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This review may contain spoilers
Please pay no mind to the star ratings for this review. Because I admit it, I am one of those people for whom this series has nostalgic value. When I first watched it in 2022, this was only my second live-action BL drama (and my first encounter with anything Thai), and I was *fascinated*. I had been reading Japanese BL manga in the early 2000s and I have been a voracious reader of slash fanfiction for more than 25 years now -- but I never knew live-action BLs even existed until 2022. So, I was feeling slightly overwhelmed, and this makes me feel more favourable towards this series than it deserves.
Because, if we are being honest, apart from Pete and Ae's love story, this drama is not very good.
It starts with the technical side:
The colours are strangely subdued (for a Thai production), without there being a narrative reason for it. The background noise is at times overwhelming (especially in a scene where Pete, his mother and Ae sit near a fountain) -- although at other time I find it charming to hear university life going on in the background. We can hear clothes brushing over microphones in some scenes. Props are not quite what they should be (thereare props from IKEA at rich Pete's house, and school bags are often obviously empty. In some scenes the actors look as if they had to do their own hair and make-up.
The show obviously had a rather low budget; but not everything about it is bad. I love the messy dorm room -- a bit icky, probably hot -- and both the flat colours and the background noise give the university grounds a realistic vibe -- watching the young people in the canteens, on the walkways and on the football field, surrounded by the noise and heat of Thailand, I always feel that this is just one of many stories happening on the campus. It's nothing like most of the newer airbrushed and clean BL drama, which are painfully obviously set in drama-land.
If we're looking at the acting and the directing, the series is mediocre: Some scenes are full of awkward acting -- some are more watchable. Since most actores were complete newbies at the time, I can understand it -- but better directing could have helped here. There are some scenes that are outstanding though. One of them is the beautiful coming out-scene in episode 1 -- the hesitation in the beginning, the way Pete's mum suppresses her own feellings and turns away and towards Pete again and again, the tentative questions and the short but reassuring answers, until both are in tears, the hesitant acceptance in the end -- this is the kind of coming-out scene I miss in newer BLS, where acceptance often is immediate and coming out is no big deal. (And while we here, I love that Pete describes himself as "gay", and doesn't only use descriptive terms.)
And an upopular opinion, maybe: I wish they had cast someone else than Perth for Ae. Don't get me wrong, Perth does a good job (especially considering his age)! But Ae is time and again described as short, stocky and dark -- Perth is none of these. Ae's appearance is an important part of his character though, and one of his sources of insecurity, and I would have liked it bo be more obvious. Alos, I would have liked to see the visual difference between a dark, stocky and short Ae and a light-skinned, tall and lanky Pete.
And now to the most obvious flaws: the storylines. We have five couples here, which is aready too much for a fourteen episode series, and half of them are not what I'd call good romance.
The one with the least screentime is also the worst -- outright rape, and subsequent victim-blaming, which is only played for laughs? Yeah, this is where it becomes very clear that this is based on a MAME story. Since this was a Wabi Sabi production and aired by GMM25, there must have been people in charge who worked independently from MAME and should have been able to cut this from the drama? I really don't want to know what the producers and screenwriter were thinking.
The story of Tar and Tum is very flawed -- I don't really mind that they are step-brothers. Two consenting adults can do what they want, in my opinion, as long as there won't be any children (the risk of genetic diseases is just too high). The thing is, there's no consent here in the scene where Tum tries to assault Tar. What I don't like about this subplot are two things: a) the story neither begins nor ends within the series. We don't know the background if we don't know TharnType, and the story does not stop at a satisfying point. And b) Tar's trauma is not handled well. If he's still victim-blaming himself-- then why is he not still in therapy? Why does his brother not know anything about it? (He doesn't need to know details, but it's quite obviuos that Tum is completely in the dark here.)
Putting the Tar/Tum story and the No/Kengkla plot next to each other -- why? We have a guy thoroughly traumatized by rape and in the same drama, rape is supposed to be something funny? Doesn't compute at all. Why did nobody notice?
Can and Tin, well. This is a mixed bag for me. I strongly dislike the "top pressures the bottom into sexual situations" trope, so I was not enamoured with their story at first, or later. Can is clearly not in a mental place where he is ready to enter *anything* remotely romantic / sexual, and Tin is only trying to get someone so he won't be alone any more, so his pursuing Can is not about Can, only about himself. So, I was really happy with their ending -- Can got a good character development arc, where he ends up realizing what a romantic/sexual relationship could mean for him, understanding that he does not want it at the moment -- and consequently rejecting Tin. Go, Can!
I did love Cha-Aim and Pond. I love their constant bickering, love how she always pushes back at Pond whenever he gets too much. I love a woman who knows her worth, and can clearly communicate her boundaries and her wants. Pond comes across as this slightly icky, sex-crazed porn addict (and I don't love his slightly homophobic attitude at the beginning). But as we get to know him, we can see that behind his "Three S" behaviour, there's actually a guy who cares about his friends deeply, and who never judges people for who they are.
Well, and Pete and Ae? Their love story is the one reason I can't give a lower rating than I did. This is a wonderful teenage love story, with a lot of "firsts" for both of them. I usually don't like the top/bottom dynamics, which are extremely strong here (Ae is rough, strong, possessive, while Pete is meek, soft, and very shy). But with them, it fits -- here, it feels as if they are two halves ot the same whole. And while Ae is extremely possessive, he is also someone who doesn't feel as if he deserved Pete (and seeks reassurance from Pete!). Yes, Ae is clearly the dominant partner -- but as a good dominant partner should, he always chacks in with Pete and tries to be aware of any boundaries. Even the "gay for you" trope works here, since Ae hasn't had any sexual desire before.
Like with any good teenage romance, both Pete and Ae grow in the course of navigating their relationship, and are more adult in the end than in the beginning.
So, can I recommend it?
Not really. There's so many good BL series nowadays, that it's really not necessary to watch this one.
On the other hand, Love by Chance *is* one of the classics which laid the groundwork for following works. And Ae and Pete are just adorable. Should you decide to try it, you should be aware of the show's many flaws and prepare yourself for a rather explicit rape scene in episode 14. Or you can just fast-forward through all of the scenes with Kengkla (No alone is okay) and with Tum or Tar in them. You won't miss anything.
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You need courage to take the next step
This movie with its simple love story has fast become one of my favourites -- a story about two very ordinary men who fall in love with each other and take the first steps into a relationship.I love how the film shows us the insecurities that come with having a crush on a man as a man, the questions that come with getting to know another person -- will you like me, too? Do we have a chance to come together? Will I take the step into the unknown?
And at the same time, both men as well as us get to experience the giddiness when we feel that our feelings might be reciprocated.
We get to see how these two men, who seem to be very different in their hobbies and lives, try to find the courage to open up to each other -- only then the relationship may move forward.
The film makers obviously had to make do with a low budget, there are some sound issues in outdoor scenes. But they did not need much more -- as I said before, this is a simple love story of two ordinary men, who could be our neighbours, our colleagues, ourselves. Accordingly, the use of places, of light that is already there makes the film feel very real.
I also love the sets, which are lovingly filled with small details: There's the changing date on the white board behind Koiwai's desk. There's the small detritus of the life of a working person in Yamashita's room. There are the messy bed sheets near the end of the film.
I'm looking forward to rewatching the story of these sweet and gentle people.
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This review may contain spoilers
"Mr Unlucky Has No Choice but to Kiss" is a series that has both a title that is too long and episodes that are too short.Or maybe the episodes are just long enough -- long enough to develop a light-hearted story that makes us fall in love with the main characters and get to know the side characters. Dragging it out would not have helped, in my opinion.
This is what makes the show outstanding:
* The acting for Fukuhara's character is on point. I love how the actor can go from fake high-pitched cuteness when covering up his bad luck to real joy when something goes right, to his inner monologues complaining about his bad luck, to his real self when talking to Shinomiya.
* I like how the professor's lectures fit into the developing relationship. Also, from what I know of psychology, the theories presented are actual theories.
* It is astounding how the people working on this show have developed the supporting characters so well that I feel like I know them, even though they get very little screen time.
* The attention to detail in both the acting and the sets makes this show worth watching more than once (or twice. Or three times.)
* I am also glad that the issue of consent is so prominent in the story. (Especially as it's a point of concern in some other BLs.) Not only is it discussed several times, but the characters follow through to the end -- even to the frustration of the character who said no. The sudden kiss in episode 1 is also discussed later. (So, actually, the title is wrong. Fukuhara Kouta does have a choice to kiss!)
I also love how they showed that Fukuhara with his bouts of bad luck and Shinomiya with his incredible good luck both stand apart from the people around them. Now that they have found their counterpart who can bring balance to their lives, they will be able to open up to others and live as normal people among them.
I must admit that the nature in the background always confuses me a bit, as the story is set in April, but the nature looks like autumn -- but that might be because the whole colour palette tends towards brown and orange?
All in all, I highly recommend this series. It's fluffy and sweet, something nice to watch when you need a pick-me-up.
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This review may contain spoilers
pure crack
Are you familiar with the term "crack fic" from fan fiction? This is like that -- as if the writer asked: what are the most common tropes for BL stories to get two guys together, and how can I put all of them in one show?Here's some of the tropes:
forced cohabitation
only one bed
tutor -- student
a fujoshi
a love rival who makes one of them realize his feelings
caring for the ill love interest
sharing food
childhood bully to lover
gay for you
This show is silly, with intentionally exaggerated acting (bordering on slapstick) and camera work, and no plot besides the aforementioned tropes.
If you are not a fan of silliness and suggestive scenes that never actually get anywhere, then this is not for you. If, on the other hand, you are willing to laugh at your own love of BL and are also a fan of silly slapsticky situations, then what are you waiting for?
Also, it might be of interest to know that this is all about the phase BEFORE one of them finally realizes the attraction to the other, so there's no actual relationship here.
In a traditional broadcast setting, this show would fit perfectly at the end of a more serious BL drama.
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What I liked best:
* The initial premise is different and interesting, the story arcs well paced and in the end, all story threads are neatly tied up. Even if they ended the series with a glimpse of a new plot, it felt more like a "this is not the end" than a cliffhanger.
* The main character was extremely well acted, I loved the facial expressions (or, sometimes, the lack of them) and how the actor moved his body, we never forget that this is actually a dead body, not a living being.
* The comedy was there duiring all the episodes, and varied between spoofing Zombie movies and the detective genre, slapstick-y routines and just plain hilarious situations.
* The mysteries were not too simple, but simple enough for a comedy.
* Some K-Dramas I've watched have a weird slump in pacing or story in the 9th to 11th episdes. This one doesn't, every episode was interesting or funny enough to keep me watching.
* There was no romance between the two main characters, only a hint of interest on the woman's side, which is not even recognized by the zombie detective.
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The target audience is definitely much younger than me, but I liked it.
Technical aspects of the production were fine. Overall, the acting was good, especially since the actors are all really young. Directing was fine also -- I always have an eye on how ensemble scenes are done, and I did not notice anything missing here.
There are quite a lot of songs in the series, which is appropriate, since it's about a band -- not too many (and that's coming from me, who thinks that there's too much singing in Disney movies), and all of them fitting the band's general vibe and the plot.
Regarding the plot, it is a slow burn with lots of pining, and I tend to love this trope. Yes, it's a bit ridiculous at times, and also a bit cheesy, but that makes the series so charming. Even though some more serious issues are addressed, it's never high-stakes for the audience.
A lot of the good tropes are used liberally, some are there just to be subverted (an episode at the beach, but the young people get only five minutes to actually enjoy it?) -- and there are none of the trope I hate (e.g. miscommunication because some character is lying, love triangles, traumatic childhood experiences, jealous female characters...).
I also loved that there's so much time dedicated to the bandmates' friendship and the highs and lows they go through as the school year progresses. They are all young boys who enjoy life, and are not ashamed to act silly when they feel like it.
The parents also got some character development, and enough time to show it.
There really only two very minor points that could have been better:
a) I wish there were more female roles. I know it's a BL, and BLs have to have a majority of male characters, but why not have a girl in the band? Or a female Kajorn? Or female MCs? Or a female Yak? (Though, I admit, the last one is maybe a bit more difficult.)
b) I would have liked to see a bit more story for Tinn, whose main role is to support Gun, his love interest. He does have his own insecurities, his own questions about his future -- it's all already there, just underdeveloped and glossed over.
One last thing, because I waited for it but it never came: There is absolutely none of that old and tired top/bottom-dynamic in this show! None of the boys have any characteristics that trope would demand (difference in age, status, experience, body type etc.), none of the "pushy top" and "reluctant bottom", their body language and whole demeanor are always "typical boy" and touches are very much mutual and equal in reciprocation. I hope we'll get to see more of this kind of relationship dynamic in future Thai BL shows.
(They even make fun of the trope at the end when they talk about ship names!)
So that was a very nice surprise.
All in all, the show is light-hearted and funny, even silly at times, with great friendships -- it made me smile throughout the whole series. So I recommend it as something to watch on gloomy days. Characters don't take themselves too serious, and the audience should do the same.
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Things I liked most:
* The female characters! Although they were still in the minority, they were fantastic! The two main female characters were an equal part of the cast -- in most cases the female forensic doctor was the one who found the deciding clue, even. Both were shown as professionals, with interesting personal lives, own ambitions and well-rounded personalities.
* The team! We get to know all five (hm, six) people of the UDI well, and how they learn and grow together. They start as distant, even uncomfortable colleagues -- and in the end, they work as a well-integrated team. Some of them get some character development, some don't really need it.
* The supporting cast! Even they got a personality, some are more mysterious, some antagonistic, some familial. All of them clearly have their own motivations and goals.
* The acting! The directing! The soundtrack!
* No Romance! Well, over the course of one or two episodes, the male part-timer wonders if the female lead might be interested in him, and it seems he wouldn't have rejected any advances -- but! That fizzles out and is never even thought about again.
(Although, as I read through the other reviews, I see Orangevine's who states that "There is also a love triangle (with the caveat that one must be well-versed in Japanese romance tropes to spot it)". I'm obviously not well-versed, so I don't see it.)
* Minimal gore! We see blood, contusions, discoloration of the skin, some wounds, the occasional part of an organ preserved in formalin. Faces of the deceased are never disfigured, there are a few scenes where we see how the scalpel starts to cut, but never any opened bodies or any inner body parts while the autopsy is in progress.
All in all, it's remarkably respectful of the dead (compared to US productions) and there's never any kind of voyeurism.
* A fascinating insight into Japanese culture! Concerning death, and how the deceased and those who have contact with them are regarded and what it means for the politics around them.
* Last but not least: The cases! Not every case is a crime, but they are all interesting. The first one is noticably from before CoViD. The seventh had me in tears, that one hit close to home for me. The overarching plot was also intense, and was the main focus of the last three or so episodes, and tied all the personalities and their development together.
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This show is a fantasy for all of us who belonged to the "nerds", the "weirdos", the "fat" people or whatever group we belonged to and thought we would never have a chance to get the popular guy -- to make our secret crush our one true love.
First of all:
1. Toh is a very special kind of guy. His brain works differently to "normal" people. (I think people nowadays call that neuro-divergent.) He's also a rather campy gay man, which marginalizes him further and colours his world view heavily. This makes his actions hard to watch, although for him, they all make perfect sense.
2. Toh's friend group is loud, queer, a bit weird -- the whole show is made of camp.
If you can accept that and roll with it, you will have a very good time with this show. If you can't, then you should probably watch something else. I get that these over-the-top kind of shows are not for everybody.
Second:
1. What I loved most is the friendship between Toh, Daisy, Som and KaoJao. They are all supportive when it counts, pushing the other when it's needed,and not above teasing each other. It was also great how easily the two gangs mixed, the weird one and the popular kids. Toward the end, they were still very much present, and that's not something you always have, that the couple(s) don't forget their friends.
2. The second main thing I loved was: Those characters who are different (nerdy, queer, chubby ... just "different") usually only get supporting roles, mostly no love interest, and are often there mainly for comic relief. In this series they are the main characters! And they all get a love interest! AND, and this is the thing that made me give ten stars, none of them is required to change for that to happen. How often have we seen that the "ugly duckling" turns into a beautiful swan in the end? Not here, Toh remains his usual self, glasses, bowl cut and short trousers included.
Third:
* Kudos to the director: There are so many ensemble scenes, and even if they are not in focus, I haven't seen one actor fall out of character. It's a joy to watch the reactions and interactions in the background.
* Colour, audio and overall cinematography was fine. The background music was always there, as if whoever was in charge of it had a "horror silentiae", and sometimes too loud. I do love "แอบหลงรัก ", §ดั่งดาว" and, yes, even "Ooh My Loove".
* One thing that threw me out of my enjoyment of the explicit scenes was that they opened the condom packets while still dressed -- where are you going to put it then? (Also, I'd really like some lube sometime...)
Fourth, and that's the last one:
And I have to talk about it because I like to rant about the prevalence of top/bottom-tropes in Thai BLs, this was actually toned down a lot here. It was still there, and I wish we could get away from the "pushy" top. (Even though Sky was quite sweet later on, I'm not too happy about how he pursued Jao in the beginning and the grabbing around the neck/chest thing.)
Still, there was no feminizing a partner who was not like that in the beginning, that's good. Also no infantilizing whatsoever. The use of "wife" was mainly used to describe the roles during sexual activities, not as a character trait. Partners in two couples offered to switch roles if the other wanted it.
"Tops" were also at times insecure, emotionally open and one of them not really adept at flirting.
I also firmly believe that the bandana in Nuea's right backpocket (in episode 7) was intentional, and you can pry this headcanon out of my cold, dead hands.
Overall, a firm recommendation from me, if just because of the great representation of characters who are otherwise never in the spotlight.
[This is a slightly edited version of the review I posted on Viki.]
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All in all, it did not wholly deliver on its promise.
The premise I liked, four young people who have to come to a decision and their own standing point regarding their position towards platonic and romantic relationships -- and issues of belonging to a group versus being who you are. Even the love triangle made sense within these topics.
The execution, though, is stilted and at times too slow.
These are definitely directing choices, not the problems of the actors -- as soon as they get to do something, they start to shine.
For example, I don't understand why the actors stand right in front of each other in most conversations, with their arms hanging down without movement (and the whole drama is conversation-heavy) -- alternatively, they talk while walking next to each other at a snail's pace. I suppose the director wanted to convey some kind of awkwardness -- which is a good idea, since the characters definitely don't feel comfortable for most of the time, but it just gets boring after a while.
Also, the characters (with the exception of Namgoong) all have similar mannerisms (or, if I want to be a bit mean, the same mannerisms) -- including the teacher, which I mistook for another student in several scenes.
There were also some minor issues:
* At times, the background music did not quite fit the mood -- I'm also not a fan of the "plink-plink"-kind of music.
* The scene with the adult toys in the beginning was never resolved, and did not fit in with the rest of the story.
* I could have done without the kiss at the end -- it feels as if the writers or the director said: Oh, the audience also wants a kiss, so lets add it somewhere. A hug or some light cuddling, or even sitting very close to each other would have fit the overall mood better.
* I'm also not too sure about the female character, but since she had her own story arc and character development, I'll let it slide.
The plot itself, with its theme of exploration and the awkwardness of navigating relationships in adolescenece, is fine, and surely of interest to many. It's just that the way the series is brought to the screen cannot convey all the depth and the emotion it wanted.
Maybe if the creators had been clearer of the intended audience and made some bolder choices for directing according to that, it would have been more on point.
Overall, I found it okay to watch, but not worth a second time.
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Weird, remarkably consistent -- and can make you think if you look beyond the Pork Blood Soup
For vampire Pun, only meeting Yo makes his own life meaningful. Only when they are together, during the all too short span of a human life, there can be happiness. Pun will enjoy every single second with Yo, it doesn't matter if these seconds are good, bad, or deeply absurd.For those who seek help in deciding if they should watch this series, this might be important to know:
* Take all of your ideas what a vampire story should be like, and put them away, because this story either discards them or at least subverts all the vampire tropes.
* Almost all of the characters are weird in some way. If you can't handle "cringe" (whatever that is, because I still don't understand the word), then this might not be for you.
* Blood Pork Soup sometimes feels like the main character of the show. This is what brings the group together.
* This is not a fast-paced romance. At times, it seems as if this show is not about the romance, but about the absurdity of life. Which also means that sometimes it seems that nothing is happening at all. Relax, follow the flow of the drama, enjoy every scene on its own, without expecting it to advance the story -- and you'll enjoy this show.
* Pun is, and that is important to notice, usually at least an unreliable narrator -- inconsistencies in what he says are not plot holes. Take everything Pun says about himself or other vampires with a grain of salt, he has his reasons.
* You *will* get a common trope used in stories about humans and immortals at the end.
* And last, watch the trailer https://youtu.be/5ekNPUazAmA. For a trailer, this one is pretty much accurate. If you like what you see there, you might like the series.
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Now, the things I love about the series:
1. The series tries to do something different.
While I can love a tropey rom-com, I don't want only that. I love when somebody does something new; when tropes are discarded or subverted. Actually, I was deeply sceptical before I started watching this serie, because I DON'T like vampire stories and their tropes. Dark and brooding, cruel and mysterious, erotic blood-sucking included? No, thank you. But this one is different. This is colourful, and bright, and everybody enjoys the absurdity life can bring.
"Different" always gets bonus points, even if other aspects might not be good.
2. The characters are weird, and so, so loveable.
Pun, of course, the good vampire who loves Yo and Pork Blood Soup, who once wore braces as an accessory, whose assortment of colourful umbrellas shade us from the harsh sun of reality.
Yo, who is obsessed with aliens and fascinated by the weird, who likes wearing his beaded bracelets and, of course, loves eating Pork Blood Soup.
Kamsai, whose main goal in life is to have a Pork Blood Soup stall, and who is the most pragmatic of them all at the age of 16.
Yam, Yo's little sister, who seems to be a no-nonsense kind of person but ultimately gives in to the weird obsession of Yo's, and who is the one who has a good sense for people and is the first to point out the attraction between Yo and Pun.
Shin, of course, who is hard-working, always full of energy, and who seems to have a slight humiliation kink.
And then there are the side characters; the alien-obsessed Pak and her mute girlfriend, the nosy but courageous auntie, Gyoza and her elderly grandma, the small and cheeky landlady.
3. The series is consistent:
When I watched the series for the first time, I waited for the plot to fall apart very episode. It didn't. Actually, after rewatching, I can say, the plot and the worldbuilding is remarkably consistent -- there are no glaring inconsistencies, no obvious plot holes. I do wish the writer had put more obvious clues about Pun's backstory in earlier episodes. As it is, the last episodes reveals *two* crucial pieces of information about the past and has to resolve all of it in half an episode -- this might be one of the reasons some people find the ending rushed.
I also have to mention that this is one of the few Thai BLs that actually give us dates! The main story starts shortly before Valentine (episode 1, the couple's discount at the food stall) and ends shortly after Songkran, then there's a time-skip of a year, after which follows a montage over the next fifty-four years (this can be easily calculated). So, and I think that's something a lot of people haven't noticed, the main part only takes just over two months -- that's actually not that long.
I also feel that the characters are consistent in their actions. There wasn't a scene when I thought that someone was out of character. Even the side characters had, well, *character*.
Look at Chalui / Luis for example. He's part of "UFO and the gang" (Yo's college friend group) -- if you observe him, he's obviously not as into alien hunting as Yo and Pak. He rolls his eyes continuously, he doesn't want to get involved with that vampire nonsense. He points out that their thesis in the next semester will be a solo project -- and consequently, disappears from the moment the break starts and doesn't appear again. (And, let's be honest, friend groups at college form and disband all the time.)
4. Something that also impressed me were the props and sets.
Seeing the Pun and Yo's rooms, they fit their characters. None of those soulless condos and houses for the super-rich that look as if they were just rented spaces for a series. I can see Yo and Pun *living* there, surrounded by all the things that are important to them. The roof-top restaurant, too, evolves over time, from a neglected space to a place where our group regularly meets and eats their pork blood soup -- props were added over the course of the series, changed places, were *used*. That shows what you can do with a small budget, if you know what you want.
5. The music.
Most of the songs are sung by Boy YourMOOD, who also plays Shin in this show, they are as up-beat and colourful as the whole series. And I encourage you to pay attention to the songs at the opening and closing credits!
6. The plot, in all its consistency, leaves some questions unanswered. (Yes, I'm still at "things I love")
I don't mean the important questions -- the main plot itself is resolved in the end; we get to hear the reasons for the main obstacle, we know why Pun acts the way he does. But there are some minor plot points that are left open -- I won't talk about them here, I try to keep this spoiler-free.
The thing is, I like it when I can think and theorize more after a show has ended. When I can have my little fantasies about what happened before and why, about what someone did or said between scenes, about what will happen after the last scene. Bonus points for that!
7. Below all of the quirky weirdness, there lie unexplored depths of existential questions.
Throughout the series, it feels as if the mood is just one turn away from shifting into the dark.
The drama asks: What to do when everything falls apart and the thing / the person that gave meaning to your life is gone? What will you do when you are the one who will outlive them all?
And: How much do you let yourself be defined by what you are? Can you go against your very own nature? Against what everybody else says how you should be? How long will you be able to defy expectations?
And: What makes a good life? Can happiness be a bowl of Pork Blood Soup?
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The acting by all of the actors was not something exceptional, but we've all seen much worse in Thai BLs. Both main actors did a good job -- especially Pun's besotted stares and Yo's laugh whenever he was embarrassed or confused were very well done. The comedic timing was usually spot-on for me, and where it wasn't. it seems mainly be a strange editing choice. Somchai could have had more range -- the clapping and laughing got samey after a while, but in other scenes the actor was good enough to make everybody hate his character. Special mention goes to Mild who played Kaemsai, what a remarkable scene in episode 11! And she was only 16 when they filmed; I'm looking forward to following her acting career.
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And, at last, the not-so-good.
Because everything cannot be perfect, and we can love something while also be aware of the flaws.
I already pointed it out earlier: There are two crucial plot points that answer questions that are central to the whole plot; and we don't even get real hints before that. While rewatching, I noticed that, at least for one of those plot points, there are actions that make much more sense now that I know what I know -- during the first time, I felt that there was something ... not quite off, but strange about them, but I couldn't put my finger on it.
In my opinion, it would have been possible to place more and stronger hints in earlier episodes, without revealing everything. It might also have made the series more palatable for the people who felt that it was "too slow" or that "nothing is happening".
To everyone who made it to the end of this review, I say:
โบกมือลา ... แล้ววันหน้าพบกันใหม่ --- Wave goodbye ... and meet you again in the future.
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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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Arm WC, the sole host of this show, is a charming man, who can even make the most nervous newbies relax. A lot of the guests seem to enjoy taking part and keep coming back, and I think this is the reason why the show has been as long running as it has. (Arm Share has been running for five-and-a-half years now (Oct 2024), from before the Covid pandemic, through it, and beyond.)
Except for the episodes before the pandemic, the main goal of most episodes seems to be to promote the guests and the sponsors' products. And the latter is unfortunately so prominent in more than a few episodes that I felt as if I watched a long commercial, not a show. I do understand the need for finances, so I can take a bit of advertisement, but sometimes it felt as if every third sentence was about the promoted product. Recent episodes (I'd say from the beginning of 2024) have been much better in that regard, so maybe they've decided to dial it down a bit.
Edit April 2025: They seem to have settled on a concept for now, which is that either Arm takes his guests out to explore a street with its shops and cafés or an attraction, playing "tourists" or they play Werewolf. Both means that the obnoxious product placements are gone for the most part. I really don't mind that local shop owners get an opportunity to show their businesses.
For those who are undecided if they want to watch older episodes -- you absolutely can! I'd recommend the first 46 episodes, which had a different concept. They showed Arm as he tested food together with GMMTV staff, as he explained how to do subtle make-up for men, as he showed us parts of his life, as he worked as a stylist for concerts and MVs, as he travelled to SKorea and Japan. (A YouTube comment on the second Hiroshima episode reads "I miss Arm Share when it was about Arm" and they are right.)
Actually, I think it's a crying shame that the concept changed, because this way, the show underutilizes Arm's talents in the areas of styling, fashion, arts, and his general hard-working character who seems to be interested in a lot of topics. I wonder how this show would have developed if the pandemic and it's consequences hadn't forced restrictions on producing?
After those first episodes, it's probably better to choose only those when there's a guest you want to see, because, as I said, it's become about the guests and the product placements. It's still funny, but not as charming and authentic.
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Because the focus is not on these -- it's on the question if a doctor's duty to save lives can be aligned with the principle of เกิด แก่ เจ็บ ตาย.
In technical aspects, this Thai BL drama is equal to others from 2022 -- overall solidly made, occasionally somewhat awkward and it could have used some more polish. The script is fine, although a few more passes over it in the writing stages would have done it good and could have sanded off some rough edges by smoothing out dialogues and tightening scenes. The actors did their best, but on occasion they obviously struggled with the unwieldy dialogue or with how they were directed to act.
Were the medical events realistic? Most likely not. Did it make any sense that the medical personnel were wearing their work clothes outside of the hospital (for example on the way to/from work)? Of course not. Were there other questionable plot-related events? Sure.
However, this drama is, like most other Thai stories I've seen so far, more about the emotional progression and the message than it is about realism or even a strictly cohesive plot.
Here, the emotional story is mainly about Prakan, who starts out as a surgeon whose ambition in life is to save as many lives as he can -- he places value in life, but hasn't yet understood one of the central Buddhist teachings: That เกิด แก่ เจ็บ ตาย "birth, aging, illness and death" are the four natural inevitable aspects of a person's life. I had already suspected that this was the drama's main point, but I was sure about this after Prakan's mother said "In a hospital, there is age, pain and death" and pointed out that this is just part of life. (Prakan's actor also says in an interview, that Prakan doesn't understand in the beginning, but later he starts to understand.)
Tuaphi's role in this drama, who is not death itself but its mere messenger, is to be a mirror for Prakan's attitude towards death -- where in the beginning Prakan rails and fights against death, he starts to accept it as the unavoidable part of being it is -- and only after he has done so, is he emotionally able to accept death as part of life and Tuaphi as a romantic partner.
Consequently, the romance takes a backseat for most of the drama, and is slow to unfold, maybe to the point that some might find it not enough.
Another issue the drama picks up is that of organ donation -- it's a barely disguised appeal to become an organ donator, and it tries to shed light on some questions Thai people might have about it, especially of whether it's "acceptable" to take an organ from a person who might be viewed as morally not good by society.
Personally, I found the drama's premise interesting -- even in the flood of BL dramas we got in 2025 and 2026 it stands out as unique. The emotional progression unfolds ... not quite smoothly but overall organically. Those who watch it as a medical or a supernatural drama or yearn for a beautiful romance, will likely be disappointed. In my view, the message it delivered was strong, especially in front of the Buddhist background of Thai society, but it means one must look deeper than just at the medical plot, the supernatural aspects, or the romance.
All in all, I liked it quite a bit, and I would recommend it for those who have the patience for a slow drama in which the romance takes a backseat, and who like to think about the relationship between life and death.
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Phapo, the owner of a logging camp and an impressive white mustache, returns from Bangkok with his new and very young wife Yupadee. Phapo's nephew Sangmong and Yupadee are attracted instantly to each other, and after a time, they begin a torrid affair, swearing they will love each other in all eternity. The affair is, of course, not a secret for long...
This is the third film I watched that was made by Pattana Pestonji after the 1954 "Santi-Vina" (where he was the cinematographer) and the 1957 film "Country Hotel" (where he was also the director). For "Forever You" (1955) he was the producer and the cinematographer, and the director is Khru Marut, who also directed "Santi-Vina".
If I understood the information I could find correctly, this film is also filmed on 35mm film, which means it didn't have to be dubbed later.
In style, this film is closer to Santi-Vina than to Country Hotel, with beautiful landscape shots and scenes that depict Thai culture and life of that time, although not as extensive (maybe because it was made for the domestic, not international, audience). Actually, this was what made me keep watching through the first hour -- because the story itself was fairly predictable.
Or so I thought.
Because when Phapo finds out about the affair, he does not react the way we (and Sangmong) expect him to. And this is where I was finally captured -- During the last half-hour I shouted at the screen, I cried, I sighed ... I cursed at Phapo, at Sangmong, and was moved by the secretary's (Thip's) kindness. The last minutes have two or three more surprises, and when the film ended, I was very happy to have watched it.
When I get to a point where my Thai is good enough (if that ever happens), I will definitely seek out the novel, because I want to know more about some characters' motivations -- I guess that due to time constrictions, the film script cut out much of the interactions between Sangmong and the logging camp workers and between Yupadee and the mistresses. We do get a few glimpses about this, and from that we can guess what workers, servants and mistresses think about the couple (and their affair), but I think knowing more about this would have made the reactions of the other characters, especially how they acted in the ending minutes, and the subsequent decision Phapo makes.
Because to be honest, I'm not sure I understand why he did what he did in these very last minutes.
Overall, the story is very much a child of its time -- Phapo as the autocratic, benevolent-until-he-is-not authority figure who resides over the workers, the servants and his harem of mistresses is likely an archetype and will be recognized by much of the contemporary audience as such, while I, from my Western 21st century perspective, almost automatically see him as someone with a questionable character.
I am convinced that his reaction to the affair when he found out about it was well within his own framwork of morality. What I am unsure of is what exactly the ending means within the framework of mid-20th century Thai society and Buddhist teachings.
So, like with most older non-European stories, since we are far removed from the time and place of origin, as a casual viewer I (and viewers like me) will have to be careful with any reading of morality or intended messages.
Nevertheless, from my modern and Western perspective, I would like to see a retelling from Yupadee's point of view. In this film, she starts flirting openly, even aggressively, with Sangmong from the very first day -- making it seem that she's more or less cavalier about her marriage, maybe even seemingly giving here the blame for the affair. I don't think it's intended, as the dialogues make it obvious that both are drawn to each other equally, but I wonder how contemporary audiences viewed her.
It's obvious that the original author and the film crew are all men, and think of the story from the male point of view of the mid-20th century. But when Yupadee talks about freedom near the end, and when I look at the decision she makes in the end, there is much complexity in her character already; in my view, she could very well be THE central character of the story -- she has much agency aready: She is the one who pursues Sangmong, and she is the one who makes an important decision in the end. I wonder why she married Phapo though -- what kind of life did she come from? What went on in her head when she decided to take the risk to have an affair? What did she hope for from Sangmong in the beginning, what in the end?
The film merely shows us a flirty, lustful woman who knows what she wants but we don't know WHY.
However, I don't blame the film for what it is. It's a child of its time, made by men, it has a limited run time, so allowances must be made. And as I said before, it did make me feel with the characters: Sangmong was a sympathetic naive young man, Yupadee was a young woman who tried to somehow find freedom, Thip was torn between sympathy and duty, even Phapo whose actions gave the tragedy even more poignancy was (for a time) thoroughly likeable.
Was it good?
Considering the time and place of origin, it was.
Did I like it?
Surprisingly, I liked it more than I thought, and I am happy I got the chance to watch it.
Would I recommend it?
To anyone who wants to watch more of Pestonji's work and to anyone who is interested in Thai cinematic history.
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And it was, in a way.
You have Shen Yi, who is almost a savant in his abilities to draw portraits out of the most obscure clues and his sidekick and partner Chen Du. You have a series of cases that can only be solved by this ability.
In all technical aspects, the drama was fine, great even. But something was lacking.
One aspect that I can point out is that the mastermind and thus the plot in the last one and a half episodes felt very disconnected from the rest – none of it used Shen Yi’s original ability of drawing or deepened the metaphor of “under the skin”; instead, we got a plot about surveillance and computers. Also, a new metaphor of playing chess was introduced – and suddenly Shen Yi is the greatest chess player ever.
Not only is it that the plot diverged from the established pattern too much but also the dynamics between the two main leads is disturbed: While in the first two thirds, we had Shen Yi as the savant who does his own thing and Du Chen as the upright police officer who is rash and hands-on, this distinction disappears completely later.
Part of it might be the unavoidable propaganda (which is why I approach Chinese dramas with great caution): It could have been much worse, but it’s still there. The police can do no wrong, they are all morally above reproach (apart from the occasional emotional outburst), they are all doing their job out of conviction, and, of course, none of them is not likable. Police brutality? Questionable interrogation methods? Of course not.
Interestingly, the evil mastermind reminded me of a certain American whose name begins with Marc and ends with Zuckerberg – I am sure no parallels were intended.
But even in the earlier episodes, the cases left me lukewarm. There was exactly one moment that caught me, everything else felt … muted, maybe. I would love to see a Japanese remake, I think they would play up the eccentricities and tighten the pace a bit, so the emotions can hit better.
Was it good?
It was great in all technical aspects; but felt too slow at times. I feel that the last case didn’t fit with the rest, and that the world building that was definitely there could have been explored more.
Did I like it?
It was okay.
Would I recommend it?
Not necessarily. Maybe to those who both love classic whodunnits *and* the style of Chinese dramas?
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