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This review may contain spoilers
Soft and gentle, communication is everything
"Monster Next Door" is one of those gentle and soft romance dramas that are more about two people of opposite characters slowly getting closer to each other and finding a good balance in their relationship than it is about external conflicts.As such, it can be either comforting or boring, depending on the personal taste and mental state of the viewer.
The tl;dr:
1. Is it good? -- It's certainly in the upper third of this year's Thai BLs, but it's not top-tier -- the overall production quality is good, acting is solid, and here are little to no plot holes. Regarding flaws, see below.
2. Did I like it? -- Yes, I enjoyed it immensely. I chose a time when I was in the mood for a light watch, with a soft and gentle couple, and this hit the spot. More on that, see the paragraph directly below this one.
3. Do I recommend it? -- I do. But only for those who are looking for a gentle low-stakes love story, where nothing hurts (much, or not for long), that has mostly but not only fluff.
I love how the drama shows us a couple who resolve their problems with open communication and gentleness, and try to understand and accommodate each other.
Park and Big represent their roles well -- one is more reserved and sometimes you have to look closely to understand how he feels, while the other telegraphs everything. The supporting friend group is hilarious, and both couples' stories fit well within the plot. I like the sets, the use of colours -- and even the opening song grew on me.
I very much liked it as a stress reliever and diversion from work and life, the drama is perfect for that.
(As an aside for those who have not watched this yet or were confused: Near the end of epiosde 1, God asks Diao to become คนคุยกัน /khon khui gan/, literally "people who talk with each other" -- it's translated as "dating" in the subtitles, which gives a wrong impression. /khon khui/ are two people who will meet up often, "talk" with each other, to get to know each other, with the prospect of a romantic relationship at a later stage. I don't think Western cultures have this exact same thing, so it's really hard to find an expression for it in English.)
Coming back to the drama; even if I like it a lot, there is one major and some minor irritants.
The one major irritant is Khun Shy's living conditions. Khun Shy is Diao's much beloved turtle -- for him, Diao even asks his neighbour for help, even if he doesn't quite trust him at this point. So, apart from the fact that it hurts every time we have to watch Khun Shy desperately trying to escape his prison, it also does not make any sense within the story that his cage is so small.
Everything else in both Diao and God's rooms is lovingly chosen and presented by the production team -- these rooms represent their owners in style, displayed items and colour scheme. Why then, is this not true for Khun Shy? Diao's love for him should have been reflected in the turtle's living condidtions. You can't tell me that someone like Diao, who has been obsessed with turtles his whole life and loves his own little turtle very much would *not* dedicate at least half his living space to a luxurious habitat for Khun Shy?!
It is a grave mistake on the side of the production team that they did not see this.
There are a few minor irritants that could have been avoided with a few more passes over the script and the editing -- the whole drama does not feel as polished as it could have been. Quite a few of these things I have also seen in other Thai BL production, so "Monster Next Door" is not alone in this. But given the care the drama shows in other aspects, it's a pity that these little splinters are left.
What follows now is what the Germans call "Meckern auf hohem Niveau" -- "complaining on a high level". When something is well done in comparison to other similar things, it's sometimes even easier to point out remaining flaws; to wish that something good could be even better, if not perfect. So, yes, even if the following text got quite long, the flaws really ARE minor.
I'll just list a few examples, to make my point clearer (some spoilers ahead!):
* There are many smaller excellent ideas. For example, the "angel" and the "devil", who represent the "introverted" and "extroverted" character traits. Or that Diao posts his thoughts on a private profile, so that nobody will see them. Similarly, the use of the MBTI types -- only seen during the opening scenes and mentioned once later in the drama, but later it doesn't play any role. All of these cute ideas are discarded as soon as they are no longer useful (or forgotten by the writers?) -- I'd have liked to see a resolution or a more continuous use for them.
* Passing of time is often unclear. How many days passed between God and Diao's agreement to become /khon khui/and the next step in their relationship? How often did they talk on the balcony during that time? Must have been often enough that God found it necessary to buy a bell so Diao can call him -- and often enough that God knows a turtle motif will please Diao -- but these scenes are never shown, and if viewers don't pay attention then they might be a bit confused. (A similar thing happens after Diao loses his bracelet.)
* God (whose name is short for "Godzilla") is repeatedly and consistently the "monster", it's even in the title. I think they should have explored this more and deeper, have him consistently be a bit too loud, a bit too large, a bit too much. Instead, they chose to add the "God is like a dog" simile -- while it does fit, it's too much for one character.
Sometimes less is more, and I think it would have been better for the writing team to go over their script two or three times more to cut everything that is not necessary to the story (there are some scenes that don't add anything) and instead explore some of the themes in more detail.
For example, God accuses Diao in a later episode that he doesn't know anything about him -- but what do we know about God? What made him the way he is? Where does his need to be a "good boyfriend" come from? Why does he obviously need to prove his worth by providing for and servicing his Diao?
As it is, God is more the stereotypical "green flag boyfriend" / "good seme", a fantasy boyfriend for the (female) audience, rather than a three-dimensional character. I think the drama would have gained from more background for him.
(Maybe leave out the secondary couple -- that one had such an interesting story, and there must be more to Wan's need for security and desire that things stay the same as always, which was already there before Tan left. Those two would have deserved their own story.)
Related to that, I would have liked the drama to break out more from the "top/bottom" mold. They had the best starting point -- an introvert and an extrovert who will have to find a balance between their needs.
Why not cast the smaller man in the "extrovert" role of God and vice versa? Why not let the smaller and introverted Diao top God, at least let him "top from the bottom", instead of letting him slide back into the passive "uke" role in bed?
We got a good story about character growth, and Diao has always been straightfoward and strong when it comes to stating his own needs and wants (even in times when he needs to process and think, he usually makes it very clear). We got a beautiful story about a couple that has to find their own way, so both of their needs are met. Why not reflect that when they are physically intimate?
This is what I mean when I say "the whole drama does not feel as polished as it could have been". There are quite a few missed opportunities, and that's a shame when this is a drama that is quite good overall.
I think, on the whole Thai BLs have been consistently getting better in quality, and "Monster Next Door" is on the upper end of the scale among fluffy Thai BLs from 2024.
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BL Drama no Shuen ni Narimashita: Crank Up Hen
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* the runtime is not too long, so it's perfect for a rewatch in between new dramas,
* it is a sweet and beautiful love story with some tongue-in-cheek tropes, that makes me fall in love with the way the main characters fall in love,
* there is some character development, that links past and present, and gives some depth to the story,
* side characters have their own story to tell,
* the production value is high, in every aspect: I love the clour schemes they chose, the details on the sets, the make-up and hair dressing (which uses different styles for the characters when they are Akafuji and Aoyagi vs. when they are acting in the BL),
* Abe Alan and Akutsu Nichika play both of their respective roles very well, and are able to give them very distinctive personalities -- I love it when the director shout "CUT" and the BL character vanish, leaving Akafuji and Aoyagi behind,
* every actor in this is fully immersed in their role -- for some scenes with lots of characters, I like to rewind them, just to watch what is going on in the background,
* it's making fun of the BL world, with the feathers and the adoring fans, the tropes used in the "BL Drama" of the series and more,
* it's also a commentary on the film industry, how hard it is for child actors when they grow up, and the toxicity of fans,
* and the humour is my kind of humour, this Japanese kind of slapsticky over-the-top humour that some people can't stand.
Overall, I can't find anything I dislike about this, it's perfect for its runtime, has a simple plot on the surface but those who want to can also find some deeper meanings.
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Delightfully educational
In accordance with the name of the show (เตร็ดเตร่ /tred tray/ means "wandering"), Tay Tawan takes a guest or two and travels around Thailand to various festivals, explores their origin and their history and gives us insights into Thai culture and Buddhism. He takes part in the festivals, interviews locals and obviously enjoys the chance to be a nerd on camera.I loved that he is genuinely interested in what he learns and how he connects new knowledge to what he already knows -- and how he is able to explain things clearly to his guest (and us) so that we can understand.
(His way of speaking and thinking reminded me of my fellow students at uni, when we studied Latin together, and our colleagues from the other departments like Ancient Greek, Classical Archeology and Medieval History. I think if Tay Tawan and I met in real life it would be delightful to be nerds together and to compare the histories and cultures of Europe and Thailand, and learn from and with each other.)
I loved the poems which introduced each episode (and I hope to rewatch in ten years or so when I know enough of the language to understand them).
Also, the ubiquitous product placements were minimal, in the first few episode I didn't eeven really notice them. And though they got more screentime in later episodes, it was very much bearable. Unlike in the Tred Tray Special episodes by the way, especially from special ep. 3 onwards, where it feels as if half the runtime is given to the avertisements. If you want to continue the learning journey with Tay, I can only recommend the first two episodes of the specials, the rest is only bearable for die-hard fans of Tay Tawan or his guests.
So, great insights into Thai festivals in 13 shortish episodes -- might give us an idea or two for festivals to visit in Thailand!
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What I loved most:
... regarding the story:
* I loved the characters -- except for a few of them who were hopelessly inhuman in their emotions, all characters have strengths and weaknesses to them. These are not always explored into the minute details but very much obviously there. The characters feel like people.
* All fights for the truth, all struggles for justice are not 100% successful. This is not a fairy tale, where the good guys win and all the bad guys are punished. The system stays firmly in place. Maybe some have learned a lesson, but not all of them.
* And still, things are looking up, at least in the personal lives of the "good" side. There's hope, as long as we are living.
... regarding the technical side:
* The actors are amazing! Facial expressions, body language, all perfectly controlled -- especially hard for the more multi-faceted characters.
* Loved that we get to see the progress of time via the background nature. We start in the bleak winter days and end at early summer -- I wonder if this is accidental or if we may read it as metaphorical.
... regarding the rest:
* No romance! Always a plus for me. Yes, there are two or three scenes, in which there are interactions which could be seen as light flirting or something, and once some short and good-natured heckling, but all of them can be easily ignored and nothing is ever openly acknowledged.
* For a S.Korean crime drama, there are astonishingly few scenes of senseless or exaggerated violence. There is violence, of course, but it always serves the plot in its intensity.
Recommended!
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When I first watched this series some time ago, I did not know ANY of the actors (yeah, I don't know how I managed that, either) -- and I still liked it. So, it's not all fanservice here. It does feel like a low budget, Covid-influenced production; most of the scenes take place in or around the house, there's only a small cast of characters, it still manages to tell a good story about six people who find strength and support in each other.
One aspect I am not a fan of is the sub-plot about the father, which was a bit too "lakorn"-ish for me. But it's thankfully only a small part of the series.
I love the credit song and it's text -- it's been stuck in my head since I started rewatching this a few weeks ago, and the text is such a comfort.
A short note on the title, "I'm Tee, Me too" is okay -- but the Thai title คนละทีเดียวกัน is great and has many meanings in one sentence!
Maybe like this: คนละ = to each one, each one differently -- ที = Tee -- เดียวกัน -- identical, same.
Or: คนละ = to each one, each one differently -- ทีเดียว = quite, very; a single occasion -- กัน = each other, together.
Or you could read every syllable on its own as one word each; here's a link, and you can find your own translation http://thai-language.com/?blu=pLnF0LfV4LTVwseh0bkI
All of the Tees get their own story, their own problems they have to live with -- and I like how their psychological issues are not completely healed at the end. In that way, the series takes issues of the mind very seriously. And at the same time, the way the problems and the "solutions" are presented are hilarious.
This good balance of comedy and deeper meaning makes it a drama that is well-worth watching.
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Third time's the charm? Not here.
They say "third time's the charm" in English, so I watched it up to the third episode. I won't watch any more.This is now almost to the one-third mark, and I still have made no emotional connection to any of the characters whatsoever (maybe the hat guy, but that's just because I like hats).
The script is formulaic -- there's the secret crush from highschool, the womanizing tsundere alpha-male-type "top", the spurned ex-girlfriend, the comedic sidekicks, the engineering setting, the sick family member and subsequent money troubles etc.
The acting is bland and uneven -- it's probably mainly the script, but also I think directing choices.
The sets show the low budget, especially in the university spaces.
The GL couple also feels as if someone said: "Oh, GL is all the rage now, let's put that in." and nobody gave even the smallest thought on how a girls couple could work. All their interactions are so ... bizarre.
The roles for the main actors feels like they tried to squeeze into ill-fitting jackets -- especially for Konprot, who they tried to make into a typical "bottom"-type of character with his gentle demeanor, soft voice and the haircut. Thing is, he shouldn't have to: "Manly" men can also have secret crushes, and just because one is the "alpha-male" type, doesn't mean the other cannot be. (That's not to say that bulky and tall men can't be soft-spoken or gentle or shy or whatever, it's just so obvious that the people responsible here thought there should be a stereotypical "bottom").
I wonder what happened here. Did they not find other actors for the script? Did they not find another script for the actors? Or was it initially planned as a parody, and that information got lost somewhere?
Because this series could have been a great parody of the Thai college BLs of past years. Everything is already so over-the-top stereotypical. Then you get a cast that is actually not at all suited for the roles -- which could be played as a strength in a parody. If the director and the actors would have been just a bit more daring to really get into the absurd side of things, I would have had a great time.
As it is, this series is one I won't finish.
Edit: Please note how I did not say a word about subtitles -- even if those were better, the drama's problems would stay the same.
Edit 2: I watched episode 8 with half an ear. "I like women. I like Konprot now." The writer *actually* did a Gay For You and wasn't even ashamed to let Pluem say it out loud?! Unbelievable...
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Might be better for viewers during a second watch
tl;dr: A simple story told in very subtle ways, with excellent acting and interesting camera work.The first episodes make this series seem like a more depressing version of "BL Drama no Shuen ni Narimashita" but it is not -- the dynamics and the background stories are very much different.
It's a slow-burn romance and does have the often used tropes of non-communication, self-deprecation and mutual pining -- so if you're not a fan of these tropes, you might want to give this one a miss.
The narrative choice to tell only Shirasaki's point of view first and to show Hayami's story then only later, in episodes 7 and 8, is something we've seen in other J-BLs (Mr. Unlucky, Senpai This Can't Be Love or the newer Living with him come to mind). Usually, it works fine. In this case though, I think it was not a good choice.
When we meet Shirasaki first, he is at his lowest, full of self-deprecation -- he is not at all a reliable narrator. Hayami, on the other hand, is quite unreadable -- not because the actor is bad at his job but because this is part of the character (Hayami's friend tells him exactly that in episode 7). So, for the first six episodes, we only get one (skewed) side of the story.
Because of real life issues, I had to take a break in episode 8 -- and after that I restarted the whole series. With the knowledge of Hayami's backstory, I was able to see things differently -- and what seemed depressing and a bit flat the first time, was actually just very subtle acting by both main actors.
Regarding the acting, the main actors are, in my opinion, excellent. Minuscule movements and facial expressions show the inner life if a viewer cares to look closely. Quite a few scenes have been taken in one single shot -- which shows the how good the actors really are.
Speaking of shooting the drama: I was intrigued by some camera angles -- we look through windows and through cameras, sometimes we are in vey tight spaces, feelinga bit claustrophobic -- and then some sces are wide-angle shots, and everything is only seen from a distance. Use of hand-held cameras in some scenes show the instability of the actor's emotions. Even just finding out how these choices relate to the character's emotions would make a rewatch interesting.
While I don't like the opening song, I do love the background music -- the piece itself was lovely, melancholic but strangely uplifting at the same time. Silence also played a big part in enhancing the scenes.
Overall, I think this series is not one to watch and forget immediately, rather it is to be savoured, and deserves a close look at its details.
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