genre, it has done so.
From the start, one can feel that the creators were going the extra length. The series has a certain quality, impressed in its structure, that was maintained throughout its run.

It's a work that seeks to expand genres. It was aware of the intrinsic difficulties, and tried to do a good job, which was successful.

I was somewhat disappointed in the ending, which I felt was disjointed, and perhaps capitulated, to a slight extent, on the overall message of the show. It could have used more coherence.

But, again, the intrinsic qualities of "Not me" are its salvation. One can't help but feel joyous in having watched it.

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A show to be cherished, though it could have used more tension

When I heard there was going to be a Thai adaptation of Cherry Magic, I was wary. The Japanese drama is very dear to my heart.

I have to say I loved the first half of the show up to, and including, the airport episode. There was clearly an importance in contextualizing the overall themes of the show into Thai culture. The visuals were gorgeous, the pacing was excellent. The airport episode is, to me, an act of genius.

I was somewhat disappointed in the second half. To me, personally, it lacked tension. Everything was resolved too neatly, I think. There's a difference between overwrought drama and the lack of it.

The meeting with the parents lacked, to me, some tension, some friction. I know I'm comparing it in my mind to the Japanese version, and to me the movie is excellent at portraying the trials of accepting someone with their truth. That's the epitome of love, and I think the Japanese version did it better.

I do commend the series for going where the Japanese version didn't (or couldn't?): the overt signs of affection, the kisses, the love scene. Cherry Magic seems to be a type of series that doesn't rely on that - but it also doesn't avoid it. So good work on that.

Jinta and Min seemed to have been somewhat sidelined in these later episodes - but I loved their moment at the hotel in the finale. Very special and touching. I could see a special or a short spinoff with these two.

I loved Pai particularly. Rock was lovely, as well as Dujdao. They really nailed it on the casting.

All in all, this was a delight to watch. Kudos to everyone involved. Despite what seemed to me a disappointing second half, this was clearly done with heart and attention, and deserves much praise and needs to be cherished.

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A series with heart and hope

I don't like series with an attitude of "in-your-face" regarding sex. It's a question of personal taste. Due to a series of circumstances, I had gathered that "Love in the Big City" would be sex-driven. A prejudiced view or not, I opted for not watching it.
Following the attempted censorship by conservative groups, I decided to be a part of the resistance: to support the series and watch it.
As such, a thank you is provided towards the conservative groups that attempted censorship: my world was made more open thanks to you.

"Love in the Big City", the series, is a series with heart and hope at its core. It's a kind of bildungsroman, a series where we watch the protagonist grow up. Yes, Ko Yeong may be deemed a narcissist, a very difficult person. That may be true, and yet Yeong is also very human, capable of kindness and warmth. He's not a role model, and the trauma he carries takes its toll on how he engages with the world.
But, from episode 1 to episode 8, there is growth. Even if this growth may not reach the standards of before. In the world we live in growth is difficult. The series addresses that.

I was preoccupied that this would be an "Americanized" series. For those of us who are from the Western part of the world, part of the charm and interest in Asian media may be its difference in tone and, overall, ways of addressing social relations. While, yes, there is a pertinent argument to be made on this series' focus on sex, this belongs mainly to the initial episodes - even then, sex is generally understood within the contexts of relationships. Those who navigate social media have been bombarded with the salacious aspect of the series, so one could be excused for mistakenly thinking this is all about sex - or only about that.
So, yes, there is this liberating aspect of being able to transgress the strict boundaries regarding depictions of sex between two men. This must be acknowledged.
Even more so, that the series is not limited to this. In this, the provocative aspects of the trailer and interviews and other promotional material is only that: provocative, to engage with this feeling of breaking boundaries.
The series is more complex than that.

I think it's a must-watch experience, even for those who feel squeamish, even for those who are particularly sensitive to certain depictions of sex/sexuality.
It's a humanizing experience.

Kudos must be given to the cast. In particular, Nam Yoon Su, who seems to have been made to play Ko Yeong. It will be a travesty of epic proportions if this man isn't showered with all of the prizes and then some. He incarnates Yeong to an extent that is unbelievable.
Equally Jin Ho Eun, who is perfect in his role.
There are several instances throughout the series where I found myself wondering at the details: the gasps; certain touches, certain movements; small decisions that seem to me to have been informed by the actors themselves. These characters are embodied by these actors. These actors have understood something in these characters, they have connected to some very important, basic truths regarding who these characters are.
Yoon Su and Ho Eun lead a stellar cast in providing us a lesson on acting.

The cinematography is beautiful, and sometimes I felt I was watching a movie. This is the power of the image, to capture a certain state, a certain emotion, with the impetus not to lie but rather to communicate a very powerful truth. A poignancy.

Again, I return to the overall feeling that Yeong is this flawed character. He sometimes acts peevishly, immaturely. But we are not being led to glorify his behaviors, of whatever sort they may be. Relationships start and then they crumble, in many different ways. In the horizon there is hope for reconnecting with a desired lover who was thought to be lost; or perhaps not, maybe that won't happen. Many of us wouldn't be able to support Yeong in our lives; or perhaps, only in very small dosages.

"Love in the Big City" stands tall for its portrayal of characters who love but may not understand love; who suffer yet hide their suffering. Who try to cope sometimes in not the best, or perhaps even healthiest, of ways.
But this is not programmatic; the series isn't trying to show us what is right or wrong.

It gives us a glimpse into this particular world. And in this, I felt I have learned something precious and important.

In particular, I want to recommend episodes 5 and 8. These are my most favorite, true works of art.

So, thank you to those who sought to censor this. In a sarcastic move, may I be made aware of what's to be on the censorship list next? I want to support that too.

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