jpny01

I agree - the resolution of the romance was so sudden and without development that it felt lik Prem had Stockholm Syndrome. The childhood cliche was lazy and disturibing if you think about it. He met a small child 15 years ago and held on to a sexual attraction to him this whole time? Maybe if Prem's character had been an altar boy it would have made more sense.

Good writing can accomplish a lot in limited time - most films are shorter than his series, after all - so I can't excuse his mess as the fault of short runtime. There were too many characters, but there was enough time to develop two couples - all the other plotlines went nowhere and would have been better left out.

I think you had exactly the same feelings about this that I did. I want more Lee Long Shi and Top - even with their 2 minutes total screentime they were way more compelling than the main couple. Hopefully we'll see them again.

I'm hoping it was just bad directing - the director was obviously not comfortable with a m/m story. The boxers' scenes had some heat, but I think it was more their insane bodies in skimpy shorts rather than the directing.

On the other hand, Between Us is led by the director of historical failures like Make It Right 2, Love By Chance 2, My Gear and Your Gown, and Star & Sky. To be fair most of those had terrible writing, but still - a lot of it was also stiff as a board acting, and that is at least in part the director.

I might have been in a bit of a mood yesterday. :)

Oh yes. But in the ParkLee series I hope they style Daniel like they did in Call It What You Want.

Season 2 will be Mafia Shoes-on-in-bed The Series 2023

One of he reasons I liked Semantic Error is because Sang Woo's attraction to Jae Young was purely sexual because he was hot and had a great body. Feelings developed from there. BLs are obsessed with romances having some deep destiny. Love at first sight happens in real life, and that can be romantic too. (Even though it usually ends in disaster, but hey.)

Yes my attention was well-dispersed amongst their chests, muscled thighs, biceps, and their... everything. But I rewatched the scene a couple hundred times so I noticed the pull eventually.

I was more stuck on how Kinn's dad managed to hide someone in the house in a gigantic suite of rooms without anyone noticing for 20 years. How did she bathe and eat? Get medical care? Have clothing?

I mean that he's carrying a torch for Sun based on a 15-second encounter they had when Sun was a small child. If he hasn't seen him since then, his image of him is as a small child, so he's a monster.

I'm essentially underlining how incredibly stupid and inauthentic the trope is. I'm an adult and I barely remember anything that happened last year - the idea of being in love with someone I spent a few seconds with 15 years ago is completely absurd, and I certainly wouldn't carry a torch for a 6-year old I met for a few seconds 15 years ago. Because I'm not a pedo monster.

I have a friend on this site, and our rating system is is very Amore-related when it comes to awfulness. "Is it worse than Amore?" "Nothing is worse than Amore, but this series makes a valiant attempt."

It's not just dull, it's long. It's much longer than Love Sick 2, which was coma-inducing enough.

I don't know how I could forget the head pat. One point of real connection and empathy between gay men and women is that we would all slap someone for messing up our hair, especially just for an irritating patronizing gesture.

Semes are also required to carry spare umbrellas, because, as established, ukes get instant fevers when water touches them, and carrying an umbrella is more convenient than hauling around a damp towel.

It's because fujoshis can't bear the idea that people usually initially get together due to sexual desire, so something has to be manufactured. So it's better if Arthit is a monstrous pedophile than if he just wants to tap Sun's a$$.

When there IS a physical attraction, it's always accidental, and isn't really physical anyway, because when they fall on each other or one trips and the other catches him, the love starts because they stare into each others souls for 45 minutes or however long it takes to turn them gay.

Both have some good ingredients, but the chef is Mrs. Lovett from Sweeny Todd.

In fairness to Minato's Laundromat, it does work better there due to the age difference - because Minato is 30, he would have looked similar 10 years ago when Shin developed his crush. I'm not sure what type of crush you could develop when you're 8, or how you'd have anything but a very faded memory of it 10 years later, but hey, at least it's 50% of the way there.

Where was it in KinnPorsche? I've already forgotten most of the series.

Not as much as the first part. It was a big tonal shift and missing the quirkiness of the original - it was a quality production all-around, but I didn't enjoy it the same way.

I Told Sunset About You and Gaya Sa Pelikula. I think a key is original screenplays, i.e. written for the visual medium rather than adapted from formulaic novels. Both series use visual metaphor and symbolism, and both cast good actors and the directing was fanastic.

Maybe Miracle of Teddy Bear, but that was really more of a BL-ish lakorn, and I thought it suffered a bit from a rushed ending. Actually it's quite often endings that pull down otherwise fantastic series. A recent example was Triage, which for me was a 10 until the last few eps dragged it down to an 8.

KinnPorche had a completely ridiculous story, uneven acting, way too much going on, and too many silly things happening all the time - with a little more discipline and less self-indulgence it could have been a 10, but it was definitely a lot of fun.

Maybe there was a bath mat with a hotel logo on it. But it was probably something like an unsightly pipe or rust.

They had the budget for a monkey AND trainer, but couldn't affort a decent script.