2
10
1
2
1
I do think that the drama did well regarding sets, casting and directing. The actors were good for rookies, and the way they were styled and dressed and the set design gave the drama a distinct flavour.
Another aspect that I liked were the characters themselves, who were charming -- everyone had his own personality too.
But the one thing that I find most important was lacking: the story.
Yes, I know. It's a cute and fluffy love story -- don't expect much depth, right? And if this was all the drama would be, then it would have been fine. I could live with "vampires" being just the framework for the story. I could live with a simple tropey love story.
The problem here is that they tease with hints of world building but never deliver. There is no singular vampire lore that every vampire story uses; it's rather that there are many, at times conflicting, takes on how vampires "are" -- can they be exposed to sunlight? Are they born or made? Are they shape shifters? How do families work -- is it more coven-like or more like a human family? Can they eat human food? And many more.
And "My Secret Vampire" seems to think that viewers know these answers already (when they don't), so they never explain them. Or maybe even worse, it seems that the vampire lore here contradicts itself, the vampires can't eat human food, but then they are looking forward to Dongha's eggy toast? At times, I can't decide if the script is bad at keeping to its own world rules or if the character development is just not written well: Seonjae claims that "relations between vampires and humans never end well" but then he supports their relationship?
I could give more, and better, examples, but I want to avoid spoilers.
Overall, the drama had potential in its premise, in the actors, and in the design quality, but it's let down by confused writing that fails to explore its world to the point where I understand the world's rules.
Was it good?
It's so-so. It's entertaining, sure, but leaves more questions than it answered.
Did I like it?
I would have liked it more if the script were better.
Who would I recommend it to?
I would not recommend it at all.
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And these are indeed the reasons why I would say it's worth to watch this film -- because the story itself is very predictable and did not touch me.
The cinematography, however, is beautiful, and quite stunning, especially considering the aged material. I loved the peek the film gives us into the lives of Thai villagers 70 years ago, and I loved with how much care the ceremonies were filmed. Among others, we get to see a school, Loy Kratong, a wedding, and the ordainment of a monk -- and the film takes its time to show them to us in detail, though without explanation.
The story itself shows us attitudes towards disabled people, towards women and towards marriage and family of that time (and modern audiences might see how much of it has (not) changed since then). It also, more implicitly, tells us about Buddhist mores, the relevance of the belief in Dhamma and Karma, and what is considered to be a meritful life. In Buddhist teachings, เกิด แก่ เจ็บ ตาย "birth, aging, illness and death" are the four natural inevitable aspects of a person's life. When Santi is "sees the light" (grows up), he sees the world in all its beauty -- and its suffering. Only now can he see his "right" path forward.
The film was thought to be lost for decades -- only in 2014 was the film negative found at the British Film Institute, and screening versions at the China Film Archive in China and the Gosfilmofond in Russia. More than 1700 hours went into the digital restauration.
Was it good?
It has very good cinematography, and it gives us a window into the past. It's also notable for its importance for Thai film history, as it is one of the first 35mm colour films.
Did I like it?
I didn't get on with the story, but I loved seeing the daily life of the villagers, and their ceremonies.
Who would I recommend it to?
To people who are seriously into the history of Thai cinema. And to people who want to see life in a Thai village in the early 1950s.
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A 12-course meal, where every course is a dessert
If I had to describe this series in three words? I'd choosesaccharine
repetitive
inconsistent
Why saccarine and repetitive?
This show is basically a 12-course meal, where every single course is some kind of dessert, and sometimes you get the same dessert twice.
The thing is, when even the bitter-sweet moments are more sweet than bitter, then the sweetest moments don't taste as sweet as they should. A meal that is only desserts might fill our bellies, but we won't feel satisfied, nor it is nutritious.
To say it clearly: None of this is the actors' fault. They all did their best with what they were given, and there are many moments where the love between Rati and Thee shines -- it's only that there are too many of these sweet moments, and not enough of anything else.
Knowing that this is a GMMTV production, I didn't expect them to use the intriguing possibilities a setting like this provides: The backdrop of the first World War is only used as an excuse to have a French national teach his language to Siamese dignitaries -- while Rati expresses that he is subject to negative scrutiny from Siamese people, this is never actually shown.
That Rati is both of Siamese descent and a French citizen, and is part of two very different worlds, is never used to its potential: France was the only Republic in Europe, and one of the very few Republics worldwide, and with its basic idea of "liberté egalité fraternité" it was an egalitarian society by law, if not in practice, while Siam was still an absolute monarchy, and had only penalized slavery a few years prior to the story.
The subject of classism and also of homophobia in Siamese society is reduced to a personal conflict within the two families of Rati's and Thee's, marking two characters as the evil antagonists, while everybody else stays neutral to understanding or even supportive.
And this reduced potential for external pressure is overshadowed by the saccharine, at times kitschy, relationship between Rati and Thee. As a love story that starts with a "love at first sight" cliché, and then only slowly develops, it is not only overly sweet, with a lot of handholding and gazing into each others eyes, it is also very repetitive. We get at least three different declarations of love and devotion, and after a kiss in episode 5, the relationship regresses to handholding and loving stares again -- you cannot tell me that Rati or Thee, as young men with a sex drive, would not try to find a secluded place for more, and instead wait for months without even doing so much as kiss again, and only sleep together when they are at Rati's mother's place, several episodes later? (A place that is not exactly sound-proof, I might add.) Especially Rati's resistance doesn't make much sense here -- if he accepts that they are both in love and knows that they should try to use their time together, then he should, as a 24 year old man who grew up in cosmopolitan Paris, want to and know how to be physically intimate with another man, and not shy away from touch like a frightened virgin.
The potential disaster of separation and unwanted marriage hangs over the protagonists from the start, and since everything stalls for nine episodes, with Thee's grandmother occasionally popping up to say "MARRIAGE!!" -- the climactic eleventh episode, which should have been the emotional highlight of the drama, full of anxiety and with a feeling of impending doom -- this part feels much the same as everything that came before. To be honest, I was bored at that point, and that episode 12 glossed over Rati's and Thee's feelings of loss and betrayal with a time skip only to proceed with a 40 minutes long sugary ending, did not make anything more interesting.
The story would have profited from a tightening of the pace, and a reduction to maybe six or eight episodes, and if the script had allowed the angst to shine, then this could have been something very special.
Why inconsistent?
The most glaring inconsistencies are around Inn's character Rati. As a young man from Paris, and a man who presumably has been groomed to take on a diplomatic career, he should behave much differently.
Paris was (still is) a cosmopolitan city, it hosted the World Exhibition of 1900, it was a centre for cultural and artistic innovation -- and yet, Rati is excited at the prospect of owning a bicycle, one of the most widely used modes of transportation in the early 20th century? He has never bathed in a natural body of water? He is amazed at the sight and taste of cotton candy? It's just not believable.
Rati, who should have had an education in politics and diplomacy, who should be much more experienced in worldly matters, who, I assume, has studied at a prestigious university and has met people of different countries and classes before -- this Rati behaves more like a sheltered Khun Nhu in more than a few scenes, especially when it's about physical intimacy with Thee (see above). He also at times is very ignorant in matters of society and how it works -- and then he is the one who points out the risks of engaging in a homosexual relationship between a noble and a son of a servant. His character does not make any sense. (Thee, on the other hand, doesn't have much of a character at all.)
Also, some anachronisms: The most obvious one being Thee's car, which is a model that didn't even exist yet in 1915 -- this is what a modern car looked like: https://commons.wikimedia.org/wiki/File:Hispano-Suiza_(F)_Type_26_Roadster_von_Flood_1914_(2).JPG. There are a few more minor things, like the telephone in the customs office, and the ubitiquous presence of electricity outside of homes. But the one that should not have happened is the mention of the Chulalangkorn University in 1915/16 -- it was only founded in 1917.
Was it good?
The scenery was nice to look at, both the landscape and the actors, and it was well-filmed and acted. But the overly saccharine relationship, and its non-existent development combined with inconsistencies and missed opportunities for depth, made it feel like I was being force-fed one piece of cotton candy after the other. The only liveliness was provided by the secondary couple's story, which has its own share of multiple issues of inconsistencies and anachronisms.
Did I like it?
I liked it enough to finish it, but that was probably only because I chose a time where my brain wanted to watch something sweet.
Woud I recommend it?
No. Die-hard fans of Inn, Great or the other couple's actors, Boom and Aou, might find enjoyment in watching.
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no highs, no lows, just average
When I saw that "Sweet Tooth Good Dentist" is based on a novel by JittiRain, who also wrote the originals for "Vice Versa", "Fish Upon The Sky", "2Gether" -- and that the drama is a GMMTV production, I knew that there was a high chance that this would be:* a low-stakes rom-com
* with a shallow plot
* and characters who only feel/express sexual desire during love scenes, but feel more like good friends otherwise
* and a happy ending
(Given that she also wrote the original material for "Be My Favorite", there was a small possibility that there would be more depth, but I didn't hope for it.)
And I was right! "Sweet Tooth Good Dentist" is exactly what I expected.
Which means it is perfect for those days when you don't want to think, and just need some distraction from reality.
The script could have leaned a bit more into the silly aspects of the plot or, alternatively, maybe additonally, into the tragic / traumatic backgrounds of the characters. Both the rivalry between Jay and Captain and Sant's best friend's antics would have been perfect for more silliness -- and the background would have provided a good starting point for an exploration of what makes someone happy, of what it means to be the one who is left behind, and if it's worth to sacrifice your own identity to makes your loved ones happy. And I know that the writers at GMMTV are able to combine sweetness, depth and romance into a well-rounded script, they've done it before.
But they chose the middle ground in every aspect, which means there's not many lows, but also not many highs, and the script doesn't give the characters much depth, so the actors don't have much to work with. Mark Pakin and Jimmy Jitaraphol try their best, and succeed in places despite the average plot. This is the second drama after Kidnap I've seen Ohm Thiphakorn in, and unfortunately, with his role as Sant, he still didn't get to prove his abilities. View Benyapa's character Yada was utterly unremarkable.
However, Poon Mitpakdee, who played Gugg, was a delight, as always.
As usual for recent GMMTV productions, the product placements are everywhere, the technical quality is decent enough, and directorial choices were obviously made to appeal to the average BL audience.
One thing I disliked was that they tried to shoehorn the old and tired top/bottom dynamics into the story, which really wasn't necessary. Not only did they make Mark Pakin wear clunky shoes with thick soles, so that he gained a few centimetres height over Ohm Thiphakorn, in later episodes he was also stereotypically permanently horny (but only in the "love scenes", of course).
Was it good?
It was an average GMMTV BL production.
Did I like it?
I liked it okay, but mostly because I waited to watch it until I was in the right mood for a drama like it. If I had had more capacity for critical thought, I would have been annoyed, I think.
Who would I recommend to?
To people who loved BLs in the vein of "Only Boo!", "Fish Upon the Sky" or "A Boss and a Babe".
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I really liked this documentary. The narrative gently leads the audience from the process they use on the peninsula to the history of why almost every family made salt there to why they stopped doing it -- and how it came to be preserved nevertheless. And then it looks into the present of 2011 and into the future of how this traditional method might be preserved and maybe even help the economic situation of this rural part of Japan.
I admit it, I had an elevated level of interest already because in my home town there also is a history of salt making (from briney springs rather than sea water), and in the very early days, before the invention of Gradierwerke, they also boiled the brine to produce salt crystals.
So, I had a connection already, but the documentary wouldn't have held my interest if not for these points:
* They built the narrative so that someone who has no prior knowledge can follow along. It takes time to explain and show the process, and also gives room for the beauty of salt and the landscape. Its slow pace also underlines how slow and back-breaking the labour was and is.
* They were probably lucky that there are not only photos but also film footage of the family who were the only ones to make salt for dacades. I'm glad we got to see this.
* There's a good balance between the facts of salt making and the people with their emotions and passion. Neither could exist without the other.
* Regarding people, after the revival of salt making (mostly for tourism), there are several endeavors to do so -- and I liked how the documentary doesn't try to push a "We're in this together, ganbarimasu!" type of narrative, because it clearly is not the case. The original family's father is very salty about how things went in recent years, and they don't try to hide that.
* I also liked how they found a random granny on the street, decided to interview her, and kept that footage in the documentary.
* The documentary also doesn't gloss over the fact that industrialization changed Noto, that salt making is not a craft with a bright future -- but that is more tourist-oriented now, trying to bring in money for the people who are left while preserving salt making as a historical artifact, and that this has changed salt making itself.
Was it good? -- Yes. It was informative, and engaging. It was also a bit slow, but I think that's perfect for the subject.
Did I like it? -- Very much so. I do have questions after watching it, but they are follow-up questions that would deepen my understanding, not questions because there was something missing or unclear.
Would I recommend it? -- Absolutely.
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The acting and the production value was great, as it often is with Japanese films -- but this one doesn't have the tight writing I've been accustomed to by other Japanese productions.
The script wasted time on several love stories, but couldn't develop them all, and then proceeded to use cliches for additional drama. Cliches, I might add, for the women only. I was most diappointed by the mother's reason for "retiring", which is one of the most overused trope in films and dramas.
These tired plot points distracted from the two story lines that should have been at the centre of the movie: The love story between Takeshi and Johyun and the preparation for the tug-of-war. It could have been a sweet, community-focused slice-of-life. It could have been a love story of a man who struggles between his own dreams and expectations or between old dreams and new ones.
There were also hints at other stories: A man who's single misstep at high-school overshadows his whole life, a mother whose life has been dedicated to family and the family business, a divorced single mother who constantly is at odds with a sexist society; the list could go on and on.
And even though the film took the time to explain about the tug-of-war in several dialogues, I didn't even understand what was exactly happening during the tug-of-war. What is the purpose of the disruptors exactly, what was that about the loops, why does the rope have to be cut at the end?
The film gives us tantalising glances into a fascinating cultural event as well as into interesting plot lines -- but none of them is ever developed to a satisfying point.
All in all, I would have rather watched a documentary about the Sendai Tug of War.
Was it good? -- Everything was great -- except for the script.
Did I like it? -- Not really. Script and characters are at the centre of a film for me, and here they frustrated me.
Who would I recommend it to? -- I'm not sure. To people who want to know about Japanese culture maybe? But then there's not enough explanation fo it.
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Intended for a domestic, not international, audience, this documentary does not need to tell the story of Tsukemen, the ramen variant invented by Yamagishi-san in 1961, and it does also not need to tell us about the dish itself.
Instead it focuses on the last active years of Yamagishi, and some of his years after retirement -- as well as how his work and marriage has shaped his life and his legacy.
As always with these documentaries that follow a person's personal life, I admire how close the film maker is able to get to the subjects of his film. The raw honesty with which Yamagishi can show us his life is the main reason this documentary can evoke the deep feelings viewers can feel while watching it -- personally, I cried throughout the last third until the very last second of the closing credits -- they were tears of suffering, of relief, of nostalgia for a life I did not live. Every moment of happiness was tinged with a deep melancholia for the passing of time and the changes it brings with it.
The way Yamagishi suffers through most of the film, and how he is still able to look back on his life and see the good things -- how he can accept the finality of age will stay with me for a long time.
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And, as expected from any film shown on the JFF Theater platform, the actors are brilliant. They are indeed so brilliant that there is no need for dramatic music, or experimental camera work -- the actor's way of portraying their characters is what carries this film.
Most of the film's value comes from how the characters react to their circumstances (or, rather how they try to shape them) -- which is why the actor's capabilities are so important.
I don't want to spoil anything about the plot and its little twists and turns. Maybe just this: This is not a "firework of jokes" kind of comedy -- yes, there are some scenes that made me laugh out loud, like right in the beginning, when Kanae Mizushima straightens her desk and then takes out a small vacuum cleaner for the finish; most of the comedic bits are more subtle.
And a short word about the romance -- yes, there is a romance story -- it was very cute. Two oddballs falling in love with each other, over their shared passion for plans and lists, was sweet to watch. And the hug in the end was everything.
As the best comedies do, this film also touches upon question of human existence: What is love? And what are you willing to do for it? What makes you "you"? How do you "know" who you are? And can you be an ethical killer?
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Kiyoi's and Hira's love is a twisted one, one that is more co-dependency than love. One feels that his only meaning in life is to adore the other. The other needs another person to look up to him. It reminds me of the relationship in "Double Mints", just without the drugs and violence.
I can see that this is a story that fascinates a lot of people -- it's raw, painful, and beautiful in its pain.
Additionally, the quality is exceedingly good. The actors are excellent, I don't think any viewer could imagine another actor in their roles. I love that the drama tells the story as much through sounds and silences as through visual elements, colours and inner monologue. The script is tight, and there's not a second that is unnecessary for the story.
For me, though, I would have needed a different story-telling to enjoy this drama. As a victim of bullying myself, I would never be able to adore my tormentor, even if I would have found them attractive (and, sorry, I don't find Kiyoi attractive at all, let alone beautiful). I cannot, for the life of me, see how Kiyoi's non-action (he just enters a room!) is more impactful for Hira than his college friend's active support from minute one.
Maybe it would have helped if I got to see Kiyoi's internal struggle earlier -- but then, he does not seem to see anything wrong with his actions during high school at all.
I do understand that we need stories about twisted and painful relationships, we need more than just sugar-coated rom-coms -- it's just that this one with it's central theme of school bullying is not the right story for me.
So, if you ask me: Should I watch it? Then, yes, absolutely, do so. Even if you, like me, will never understand their story, watch it just for the outstanding performance and the beautiful way this drama was made.
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This review may contain spoilers
Does what it set out to do.
"You Are Mine" is a classic office rom-com with a boss-employee romance. This drama thankfully doesn't pretend to want to be anything else, and it does it well.In accordance with its theme, the drama is rife with tropes -- from the gaggle of secretaries / colleagues, to the meddling friend/co-worker, and of course, both working overtime and the all-too-common work outing and more.
There's one story aspect that doesn't quite fit.
The main struggle in this story is that there's an imbalance of power between a boos and his employee -- and I do love that they address this! -- but it doesn't quite make itself clear through the script and the acting. For the longest time, it seems as if our employee is the usual "bottom"-type who is reluctant to enter a sexual/romantic same-sex relationship. The writing emphasizes this aspect too much and for too long, while the much more interesting and *actual* hurdle is only truly visible near the end.
I also am not too enamoured by the music. While the songs themselves fit the vibe of the drama and are likeable enough, they are unbearable as background music and distract from rather than support the scenes.
Both these aspects though are overshadowed by the amazingly on-point performance of the main actors, and also by the supporting actors -- it feels as if they know their characters inside out. The comedic timing is usually perfect.
I also love the "interviews" at the start of each episode (except episode 1, which has it at the end), which are funny in their own unique way.
Overall, it's a nice and fun watch for a gloomy day.
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This review may contain spoilers
Colourful!
Let me be shallow for a moment: Hiroko would absolutely be my type of woman, if I had a type. Competent, always friendly, a boiling mass of emotion behind a nice smile, and that hair? Mmh, yes.Now on the the actual review:
From the first minute, this drama surprised me with its colourful design: From the worklpace and Ayaka's home to her clothes, the light outside and inside -- I think I've never seen a Japanese television series with such clear and crisp colours.
This colour scheme does fit the upbeat and light-hearted story -- only tempered by the past experience of discrimination of LGBTQ+ people and the subsequent emotional state of one of the characters.
This is one of the best points, story-wise: Discrimination of lesbian women (and also the inherent misogyny, heteronormativity and sexism that go with it) are not glossed over but are part of the story itself; and the positive outlook we get at the end does not detract from that.
On the other hand, Ayaka's character feels unfinished. Why was she the way she was before her transformation? Is her "new" self closer to who she really was all along or did she completely change her persona? How does she manage to go from uncommunicative and reserved to an outgoing and socially adept colleague? Something's missing here, which is why I had to subtract a point.
Mori Kanna's (Hiroko) acting is suberb; her comedic timing and her facial expressions are excellent. Especially the first part of the series (which is more hilarious than the serious latter part) lives because of her inner and outer reactions to Ayaka's flirting.
Overall, I think this is a series I could recommend for a first-time GL viewer.
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underdeveloped plot, underdeveloped characters.
There's three things you should know before you watch this:1. The producers of this series are also the people who made "Second Chance", "Coffee Melody" and "Tin Jem Jai".
If you liked those, you might like "Ai long Nhai".
2. There are a lot of scenes, where it's clear that they intended to have a product placement. There are no product placements in the whole series. Either the production company is very bad at finding a sponsor or all potential sponsors did have no interest.
3. Ai long Nhai -- อัยย์หลงไน๋ -- Ai is infatuated with Nhai. That's it. That's the story.
[As an aside, the dictionary I use also gives two other meanings for หลง, which are a) [is] lost; confused; forgotten; neglected; mentally weak; b) to lose one's way, to go astray, to get lost, to be mistaken or forget; to be absorbed; to be absent-minded -- which is Nhai's personality in a nutshell]
The series -- I hesitate to call it a drama -- suffers from these points:
1. Interesting plot ideas, which never go anywhere and unconnected scenes, with plot holes and inconsistencies.
2. Side characters who can't even be called "one-dimensional".
3. Old BL clichés, and not the good ones.
4. Low funds, static scenes.
Let's elaborate:
-- 1. The series had a really strong start. I especially loved the banter between Ai and his father. When Ai first met Nhai, I expected this story: Ai falling in love at first sight, and subsequently pursuing a clueless Nhai, in more and more ridiculous situations; to the great amusemant of ai's father and friends -- I would have loved this comedy.
I liked that it was Nhai who made the first move, and his subsequent self-exploration. He was a classic case of a gay man deep in the closet (pining after a girl he will never get, getting physical with men when drunk, insisting that another man is just a friend and some internalized homophobia -- vocally claiming that touching another man is "eew"). That also would have made a really good story, maybe finally something more LGBTQ+ than BL. And they could have made this story light-hearted and funny, if they wanted. But that was quickly discarded.
Nhai's characterization as dirty and generally being a slob could also have been something new and interesting, people could have asked Ai "Why that guy?". It was kind of important but didn't translate into his appearance. He always looked styled perfectly, and I couldn't even see that his shirt was not ironed.
Scenes were often not connected, side stories discarded. I never could tell how much time had passed. Between a scene and the next, there were inconsistencies several times. Example 1: The friend group talk about Ai and Nhai several times, whether those two are together -- but there's no continuity, the discussions are always as if the friends haven't talked about it before. Example 2: In episode seven, a hickey appears and disappears, and reappears.
There's more, but this is getting long, so on to the second point:
-- 2. The side characters. I'd complain that the female characters are there just to advance the plot for the main characters -- but the friend group is more or less the same. They stay remarkably bland, considering they have quite a bit of screentime. At the end of episode two Nhai tells us about his friends in a voiceover, but this information is never important for any of the plot.
-- 3. Clichèd BL tropes that I hate.
Top/bottom dynamics, including the use of "hubby" and "wife" -- The top is manly, sucessful, knows how to get through life, perpetually horny, while the bottom is whiny, fragile, needs help constantly, reluctant when it comes to sex. There's a review here by RemmiKay, who says "This is a CLASSIC exchange of power relationship." There's actually some textual clues for that, so it works. While I don't think this interpretation is in any way intended by the writer or the producers, it made watching the series bearable. Still, even from an exchange of power relationship I'd expect that both are shown as into the sex -- Nhai continues to look like a nervous virgin whenever things turn sexual, and it gets worse the longer the series goes on. (Even if Nhai would only be playing at being reluctant, as part of their relationship dynamic, the audience should get to see that he wants it.)
There's the stereotypical gay (maybe transgender?) friend; there must be a gay friend in a romence, right? Of course, they are flamboyant, have pink hair, but they are definitely not beautiful or attractive. And it's disheartening that Nhai goes to this friend when he's unsure about his attraction to Ai and gets "Yes, of course you are the wife" as an answer. That's not helpful and also sexist.
Too many side couples. While other Thai BL productions in 2022 seem to have learned from past mistakes, this one tries to give a male love interest to everyone in the friend group. Not only do most of them not go anywhere (the one that does, just ... does, behind the scenes), the three friends also had explicitely stated that they are straight in previous episodes. (see above, inconsistent plot)
and, finally,
-- 4. low funds. The sets, few as they are, look empty. Ai's condo is supposedly "like a labyrinth" (Nhai, somewhere in the second of third episode), but it's not, and you can see that -- the living room and the kitchen are in the same room, for example. The props in the shelves etc. are obviously placeholder props; had they filmed in one of the example rooms in an IKEA, there would have been more personality to this living space. There are no knick-knacks or anything that makes a home a home. Ai's car seems to have cost most of the money they had.
That everything, the sets, the clothes and so on is mostly in white and black, really does not help.
Scenes often just were two or more people standing and talking, which made the already slow pace wven more static. Some actors need more acting classes.
Overall, I feel that the writer had some good ideas, but shied away from anything that would have made the series more interesting, either writing a good conflict (inner or external) or more comedy. Was it too daring for him?
But even if they intended to make a slice-of-life series, they would have needed something more plotty and consistent.
It's like a teenager's first fanfiction -- they love their characters, they don't want to hurt them, they write things they wish for in their relationship. But for a product that is supposed to bring in an audience, who'll remember the story, this is just not enough.
That being said, there have been two small things that need to get an honourable mention:
* I think this is the first Thai BL in which lubrication for anal sex is mentioned, and hopefully used.
* Ai explicitely states that he is bisexual. In most BLs they don't even use the word "gay".
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What will you sacrifice to make your loved ones happy?
What might be important to know:* This is not an action/crime series.
Yes, there are some action scenes. And yes, there is a crime ring, drug smuggling and a murder case. But it's not at the centre of the plot. The main characters are even only marginally involved -- but the crime sub plot majorly influences certain reactions and decisions.
* This is not (only) a fluffy rom-com.
Actually, after the meet-cute and the scenes when Min follows Q in episode 1 and the preview for epiosde 2, I was convinced that this would be a shallow rom-com full of tropes and over-the-top Thai humour.
It IS very fluffy at times, very cute, with two soft boys who fall deeply in love with each other. But it is not only that.
In its core, the drama explores a much deeper question: How much will you sacrifice for the people you love?
Will you sacrifice your money, your health, your prospects in life? Your life itself? Will you do things you would never do otherwise? Will you sacrifice your own happiness?
And are these sacrifices you make -- are they the right choices? Will they make the other person happy?
I love how these questions are slowly asked and how they are answered differently over the course of the series. Both Min and Q search for the right way to achieve happiness for their loved ones -- with twists and turns, with laughter and tears. As the audience, we get to slowly learn about their lives and history, what made them who they are now and how traumatic events in their lives have shaped their views.
The script is well-written in that regard, there are no dragging parts, and the events of the present and the past are told in a way that they make a cohesive whole.
There are several inconsistencies, both in the writing and the execution. Just to mention some of the most obvious: the scene in front of Q's house in episode 7 would have had more impact if the actors hadn't swapped places for the close-ups, which brought me out of the immersion into an extremely emotional scene. I don't understand why Min's bedroom was restored to its original state after Min had taken care to rearrange everything in episode 2. Also, Min was shown as speaking English very badly (ep. 1), but later, he has no problems with instructing tourists at the surfing school.
One major flaw in the writing is the character of "James". I think he should have been two characters -- because he both has connections to the criminal underground (which are never explained nor explored, and Yada or indeed anyone else doesn't even really seem to know or notice him) and he is this good friend and mentor for Min with connections in the film industry, who is supposed to be extremely likeable and trustworthy? It would not have been hard to write a second character for the criminal connected side (another stuntman, maybe?), and keep James for the rest.
Mhen was unfortunately a bit bland as a character, he was never able to become more than "little brother who is ill and loves his older brother very much" -- and though Ohm Thipakorn obviously tried his best, he was not able to give his character much more colour. (Also, how does he get a heart transplant that quickly?)
Throughout the series, it's never clear how much time has passed, so that some scenes seem to happen very fast after another, when it's probably not the case -- a flaw a lot of Thai BLs seem to share.
But I can overlook these flaws because of the solid technical execution and mainly because the script gets the emotions right, and knows how to tie them together with the main theme of the drama, -- and because of the acting. Both Ohm Pawat and Leng Thanaphon are very convincing in their roles. They were able to make me feel with their characters, to be immersed in their story and to believe their emotions.
Leng surprised me, because I was a bit sceptical if a rookie would be able to portray a character that is at odds with himself and with the world -- and indeed, especially in the beginning, when Q is trying to show one kind of emotions to the outside, while he has opposite emotions on the inside, Leng reaches his limits fast. In his defense, these scenes would have been a challenge for more experienced actors, too.
Overall, I find, again, that it's best to follow a drama's story without preconceptions about what it "should" be, but instead listen to what the writer, the director and the actors are showing us -- and here, they showed us a story about how traumatic experiences can shape your world. They showed us a story about about devotion, about love between parent and child, between brothers, between lovers and what it means to make another person truly happy.
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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.
1. Is it good? -- It's certainly in the upper third of 2024's Thai BLs, but it's not perfect -- 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. It's also become one of the dramas I turn to when I'm in need for some fluff.
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 present 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 like 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 gan/ 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.
One very minor aspect that I found irritating is that the camera doesn't alsways get the right focus in close-ups immediately, and takes a second or two to get it right.
There are a few other 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.
In short, 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 and also use the many little ideas in the drama more consistently.
Since this review is already long enough, and the things I mention are a bit spoilery, I put them in a comment below for anyone who might be interested.
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?
I think on the whole Thai BLs have been consistently getting better in quality recently, and "Monster Next Door" is on the upper end of the scale among fluffy Thai BLs from 2024.
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Short and Sweet
"My Damn Business" is a short, tropey-but-sweet romance drama, that could happen "next door to you".With "My Damn Business", GND studio (formerly Guy Next Door) have released their second multi-episode mini drama. Before this one, "Fake Buddies" was released as seven loosely connected episodes, and before "Fake Buddies", they only made short comedic skits.
It's maybe also a good idea to keep in mind that they posted a note on YouTube in summer 2024 (unfortunately deleted by now), in which they mentioned that the "channel is run by three people who handle all the content creation".
So, GND Studio is very much a small start-up, with extremely limited ressources and even less experience with longer dramas.
As with "Fake Buddies", they used their experience with the short form and with working with a minuscule budget to their advantage:
1. They chose a plot that did not require a lot of actors, only few simple sets, and that could be told in a few short scenes.
2. Each episode was comprised of one simple and short story arc, which could begin and end within the same episode -- and still moved the relationship forward.
Other things I noticed:
* I mostly like the chosen background music -- especially the percussion piece in the first episode but also the melancholic piano piece. The jazzy tune at the bar was a bit annoying but we've heard worse.
* The company is called GND International.
* Acting, wrinting and editing came together to create a story that gets to the point quickly but is still slow enough in the important moments for the emotions to unfold.
* One thing that should have been made clearer for the viewers was the intention of Han U Jin in the first two episodes. I think quite a few viewers (me included) felt his actions toward Yoon Su An were too much -- when it was just his extremely awkward way of flirting, where he tried to use any opneing he saw to get closer to Yoon Su An.
* Both Han U Jin and Yoon Su An were a bit awkward, fumbled interactions, and still managed to solve their issues in the end by expressing their concerns and desires. Apart from their too good looks, they really felt like two "guys next door" to me.
With an overall runtime of just over an hour, this drama is a quick sweet snack in between longer and heavier dramas.
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