'This Love Doesn't Have Long Beans' is a series set in a famous restaurant in Bangkok, owned by chef Oab, which seeks to entertain and also take the viewer on a journey full of love, friendship, self-discovery, acceptance, rivalry between competitors of a cooking contest and rich aroma of sautéed basil.
It is a story in the tone of a romantic comedy that unfolds through the eyes of Plawan, a young man eager to find his place in the world, influencer in financial trouble and model lover of pad kaprao, a typical Thai dish, which, for one high sum of money, he must fulfill the secret mission of infiltrating the competitors of a cooking contest to become the successor of the restaurant owner, a serious and severe-looking chef, with great culinary skills, who will make the protagonist go crazy with love when he smells the aroma of sautéed basil that permeates his clothes and his body.
On his journey, Plawan will discover his first love, while exposing himself to harsh criticism from the chef for not having culinary skills, and tries to pretend to be the person he is not to fulfill a hidden agenda: win the contest and then give the restaurant to Methas (Benz Atthanin Thaninpanuvivat), a rich businessman who dreams of destroying the premises and turning the place into a shopping center area.
Meeting the chef will shake up the life of this young man who discovers, among plates, pans, stoves and a basil patch on the restaurant's roof, a melting pot of unique and diverse characters, who will become part of his chosen family.
For its part, the rigid and perfect world of the perfectionist Oab, a strict chef and not prone to banality and nonsense, is turned upside down from the moment Plawan bursts into his life. This is how you will also find out your true sexual preferences.
This is a solid project, since on the one hand there is the web novel "No Beans and Love Me More", by Ninepinta, which I think tells a beautiful love story, and on the other hand there is the direction of Nui Suttasit, a great director who has participated in several LGBT+ projects, such as the famous anthology 'Club Friday', since his debut behind the camera in 2012, precisely with the film of the same name.
In 'This Love Doesn't Have Long Beans', Nui Suttasit preserves several of the distinctive features of her authorial work, while constructing a story worthy of her legacy. The series resembles other works in the career of prolific creators, while presenting echoes of their previous filmography.
Perhaps the most pronounced similarity is with 'Bangkok Love Stories 2: Innocence', his most popular and well-known series in the West, due to the dramatic structure and the movement towards a fantasy and dream world starring homosexual or presumably heterosexual characters who discover their true nature. sexuality.
However, the reverberations are not limited to this, and the director's usual concerns are added to the series' discourse, such as self-discovery, acceptance, coming out, multiple partners, friendship, family, best friend relationships, love triangles, work environment, workplace romance, heir male protagonists, social networks, cooking, multiple courses of food, the clash between tradition and modernity, usually from the adaptation of novels, another distinctive feature of his work.
All added to the unmistakable sound of the soundtrack composed by Chachamon Thunyaon, and which includes titles such as "Stop", "You Fill My Heart" and "Let Me Say".
The director, who throughout his career has had very diverse characters, in the case of the series wanted to approach it with respect and a gender perspective, with a lot of love and without caricaturing. Knowing that each work has part of its creator, and that it is a famous novel that he would adapt, he foresaw at all times needing the series to appeal to a large audience, which is why it is filmed in an attractive way and with a lot of music and excellent photography to show an attractive story for the characters.
The screenwriters have extensive experience in the BL universe, writing scripts that would later be brought to the screen. 'Pit Babe' is one of the series written by Kanokphan Ornrattanasakul ('Catch Me Baby', 'Dead Friend Forever – DFF''); Issaraporn Kuntisuk (Dead Friend Forever – DFF', 'Be My Favorite'), and Fleur Irene Insot, who now join forces again not only to design the characters, build conflicts and a dramatic progression of the series 'This Love Doesn't Have Long Beans', but also to return to the public some of the members of that 2023 drama starring Pavel Naret Promphaopun and Pooh Krittin Kitjaruwannakul.
The way of playing with the nostalgia and tenderness of first love is a success in the narrative line that is created, showing adequate doses of realism and viscerality. The director is correct in the construction of the script and complies with what was planned, an element that could end up attracting the public after viewing it.
The cast is made up of talented actors and actresses, several of them already with experience playing LGBT+ characters.
Pon Thanapon Aiemkumchai stars in the series as Plawan, one of the actors who already have experience in productions of this theme and genre. The actor made his acting debut playing Bay, the main character of the BL series 'The Moment', in 2020, which was followed by its second part: 'The Moment Since'. He would then participate in the two seasons of 'Gen Y', in 'Make a Wish', and in the drama 'Pit Babe', in 2023.
There, his character, Jeff, explores his sexuality alongside Alan, the owner of the race track and sports car repair shop, a character played by Sailub Hemmawich Kwanamphaiphan, an actor who in 'This Love Doesn't Have Long Beans' assumes the role of Oab. This actor is natural in front of the camera, which creates a hypnotic effect on the viewer. Furthermore, he knows how to perfectly use the intensity of expressiveness, which makes him one of the best performances in Thai drama.
Thanapon Aiemkumchai draws a protagonist in whom an interesting emotional web is woven once he discovers his sexuality. His role in the series is fundamental, since the greatest dramatic burden falls on him. In this way, the actor takes advantage of non-verbal expressiveness, showing the chiaroscuros that run through the nature of his character.
In addition, he has that sordid touch for having agreed to compete in a contest for money, knowing in advance that Oab expels from the event anyone committed to whom he wishes to use the restaurant grounds for something so foreign to his dreams. This gives his character some edges, which are highlighted and developed in the script.
In a way, his character can remember other performances he has given throughout his career, which is why it gives a remarkable result.
In the midst of their personal experiences, Auto (Lee Asre Watthanayakul), Pansib (Tiger Tanawat Hudchaleelaha), and Kluea (Aon Kasama Khamtanit), the other three finalist competitors, experience the friendship and love of the protagonists. The youthful cast offers freshness and vitality to the series.
Nubnueng (Michael Kiettisak Vatanavitsakul), Oab's friend, will always be at his side with the most accurate advice, while Khaosuay (Belle Jiratchaya Kittavornsakul), the chef's ex-girlfriend, will return from abroad and test the budding romance between Plawan and Oab.
Separate paragraph for two attractive actors with great potential: Garfield Pantach Kankham, who takes on the role of JJ, a young physiotherapist friend of Plawan, and Benz Atthanin Thaninpanuvivat, the actor who plays Methas. Both will make up a beautiful couple in the process of being built when the first has to go to treat a sprained ankle suffered by the rich businessman. Both are ready to become a ship that stars in numerous BL series.
Garfield, who in 'Pit Babe' takes on the role of Kenta, is remembered for his debut as a protagonist in the 2017 series 'D'Cup', also with an LGBT+ theme, as well as his role as Top in 'Dew the Movie', from 2019, a feature film in which he plays Lew's boyfriend. Fans of this actor remember him for his work in the acclaimed series 'I Promised You the Moon'.
For his part, Benz Atthanin Thaninpanuvivat, who played Kim in 'Pit Babe', is followed by a large audience after his leading role as Praram (Pralak) in the BL drama 'En of Love: This Is Love Story' , from 2020, without forgetting that his acting debut takes place in another series of this genre, 'Theory of Love', the popular audiovisual of 2019, starring Gun Atthaphan Phunsawat and Off Jumpol Adulkittiporn.
Ingenious, elegant, the series shows great care in each scene, allowing us to easily forget some of its inevitable clichés.
The technical realization follows the patterns of the BL genre series, but from a dynamic that has no intention of innovating, but rather of offering a visually attractive product. The photographic direction does not make any mistakes and there is creativity and visual quality in this section. The artistic direction stands out for its successes.
Another audiovisual parameter that stands out is the use of color. A sensitivity can be seen in the choice of the visual palette and what it conveys to the public. On the other hand, the editing of the series follows a conventional system, supported by flashbacks, which has a remarkable finish.
In summary, 'This Love Doesn't Have Long Beans' is a series that starts from an interesting base with potential, and gains in intensity as the episodes go by and delves deeper into the narrative construction of its story.

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Short stature and a childish face play tricks on Sakuraba Isumi, when one night the university student, mistaken for a teenager, is stopped on the street by Amasawa Kyosuke, a police officer, while returning home late, with a few too many drinks, after attending a party with his friends.
However, the cooking-loving boy manages to convince the tall, sincere uniformed man with a natural and calm charm about his true identity after showing him his personal identification.
To his surprise, the next day he meets up again with the police officer, who works at a small police station, near the convenience store where he works part-time, in search of late-night snacks.
Becoming a regular customer at Isumi's workplace, both young people can see each other daily.
From then on, whenever they meet, Amasawa asks him for recommendations on what would be most appropriate to eat, and Isumi, concerned about Amasawa's eating habits, offers, "How about I come and cook for you?" Visiting Amasawa's house, they grow closer through home-cooked meals.
After the chance meeting, Isumi can't help but fall in love with the charming police officer, while struggling with the complexities of first love. Will the kind policeman feel the same way about him?
As the two deal with their feelings and the challenges of adulthood, the story touches on themes of acceptance, self-discovery, family, friendship, culinary art.
'Sugar Dog Life', the live-action adaptation of the manga of the same name with its Japanese title シュガードッグライフ, Hepburn: Shugā Doggu Raifu, by Yoriko, and serialized in the monthly yaoi manga magazine Gateau in 2019, is faithful to the original, by drawing various tropes, such as soul mates, a romance with a difference in age and height, with characters with great disparity in their personalities and distinctive characteristics, with the striking black hair and blonde hair that adorn the head of the protagonists, and the Grumpy Guy x Tall Kind Ball of Sunshine type dynamic.
Directed by directors Honda Ryuichi ('Pussycat Daisakusen'), Ouchi Takahiro ('Mimicry Freaks') and Kozue Sasaki, the Japanese series seeks to tell an addictive and friendly story with ordinary characters, while offering a rich palette of emotions capable of attracting viewers, and to do so it relies on a good script, notable performances and shots full of color and life to express a shy and honest love.
Although it is the story of a romance, there are no sex scenes in 'Sugar Dog Life'. It is, in that sense, a "discreet" series, which suggests more than what it shows.
Along with the visual and performance spectacle, the music composed by Erina Koyama stands out. Its opening theme "Sweets", performed by Super Dragon, and ending theme, "Futari Yōbi", by YaYuYo, make the framework of the story even more attractive.
The script, by Motoko Takahashi, Ayumi Shimo, Shiori Ueno and Fumino Kimoto, brings us the original manga in cinematographic language, to tell us a fun love story between a boy university student and a police officer five or six years older, starring Tawada Hideya and Tanaka Koki, who play Amasawa Kyosuke and Sakuraba Isumi, respectively.
Hideya Tawada, from Bungō Stray Dogs, is known to BL lovers for giving life to Kōhei Sugihara, the protagonist of 'Silhouette of Your' ('Hidamari ga Kikoeru' (ひだまりが聴こえる), director Kamijo Daisuke's debut film, filmed in 2017.
His character has an honest, slow but lively dialogue. This ductile and consistent actor manages to correctly reflect the calm and naturally flirtatious personality of the police officer. This role constitutes one of his best works to date and has served to demonstrate that he moves with the same ease through the comic genre as the dramatic one.
For his part, Kōki Tanaka, a member of the vocal and dance unit Super Dragon, who had a supporting role in the LGBT+-themed series 'One Room Angel', from 2023, manages to overcome the challenge thanks to his fantastic performance of a young orphan with culinary skills, a tsundere personality and vibes of a slightly "cunning", "naughty" and "pure-hearted" boy. The actor gives vitality to his character straight out of a manga.
Isumi, who has a kind and youthful image, harbors sensitivity and a desire to help others.
The chemistry between him and Hideya Tawada on screen gives rise to some intense scenes in which we sense the sincere love relationship that arose from a misunderstanding.
In the supporting cast, Souta Uemura stands out as Yōhei, Isumi's best friend, and Raiku as Shōji, another friend and fellow student. Their roles are important in the story by allowing a different side of Isumi to be shown compared to when she is with Amasawa.
On the other hand, while Isumi shows his pain at thinking that Amasawa only sees him as a friend, Yōhei feels alone and abandoned by Isumi, who before his eyes is building a world in which he has no place. However, their friendship is constantly strengthened.
The sensitivity with which 'Sugar Dog Life' is told is evident in the most moving scenes, capable of showing with great honesty and with complete naturalness the relationship between the two protagonists and its evolution throughout the time they shared.
Although its plot does not have any major dramatic twists, the series seeks to explore the emotional connection between two young men, and carries out a gentle development of their romantic relationship, offering a unique perspective on love and romance.
YA

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When homophobia wins the game

'The Best Story' (Thai: ครั้งหนึ่งที่รัก) is a Thai BL and LGBT-themed television series broadcast between July 9 and 23, 2021. Played in its lead roles by Wanarat Ratsameerat (War) as Best, and Anan Wong (Yin) as Dew, the series depicts a romance between two young high school students.
Directed by Ratthapon Keawmeesri (Heavy), the central thread of the three-episode series is the way in which both boys begin to forge an emotional relationship and the obstacles they must face. Four other teenagers also appear: Brigght (Prat Itthichaicharoen) and Ray (Thanakom Minthananan (Win), Best's best friends; and Dave (Nadol Lamprasert - Bonz) and Tar (Patsapon Jansuppakitkun - Bever), Dew's inseparable comrades.
From the Line TV network, 'The Best Story' addresses topics such as romance, homosexuality, emotional diversity, secondary education, friendship, homophobia, youth and its way of relating, or personal evolution.
I don't intend to give much spoilers beyond what I have to say due to the focus of the review.
We are faced with a sweet, tender and brief love story, both for the length of time it lasts and for the brevity of the series, which follows the code of the best Thai BL: the main character, usually a high school or university student, He secretly falls in love with a fellow student, but does not dare to confess his feelings. Both boys will deepen their friendly relationship in the hope of declaring their love for each other. But this moment, expected by everyone, never comes.
While the shy Best does not confess because he believes that Dew loves a girl and, therefore, his feelings are not reciprocated, Dew does not confess his feelings for Best either, first also due to his shyness, and then to passivity, hopelessness and the fear of his mother's homophobia.
This light but realistic teenage romantic drama stands out for its evocative music and the good acting of the two protagonists, whose on-screen chemistry shows emotional physical interactions full of naturalness, warmth and positivity.
The romance is palpable in the small everyday moments that manage to convey the affectionate relationship of the characters played by War and Yin, whom we have previously seen starring in the 2020 Thai BL drama 'En of Love: Love Mechanics', where they also play a romantic couple. This same series also features the participation of the actors who play Ray, Bright and Tar in supporting roles.
An aside to talk about the magnificent cinematography. Despite having few settings, such as the classrooms, the school hallways and courtyards, Best's bedroom or the kitchen-dining room of Dew's house, the camera work is indisputable to make the viewer feel the emotions of his characters. characters with immense closeness and authenticity, with memorable intimate frontal and side shots with the characters looking into the lens or walking in front of it.
But Heavy's work is not only good in its colorimetry; It is also outstanding in terms of planning and use of the frame, bringing together the vast majority of the attention centers of the shots at the same point to ensure that the subsequent assembly of the series is legible at all times.
But, as I said from the title of the review, this focuses on homophobia and intolerance, and not only for being present in the series, but for coming out victorious over love.
Although everything seemed to indicate that the main couple would have a happy ending, related to the confession of love by one of the two boys, presumably Best because he was the one we knew from the beginning is in love with Dew, the truth is that later We know that this also corresponds to your feelings.
However, the romance is spoiled by the actions of the only two female characters in the series: Fern (Masa Marisa Kittelberger), the girl in love with Dew and not reciprocated by him, and Dew's mother.
Dew nobly rejects Fern, his friend and fellow student, who has been secretly in love with him for some time. Once again, Dew is honest with her, and confesses to being in love with a boy. Everything indicates, after the pleasant and confidential conversation held by the two, that Fern would respect Dew's sexuality and support him in his relationship with Best.
However, Fern betrays the friendship and trust placed in her by Dew by confessing her most intimate feelings, and full of hatred, homophobia, jealousy and meanness, she goes to Dew's homophobic and also intolerant mother to "save her son." of the influence of the homosexual Best". Is he doing it out of spite? So that Dew won't be happy with the person he loves? Why does she think that abruptly outing him will make the boy love her? Did he have the right to reveal Dew's sexuality?
If we do not know the answers to the first questions, it is true that, in relation to the last question, no one would ever act ethically; That is to say, it is not right or fair to violate someone's privacy, to remove them from the drawer, especially when it is motivated by petty and selfish interests.
Why does Dew's mother react so cruelly to the rumor that her son might be gay? Will you listen to your son? Will he also oppose any homosexual relationship of his son in the future, when Dew is of age? Will he continue to throw him out of the house with each new gay relationship? Will he ever accept his son? Will she be willing to prevent his happiness for life?
And Dew? Why don't you defend your love? Why accept your parent's decisions, which lead to the loss of your future and happiness?
If until that moment, the story was tender and cute, from this moment on, already in the final moments, homophobia prevents the two boys, who admit that they love each other, from being able to have their happy ending. The romance between Best and Dew can't even begin.
Dew, practically expelled from his home by his mother, will only be left to write partial sentences on social networks that say: "I like-", but without daring to complete the phrase with a "I like you", much less place the name of who they are addressed to.
What is the intention of the creators in giving this ending to the series? Will it be a denunciation of the reality suffered by the Thai LGBT+ community, and in which society and the family, especially parents, have a great responsibility? Or to promote the viewer's debate and reflection on such cruel and real topics as homophobia and intolerance, or jealousy and betrayal? Only if these were the reasons, the outcome of the series seems good to me.
While it is true that Thai BL series have contributed to the Southeast Asian nation being seen as a welcoming place for homosexuals, it does not mean that its laws are egalitarian or that it is truly respectful of the rights of members of the LGBT+ community. . As a general rule, Thai society in general and parents in particular do not accept the homosexuality of their children, and in some cases they even expel them from home.
The harsh reality is that lesbian, gay, bisexual and transgender people in Thailand may face legal situations not experienced by non-LGBT residents. Same-sex sexual activity is legal, but such couples and households headed by same-sex couples do not have the same legal protections as heterosexual couples. It is estimated that around eight percent of the Thai population, five million people, are part of the LGBT demographic.
In 2013, the Bangkok Post states that "while Thailand is seen as a tourist haven for same-sex couples, the reality for locals is that the law, and often public sentiment, is not so liberal."
For its part, a 2014 report from the United States Agency for International Development and the United Nations Development Program notes that LGBT people "still face discrimination that affects their social rights and employment opportunities," and "They face difficulties in gaining acceptance of non-traditional sexuality, although the tourism authority has been promoting Thailand as a gay country."
A decade later nothing has changed. There is still constant and systematic discrimination against Thai minorities, including the LGBTI community. Despite the country having a law against discrimination against sexual minorities, there are legal gaps that still allow the stigmatization of said human group.
As I point out in the title, homophobia may have won the game, depending on the series, but it will not win the fight for human rights. Hate may win some battles, but the final victory will be love's.

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The end of the trilogy: reasons for debate and controversy

The trilogy by Korean director Leesong Hee-il, known as 'One Night, Two Days', (백야), began with the short film 'One Night, later expanded to a 75-minute film entitled 'Baekya' ('지난여름, 갑자기 '/'White Night' and followed by the short 'Suddenly Last Summer' (지난 여름, 갑자기/'Jinanyeoreum, gapjagi'), concludes with the medium-length film 'Namjjokeuro Ganda' ('Going South' /남쪽으로 간다), all from 2012, and narrating three unconnected gay-themed stories together.
The strength of Leesong Hee-Il's cinematography, by itself, and continually, finds an audience for his works. Not only because of the naturalness and simplicity, at the same time as the complex way of exposing homosexuality and human relationships and conflicts, which allows us to reinterpret the essence of the South Korean LGBT+ collective (equally global), from the perspective of some of its representatives, but also in the elegance of the language, the cinematographic resources, the intelligence of the film narrative and the intellectual and human wisdom that flows with astonishing clarity and directness.
It is, furthermore, and above all, the director's ability to build powerful stories due to their humanism, which penetrate the personal imagination, especially of the members of said community, never to abandon it again.
Who who has seen the trilogy does not suffer as their own the desperation and anguish of a gay person who drags, like a heavy burden, the emotional and spiritual suffering, more than physical, caused by a homophobic attack and today, after years , returns to the scene of the events to continue judging the society that did nothing to condemn barbarism, only for the fact that the victim is a homosexual? Who has not wanted to be the companion of said person in the search not only for love, but also, and above all, for the necessary spiritual peace and answers that give meaning to their life, during a long, cold night in Seoul?
Who was not on the cruise ship that crosses the Han River while a boy, a minor, blackmails his teacher, 17 years older, whom he threatens to get out of the closet if he does not give in to his demands to spend a few hours on a hot day in his side? Who has not understood the dilemma in which the teacher struggles, caught between desire and responsibility, between desire and ethics, between good and evil? Who has not forgiven the student for blackmailing the teacher, after seeing him suffer and at the same time shout his love and happiness, while, excited, he talks to the fish or makes the teacher listen to his favorite music after placing the headphones over his ears? ears? Who has not made their own the suffering, pain and anguish, but also the joy and the touch of happiness, of each and every one of the characters that inhabit their stories?
'Going South' follows two men on a journey that, despite the short's title, has no defined direction or destination. Gi-Tae (Kim Jae-Heung) and Jun-Young (Chun Shin-Hwan) met during their mandatory two-year stint in the Korean army. From the first seconds, the existence of a secret to be revealed around these two people and their respective internal struggles becomes evident.
Its director once again exposes a constant dichotomy in the relationships of its protagonists, but now elevates it to a higher plane by placing its narrative heroes involved in the South Korean army. Shocking are the deeply subtle, uncomfortable, and highly problematic questions it raises about homosexual relationships, military service in particular, and that nation's society as a whole.
While Jun-Young, now demobilized, hides or completely denies his homosexuality, Gi-Tae, who still has some time left to graduate, is not afraid to acknowledge it and even enjoys celebrating it, despite completing his military service in a nation where, according to article 92 of its Military Penal Code, it considers sexual relations between members of the same sex as "sexual harassment", punishable by a maximum of one year in prison.
Jun-Young is taking Gi-Tae back to base after his last leave. The atmosphere around them is overloaded by the demands of one and the refusal of the other to give in. Jun-Young is quite harsh on his friend during the ride.
The characters in the medium-length film inhabit a space where they meet somewhere in the middle. It is at this moment that the director uses the camera lens to "steal" the characters' emotions and show human complexities.
One having realized that he does not want to continue the sexual relationship with his friend and asks him not to contact him again, the other is not willing to let him go, and clings to him. Inadvertently, the soldier takes the opportunity to put sleeping pills in Jun-Young's coffee. As soon as the drugs take effect, he takes the wheel and heads south, or nowhere in particular.
When Jun-Young finally wakes up, he is furious, but also furious is Gi-Tae, who confronts his former lover/friend about his broken promises.
The fight, both emotional and physical, reveals two aspects to consider: on the one hand, Jun-Young completely denies not only his former feelings for Gi-Tae, but also his homosexuality. Jun-Young dismisses his previous relationship, alleging that he had sexual encounters with his friend out of the need to fill the void of soldier's loneliness, something common for soldiers while doing military service.
And secondly, Gi-Tae is clearly losing control and has crossed the line. His erratic, illegal behavior is not justifiable, and yet we sympathize with him more than with Jun-Young, because his pain is so tangible.
Initially calm and serene, Gi-Tae's feelings are increasingly expressed through physical things, such as photographing Jun-Young in the middle of making love for the last time, not to blackmail him but to materially record the feelings that his lover does not want to admit with words. He subsequently gets into a wild mud fight with Jun-Young that nearly ends in blood and he drinks bottle of beer after bottle. His state of increasing intoxication leads him to dance alone like a lunatic in a dark highway tunnel, while music blares from the car speakers.
You can't blame Jun-Young for wanting to distance himself from Gi-Tae, who has major emotional issues that may run deeper than this particular rejection. And yet, one must ask: how desperate must one be to go AWOL from one's military base and nearly kidnap another person, acts that can only have serious repercussions?
Open-ended like all parts of Leesong Hee-ill's trilogy, 'Going South' feels more gloomy and suffocating than the two previous films, denying the viewer a journey towards the spiritual peace and happiness they dreamed of, at least from one of the characters.
As in the rest of the three pieces, the film tells a story of great visual and auditory beauty, but perhaps the most important thing is the emotional depth. The raw honesty of the film's narrative – centered on the often deeply problematic feelings of its characters, all asking difficult but very real questions – is commendable.
The finished compositional gear, the composition between musical form and film text brought to the screen, the treatment of time and changes in point of view, are formal innovations that demonstrate the filmmaker's vocation to always renew himself, supporting the three pieces that make up the trilogy, which reflect on the human condition, the complexities of the human being, the responsibilities and ethics of the gay man of our days, the homophobic ambushes that stalk him at every step, the feeling of emptiness caused by the so-called epidemic of loneliness gay, the emotional and mood disorders of homosexual men, the constant search for happiness, which implies, in turn, the fight for their human rights, and the encounters between the individual and the collective.

Note: The reviews of the remaining pieces of the trilogy, in MDL, can be found on the page dedicated by the virtual platform to each of them.

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I turn on my computer thinking that Li Xi, the young film director and producer from mainland China, at 27 years old, seven of them dedicated to her profession after enrolling in a degree in Directing at the Beijing Film Academy in 2017, already has his name written within the Chinese and global film universe after creating works such as the short film with a theme of young love "When the fish meet the sea", nominated in 2022 for the Sixth Pingyao Film Festival "A corner of Pingyao".
While I explore the internet to locate the LGBT+ themed series directed by Li Xi that I want to see, I remember that it also won other awards, such as Best Actress and Best Film at the + MADRAS + International Film Festival, Best Film at the Festival Sunbender International Film Festival and Best Film at the Diamond Bell International Film Festival. And even more recent, the success of his original children's dramatic short "The First Grade Under the Lens", from 2023.
I start downloading the first episode of the web series, original, like the rest of his work. "Passing Through the Blue of My Youth", that's what it's called and that's how I like it: download the file to view it when and how many times I want.
"It seems that Li Xi has joined so many other renowned Chinese filmmakers and television directors who have portrayed homosexuality in their films, series and short films, with works such as 'River Knows Fish Heart', 'East Palace, West Palace', 'Spring Fever', 'For Love, We Can', 'Looking for Rohmer', 'Wu Yan – Speechless', 'Shangai Panic', 'Kinematic Theory', 'The Ambiguous Focus', Boss, I Love You, Find You in the Crowd 2, Find You in the Crowd, Find You in the Dream', and many others", they had told me hours before in the Editorial Board, and I wanted to confirm it.
I sit in front of the computer with a steaming cup of coffee and prepare to watch the first four episodes. "Chinese national beauty! Tanmei! Two male protagonists! Two couples of boys in love! The passion and visual talent of the Chinese director were ideal to bring the series to fruition," I jumped for joy in my seat.
There's another reason I'm drawn to 'Blue Canvas of Youthful Days', I think, as I sip a sip of the fiery black liquid: it's one of those Chinese homosexual dramas that have become something more, a sociological phenomenon.
I remember the precedent of 'The Raccoon', the gay film by Tang Shi, starring Weng Hai Bin and Wu Di in 2015, about two young Chinese university students who live in the same student residence and meet through a mistake with a blanket, and after being declared enemies or adversaries they gradually discover a deeper connection that transcends the initial animosity.
Well, I have already settled into my seat, and the images begin to flow. Each episode is more than 27 minutes long, and Xi Li is not in such a hurry as I imagined, she takes her time, from the first scene to the last.
He tells me about the romantic relationship that arises between Qi Lu and Qin Xiao. The first is a talented 18-year-old painter in his last year of high school, who comes from a rich family of artists, who is forced to learn to paint since childhood under the controlling influence of his father. The second is Qin Xiao, a village boy, two years older, living in the city and equally an artistic prodigy with paintbrush in hand. He did not enroll in a university degree at the time because he was burdened by family responsibilities and financial difficulties from an early age. Now he is determined to enter a house of higher education.
Despite his poverty, Qin Xiao is cheerful, brave, and optimistic, while Qi Lu is the reserved, quiet, and pessimistic type, due to his mother's absence and his father's abuse. However, there is a transformation in the character since he joins his life with that of Qin Xiao.
The crucial moment of the meeting of the two protagonists occurs around the first 20 minutes of the first episode, which is not much time for what really happens. However, Li Xi manages to make the time barely noticeable, thanks to the use of a beautiful city landscape, intelligent editing and a very effective use of my expectations, that I know what is going to happen but not when. This entire first act is used to introduce me to the two protagonists, but also to tell me where and how the fall in love between them occurs.
With great changes and unexpected turns, I come to know that by rebelling against strict education and a father who beats him, Qi Lu decides to secretly attend Bo Xa Art Studio, to complete his preparation before entering University. There, in the classrooms of the young master painter Liu Ming Yang (Yao Xing Hao), he meets Qin Xiao. Despite starting out as archenemies, the two quickly break the ice and form a bond.
The episodes go by and the series captivates me even more. In a plot twist, I witness that to Qi Lu's surprise, Qin Xiao turns out to be the online artist "Lan" (Blue) that he has been looking for. Feeling unintentionally responsible for a punishment imposed on Qin Xiao, Qi Lu struggles to muster the courage to confess that he has discovered his secret, but does not wish to upset the seemingly irritable Qin Xiao, whose personality seems to be totally different from that of the artist he admire.
Therefore, he chooses to approach Qin Xiao in the hope of becoming friends. As they break the ice and grow closer, Qi Lu and Qin Xiao weave an indestructible bond.
Producers Wang Wen Yin and Li Jue Xuan ('Hi! My Mr. Right', 2023), also an actress who plays Sun Xiaorui, the only member of the young cast with experience in front of the cameras, pleasantly surprise me with the excellent music, perfectly combined with the canvases and the laughter of the two boys that I soon begin to hear.
Despite the appearance of various characters throughout the series, Qin Xiao, a role played by Zhang Xuan Yu, and Qi Lu, played by Guo Jia Le, are discovered as full protagonists who symbolize something much more allegorical such as affection, the warmth, the physical attraction of two young people who without realizing it discover their homosexuality.
Both actors get into the skin of their characters and do what only real actors can do: bring a fictional character to life.
The director's skill lies in the fact that she focuses the main plot on the narrative act of the protagonists' discovery and acceptance of their sexual orientation, while they intertwine a beautiful story of friendship in which painting plays a transcendental role. Xi Lin moves me by transmitting the joy and love that the protagonists feel, through subtle resources that are gradually exposed.
I enjoy a feeling of placidity and tenderness through the images, images where the protagonists themselves discover themselves visually small before the greatness of love and pictorial art that surround them.
One of the keys to this transmission of love towards the person who has burst into his life is achieved through the essential performance of Zhang Xuan Yu: saying with his eyes, with his gestures, with his silences, much more than what his express mouth. The actor builds a well-rounded character, full of security expressed through small doses of aggressiveness and tons of tenderness that the character carries in his chest; of a body language that is both rough and tender, very elaborate. He has suffered, but he also knows the love of his grandfather and his friend Tan Yin (Xiao Zi Zhuo), and the kindness of painting teacher.
This actor's role manages to captivate and excite me. The actor manages to give real life to the character by creating a character and personality of his own, something that not many actors achieve. The series has great moments, all of them loaded with moving drama, scenes such as when the character vents his pain against a brick wall at the possibility that his grandfather, with Alzheimer's, has suffered an accident, or when he cannot contain his tears when seeing him safely back after getting lost when leaving home to watch a game of street chess in a nearby park, or how symbolic a photograph taken on a day visiting the zoo can be, great moments starring Zhang Xuan Yu.
Against this, Guo Jia Le plays the role of someone more extroverted and sensitive. I see how he rebels against his father in the television interview after winning an important prize in a painting contest, or when he flees from abuse and finds not only refuge and a place for artistic creation in the classrooms where Qin Xiao studies.
However, although on the surface they are opposites, both have deep inside a great desire for freedom, self-improvement and love that each one is capable of transmitting through their perfect interpretations.
"How is it possible for these rookies to achieve such magnificent and memorable performances?", I ask myself as I pour myself some more coffee from the container in which it is still warm.
"And this other character, Wei Jiayu (Hu Ze Ming), who I thought was the typical abusive and problematic student and then turns out to be a good guy, while he joins forces with the protagonists and falls in love with the also haughty painting student Sun Xiaorui”?, this question arises in my head.
The series, as a corpus, is capable of germinating warm fragments of humanity, in which I discover the most vivid features of the human condition of LGBT+ people.
Its plot, populated by areas of light and shadows, with climate, nerve and dramatic meat, places its emotional core in everyday situations inhabited by real human beings - in all the extension and connotations of the term - who expose their intimate dramas in a very realistic, very natural tessitura, without forcing emotions or managing empathy at all costs through melodramatic underlinings or cheap script blows.
The series, although at a certain point it is not complete and still requires much more rigor in certain areas, deserves all my admiration. There is too much creative talent, dreams, and desire to do involved in its existence, to avoid or undermine it.
To the good character study of 'Blue Canvas of Youthful Days', add its fortunate acting defense. Its story progresses, in part, thanks to the reflections of its creators on very recognizable human conflicts in today's world, and thanks to its performers (it is impossible not to make a special mention here of the histrionic competence of Xiao Zi Zhuo, the actor who plays Qin Xiao's hearing-impaired friend and tenant, and who takes care of Qin Xiao's grandfather when he is in the classrooms at Bo Xa Art Studio, and Yao Xing Hao, who plays painting teacher Liu Ming Yang. These two characters will make up a second couple.
I turn off the computer thinking about Qin Xiao and Qi Lu. There is so much love in her story, it is so tender and addictive, so happy and romantic, that I don't think I will ever be able to forget it.
I turn off the computer and my Internet connection. I look forward to the next episodes.
The leftover, untasted coffee has cooled in my hands.

Citeste mai mult

THE FADING OF THE DAY INTO TWILIGHT IS NOT THE END, BUT THE BEGINNING OF LIFE AND LOVE

'Last Twilight' is a coming-of-age story of self-discovery that will surprise and excite you through the two young protagonists, played by Jitaraphol Potiwihok (Jimmy) as Mork, and Tawinan Anukoolprasert (Sea) as Day, whom we have already seen leading the cast artistic of “Viceversa” and “Our Skyy 2”. With this, their third leading role, the young actors seek to consolidate themselves as a ship within GMM25.
Written and directed by Noppharnach Chaiwimol (Aof), renowned director, screenwriter, producer and actor who has dramas such as 'My School Presidente' and 'Moonlight Chicken', both from 2023, among others, presents us with a story that not only seeks to make LGBTQ+ people visible, but also seeks to represent blind and visually impaired people, as well as the reintegration of the individual into society after spending time in prison.
Has Aof realized the dramatic potential of blindness and visual impairment to bring us a story on the subject? The social image of blind people has gone through different phases and, to a certain extent, has overcome the usual negative and stereotypical attitudes. Television is also responsible for the perceived public image of disability. Therefore, the representation of blind people in television programs contributes to the general perception that society has of this group.
Will it be Day's destiny to inspire pity, compassion and marginalization? Will the story focus on his struggle to overcome his limitations? Will the series revolve around the facet of his rehabilitation from a hopeful perspective? Is it intended to offer the image of a person who rehabilitates himself and lives a life that tries to get closer to the most normal that his circumstances allow? Will a story prevail in which the blind character seeks social integration? How to make a story with these characteristics, when in current filmography it is rare to see the person with a disability like any other person? Isn't it due to the fact that audiovisual productions show disability as a medical issue rather than from a social perspective? How to succeed in the process?
Aof has drawn on the changes produced in the way visual disability is represented in film and television. He also knows how society has evolved in its understanding of disability.
Taking all of the above into account, it would be appropriate to ask ourselves: to what extent does the series portray a blind character from a positive perspective? To what extent does it represent, and therefore promote, the progressive inclusion of visually impaired people in society? Is one of the purposes of 'Last Twilight' to contribute to enhancing the general perception that society has of disability? Does Day have a fully developed personality or is her character fundamentally defined by her disability? Does the series reflect Day's character as a unique and distinctive personality or is his disability the main focus of the plot? Is Day's personality unique because his character expresses the desire for independence and not wanting to be pitied?
What is Day's level of inclusion in the community? (considering that this includes areas such as inclusive education, employment, residential environment, community participation, recreation and social activities). What are Day's interpersonal relationships like with the people around him? Will your character move away from the stereotypes with which the visually impaired have been reflected in film and television?
TECHNICAL-ARTISTIC ASSESSMENT
Aof makes a triumphant return behind the cameras to create an entertaining product that had a sufficient dose of credibility in its cast for this plot to revolve between cold and warmth, between detachment and tenderness, suffering and illusion, discouragement. and optimism, darkness and light, although the viewer can, at times, decipher the story for themselves, including the final twist. I don't even doubt that this is one of the reasons why 'Last Twilight' is watchable and enjoyable. It is in its own way dreamy, in its own way hopeful, thanks to Jimmy and Sea's chemistry and the questions it seeks to answer.
With a pair of irresistible protagonists and a straightforward love-overcomes-adversity story, 'Last Twilight' hits the spot for the BL fan market. Others will also be able to enjoy it. Aof tries to fight for the desire that his work show a universal feeling, that knows no genres, and is close to anyone.
Although present, sex is not the mainstay of the relationship. Instead, Aof highlights looks, words, silences, gestures as a connection of feelings. In this sense, the series moves away from a common cliché in gay-themed cinema, which rarely seems concerned with delving into the emotions of its characters from a perspective that does not necessarily imply an immediate sexual attraction.
Without superficialities or exaggerated fuss, 'Last Twilight' tells a romance without causing discomfort and trying to find a universality that brings it closer to a majority audience. The series will touch the hearts of many people because it comes with a suggestive and different narrative when we talk about love stories and gender issues.
The mixture of captivating fiery and total trust between the two men is represented in the photograph, totally serene and at the same time always active, but very subjective.
There is no doubt: the public is faced with an irrefutable fairy tale that can win many followers due to the lyrical way of capturing the concerns of youth. Its episodic rhythm allows us to easily access this story about identity and sacrifices, about breakups and reunions, about pain and hopes.
The series cleverly emphasizes the sensual aspects of a coming-of-age story. Strokes of humor, tearfulness, self-improvement, sacrifice and fantasy give a welcome texture to the softness of the romantic novel. Audiovisual in general works despite its formulaic layout and loose ends.
This ambitious series, well shot, without shame, manages to maintain the charm of a plot made to please lovers of the genre. Premiered on November 10, 2023, the entertainment production company is committed to continuing to be a pioneer and leader in the creation of BL series, both originals and adaptations, with 'Last Twilight'.
Also in its good work with the cast, in addition to the aforementioned leading actors, Aof has other well-known faces in the company, such as Tipnaree Weerawatnodom (Namtan), as Phojai, Mohk's ex-girlfriend and friend; Pakin Kunaanuwit (Mark), as Nigh, Day's brother; Premsinee Ratanasopa (Cream), as Ramon, Day's mother; Thipakorn Thitathan (Ohm), as August, Day's sports partner and first love interest; Rachanun Mahawan (Film), as Gee, Day's friend and badminton partner, Kunchanuj Kengkarnka (Kun), as On, Day's friend and also a blind person, among others.
The series follows the love story of a young athlete who has lost his sight after suffering a traffic accident, and his caregiver. When Mhok, burdened by debt, agrees to be the caretaker of a blind boy named Day, they will both know true love. The two characters maintain a complex relationship, since each one is tied to a problematic reality.
The protagonists of this youth drama that promises and at times declines with a predictable course of events, brim with charisma. The story, which could have been told better, has plenty of heart. I would criticize him for saying that he is rich and he is poor, because to political correctness it would seem like just another melodrama.
Not exempt from melodramatic clichés, the program is original. Its director avoids the pitfalls of the typical audiovisual production of homosexual initiation, and presents us with a beautiful and tender story that will inevitably make you fall in love. Mohk and Day's relationship demonstrates that many people in the LGBT+ community are united by their sexuality, but they are also united by love, and it is a love that they have fought for and won.
Playing on the series' title and the name of one of its two protagonists, contrary to the fading of day into twilight, the effervescent nature of young love is deftly captured in 'Last Twilight'.

PLOT
Day, a player on the Thai national youth badminton team, has begun to lose his sight after suffering a traffic accident. Faced with the impossibility of having a normal life, he accepts Mohk as his caregiver because he senses that Mohk does not feel sorry for him. As the young people begin to get to know each other and get closer, Day will know that in approximately 180 days he will lose his vision completely.
Day considers that his disability represents a burden on his family and society, as he is unable to take care of himself. Hence the need to have care personnel and supervision by a psychic. He believes himself incapable of living a successful life. That is why he permanently abandons his studies and sports, and withdraws from his friends, from whom he hides his blindness.
Day has been rejecting all of his previous caregivers, because he does not want a person by his side who treats him like a sick person and feels sorry for him. After losing much of his vision and thus his autonomy, Day begins to treat everyone with disdain and turns his warm and kind personality into a colder and more distant one. He practically lives locked in his room and maintains contact only with his mother, on whom he is very dependent, his brother and his friend On. He blames Night for the tragedy he experiences. He will meet his father, as he divorced his mother when Day was still a child and was raised without his father's presence.
“I don't know what he looks like, all I know is that Mohk is the only one who doesn't feel sorry for me. “It doesn't make me feel like a disabled person,” says the character played by Sea to those close to him, while Mohk reads him the novel that gives the series its title and they strengthen ties.
That's why Day opts for the mechanic who was involved in a fight and just got out of jail after serving a one-year sentence for a misdemeanor. He will hide the fact that he has a criminal record and that is why he cannot find work in his profession.
Mohk will understand the challenges that a blind person faces.
This is how Mohk will initially become Day's mentor, guide and protector. He understands, like no other person around him, his need to relate to the physical and social world. It teaches you techniques to orient yourself and move in space, as well as to acquire habits of personal autonomy. His primary priority is for Day to know and accept his visual situation. For this, communication and complicity between the two is vital. He judges that Day needs empathy from his peers, above all.
His eyes are going to be Day's eyes. Your voice gives you confidence. Mohk will be in charge of creating soundscapes that will allow Day to imagine the world around him. Their hands, intertwined or attached to the rope as they run, create an imperceptible route that Day automatically makes his own.
Mohk is the first to discover that he is in love, but he keeps his love a secret. Some of the reasons why Day may feel insecure about himself will be the same reasons why Mohk begins to love him.
This relationship will be tested when August, Day's friend, reappears and enters his life once again. The dormant feelings are reborn and Day will confess to Mohk that he has had feelings for his sports partner for a long time. Initially, the caretaker will help Day chase August, but August will end up recognizing that he sees Day as just a friend.
That's when Mohk will confess his love, but Day is still heartbroken. It needs time to heal. The bonds between the two protagonists will continue to strengthen as one cares and the other grows as a person, until Day finally opens up to love. Physical attraction will soon turn into a deeper emotional bond.
From two different worlds, although, at first glance, they do not seem to be the most suitable person for each other, little by little they will get along until they forge a friendship as solid as it is unexpected. This will give way to an unusual love relationship that makes sparks fly and light up the night.
Mohk would become to Day the same as the rose to Antoine de Saint-Exupéry's little prince: although it resembles the other roses in every way, his rose is unique because he has chosen it. And like the fox in that novel, it will allow itself to be “tamed” by its caretaker. Mohk will take responsibility for what he has tamed, while Day will take responsibility for his rose. The strategy used will be the same one proposed by the fox. They will sit on the floor at first a little far from each other. They will look at each other out of the corner of their eyes and say nothing. But every day they will be able to sit a little closer...
By domesticating it, then, they need each other. Mohk will be unique to Day, while Day will be unique in the world to Mohk. This is how Day will come to understand that happiness must be understood as a reward and not as an end. As the main character in 'The Little Prince', Day will understand that no one is ever happy where they are.
Mohk will be someone capable of taking care of everyone, not just Day. She recovers her sister's car, her only legacy when she died, and defends Pohjai from her abusive boyfriend and gives her shelter in her house. He will take care of her unborn child. Meanwhile, he will find work as a chef to prove that he can protect Day. Pohjai will become an accomplice in the passion shared by these two boys.
For Mohk there will only be one situation in which he feels unable to help his lover: he cannot save Day from completely losing her vision. Day will compensate, if it can be said that way, for his dedication and love, choosing his face as the last thing he sees before being totally blind. Mohk will cry out of rage and helplessness at not being able to help him under these circumstances. However, their destinies will be inextricably linked forever.
The trite phrase “love at first sight” has no place in the relationship between the mechanic turned caregiver and the blind athlete. In matters of love, the first has more experiences, while the second is a self-conscious person because, on the one hand, he has never been able to see the face of the boy he loves, and on the other, this is his first love experience, which he would have to add that the same is with a man.
The two characters are totally different, but that won't stop them from loving each other. In addition to the differences in social classes, one of them is still suffering from disappointment in love, while the other, a heterosexual boy who is very popular with women, is not happy because he has not been able to find the right person. They both need to regain the strength of love.
As they find love in each other, Day also gains independence, gaining self-confidence. That pathetic and pitiful person who believed that because of his disability he would be incapable of living a successful life, ceases to exist. In other words, stop being your own worst enemy. Smile again. Little by little, his bitterness will give way to joy and the desire to see all the sunrises.
But Day will face a dilemma: would he allow a beloved, free-spirited person like Mohk to end up tied to a disabled person? Was I being selfish? Wouldn't the right thing be to let him go so he can live his life without a burden like he is? “You want to push me aside even knowing that I love you. Grab your dreams and live them with me. Don't let them survive us,” is the message from Mohk, who sadly sees how the boy he loves abandons him. Will they travel different paths? Will the same love separate them? Will Day understand the meaning of the phrase “What is essential is invisible to the eye,” said by the fox to the little prince?

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New trend: forming a main couple with star actors in JDramas?

When life gives you lemons, you make lemonade. And when life finally offers insecure and hesitant rookie actor Yuki Shirasaki (Taisuke Niihara) an important role in a television drama in which he must portray a homosexual character in a relationship with popular actor Asami Hayama (Komagine Kiita) as co-star , and given his inexperience in love, he decides to make the best of the situation... looking for a real experience.
This is how he goes to a gay bar with the aim of finding someone to sleep with to experience a full-fledged apprenticeship and to be able to incorporate the emotions acquired into the character to embody. There, he meets Hayama, his co-star in the television series, a superstar in the world of entertainment and modeling, who in college shared the same film study club with him.
How will Shirasaki react when Hayama offers him his body? What will happen between the kōhai and inexperienced in matters of love Shirasaki when the senpai Hayama proposes to form a "romantic relationship for the sake of character development" until filming concludes? What will happen between these two very different people when filming ends?
And, while Shirasaki gets to go through a lot of fake "official first moments" with Hayama—her first real kiss, her first real date, her first sexual encounter, her first role in a television series, her first leading role in a non-theatrical play or his "first coming out", he is surprised that among the lies, emotions flourish, feelings grow and they fall in love. In other words: what seems like a solid plan soon turns into emotional chaos that will lead them to…
The series raises questions about the nature of falling in love (is it a pure matter of instant chemistry or a difficult process of adaptation to the other?), the transition to adulthood and the acceptance of sexual identity.
Based on the manga series "25:00, in Akasaka" by Natsuno Hiroko ('25ji, Akasaka de' / 25時、赤坂で), first published on November 24, 2018 by Shodensha, the action adaptation real with the same name, is directed by Horie Takahiro ('Death Kyun Loop Wa Tomaranai!) and Kawasaki Ryo ('Minato Shouji Coin Laundry Season 2' and 'My Strawberry Film').
Based on a script written by Aso Kumiko, known for writing the script for 'Inochi Aru Kagiri Tataka e, So Shite Iki Nukunda', throughout the plot and the false courtship, the characters discover that love can arise even in the terrain of deception. The viewer might think that this is a classic tender story framed in a romantic comedy-drama, but in reality, it is full of script twists that exceed any expectations.
From the TV Tokyo channel, the series seeks to capture the audience with a formula that combines humor, drama and love through a pseudo-romantic relationship that off-screen leads to a touching and beautifully crafted love story that explores the complexities of relationships within the entertainment industry and between actors.
The cast is reinforced by renowned figures from Japanese cinema and television such as Takuma Usa, a figure known for his participation in other romantic dramas such as 'Kiss x Kiss x Kiss: Love ii Shower', 'Kiss × Kiss × Kiss: Melting Night' and 'Cool Doji Danshi'. Accompanying Usa in supporting roles is Shoma Nagumo, from 'Kiss x Kiss x Kiss: Love ii Shower' and 'Minato Shouji Coin Laundry'. The cast is completed with Atsushi Hashimoto, who began his acting career in 2004 in the film 'Water Boys 2'; Moemi Katayama, actress who in 2019 played the character of Kohiruimaki Himeko in the romantic series 'Ossan's Love: In the Sky', and Shinohara Yushin, known for his intervention in the film 'We Couldn't Become Adults', who together contribute memorable performances. It is, truly, a luxury cast.
I wonder: Will there come a time when they stop pretending that they are a couple and make it known that they ARE a couple? Will the student be a good apprentice to the sensei?
If someone asked me: What is so special about the series?, I would answer:
- Shows the non-stereotypical or stigmatized image of the homosexual man and same-sex relationships with the purpose of achieving significant changes in the conservative, patriarchal and heteronormative Japanese society.
- The right decision to make the main couple with two acting stars, since Japanese romantic dramas of the LGBT+ genre usually pair a popular, experienced actor with one less known to the public. Apparently, producers and creators of the genre are seeking to implement a new trend, if we take into account that in the recently concluded 'Sukiyanen Kedo Dou Yaro ka' (2024) they also paired two experienced actors who enjoy great popularity, such as Kan Hideyoshi and Nishiyama Jun.
- The use of monologue through which the characters define their traits and the audience can get to know their most intimate thoughts without the need for a narrator to intervene.
- The respect, passion and sincerity of the members of the artistic-technical teams to the original work.
- The forced plot does not take away from the magic of a leading couple that brims with chemistry and dialogues that manage to convey more than one substantial reflection.
- The two protagonists are very funny in this drama with characters that one represents maturity and experience and the other "first-time" naivety in all areas, both in love and sexual matters to those concerning his work as a novice actor.
- Although the script presents the same tricks as many other series of the genre, the truth is that '25ji, Akasaka de' has shares of originality in the evolution and outcome of the plot.
- The value of friendship, of the camaraderie of coworkers and students to help the two protagonists manage the complex emotions that will accompany them throughout the plot, focused on building the love relationship of Shirasaki and Hayama , their successful participation in a television series, and that both discover their authentic selves.
- Taisuke Niihara and Komagine Kiita play a seemingly impossible couple who will have to force themselves to have an initially non-existent chemistry, because they are unknown people chosen in a casting to play two protagonists of a television drama.
- The disturbing innocence of the entire approach.
- The purity of characters who grow without "corrupting", clinging to their first loves and unusual experiences on a film set.
- Its light narrative and good performances hook you from the first frame, making it a fun series.
- A series with a concept developed and outlined as a drama and not as a comedy.
- '25ji, Akasaka de' shows a series of circumstances that could hardly happen to its characters, always maintaining the premise that dramatic moments in real life are usually interspersed with humorous moments.
- The creators wanted there to be a certain honesty in the script and that the actors did not have to react intentionally to the planned moments of humor.
- With the dosage of humor and a choreography of gestures that also extends to intelligent and elegant compositions of shots, those responsible for the series achieve the very complicated task of getting each of the decisions made right.
- The music, the smoothness of the camera movements, the ease of provoking different emotions in the viewer and the palpable complicity of a well-rounded cast make the experience of the episodes something special.
- A series that from the pilot episode captivates the viewer and the illusion that the balance is not lost and those responsible are overcome in the following chapters full of disparate occurrences and interesting situations.
- The idea of ​​a closing with a delicate and tender musical sweep.
- Having two directors with extensive experience in the world of entertainment, whose experiences also as writers combined with the skill and vast writing craft of the accredited screenwriter could perfectly outline both the narrative discourse and the staging or production.

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No wonder they are the happiest Thai actors today. It cannot be any other way: after two series forming a ship that attracts millions of viewers, Thitipong Sangngey and Wasuthorn Chaijindar (FortPeat, as they are known) finally star in a series, the one they always dreamed of, and the one we have waited for BL lovers in general and followers of these two actors in particular.
Yes, we already saw him lead the cast of 'Love in The Air' (2022), but there they were the secondary couple, while in 'Wedding Plan' (2023) they played roles of little weight in the story and little presentation on screen. On both occasions they left us wanting more.
The opportunity to show off their acting skills, their beautiful faces and physical attributes comes from Ne Neti Suwanjinda, the director who has always chosen them to put them in front of the camera since the entertainment industry, very intelligently and correctly, paired them, to tell us the love story between Tongrak, a writer looking for inspiration for his most recent novel, and Mahasamut, a resident of an island in the south of Thailand who was tasked with taking care of the visitor.
In the first two episodes of the series (those that have been viewed for this review), the protagonists will find themselves trapped in a stormy, fiery and sensual relationship full of sex and endless days and nights, where love will set the course of their lives new lives while both fight to achieve their respective dreams.
'Love Sea' is a new-adult dramatic and romantic series with an aspirational LGBTIQ+ theme narrated in a dynamic, vibrant way and with a realistic treatment of the most current youth conflicts, all accompanied by beautiful and cheerful music and exquisite cinematography.
Based on the novel of the same name by prolific BL MAME screenwriter and director Orawan Vichayawannakul, whom Net called on now as on other occasions, the series tells the spectacular and improbable story of Tongrak (played by Peat) and Mut (role assumed by Fort), two young dreamers with nothing in common, whose destinies cross unexpectedly.
Tongrak has it all, a good financial position and enjoys success after publishing several novels, some of them brought to television as BL series. But despite this, he lives in a state of constant frustration caused by several unresolved problems in his life and by currently suffering from writer's block. Furthermore, he does not believe in love, considering that it only lives in the imagination.
The journey of Peat's character is the most interesting one made, since in his contact with Mut we can see his reproach for being ashamed of his past and the wounds of his soul that have yet to heal. Thus, the creation of Tongrak and its motivations are very interesting and gain the public's favor.
For his part, Mut is a humble young man, who carries the trauma caused by having been expelled from home by his father at the age of 15 and, despite having to resort to pretending about himself to others in order to make his way in life and get a roof over his head and a plate of food, he has become a leader of the locals and the force behind the local people.
Each one, in their own way, faces an existential crisis that can lead them to failure, to lose what they have achieved so far, so they have no choice but to join forces and embark on the same path that will lead them to know each other better and perhaps...
United by destiny, when their lives intersect, they embark on a transformative journey together that represents both an escape from their complicated presents and traumatic pasts and a search for love, happiness and their place in the world. These are questions that almost all of us have experienced, or on which almost all of us have reflected, at some point in our lives. Especially in our twenties, which is the age that Mut and Tongrak are around, and the time when doubts about our present and our future are most crowded.
For her part, MAME cannot hide her happiness. Although at first his style left us with some red flags, such as 'Love By Chance' or 'TharnType', today he seems to have found his voice by giving an evolution to his stories to keep fans of the genre happy, especially with that HOT touch that all BL fans love.
The ForthPeak junction, a visual and spiritual gift for so many viewers around the world, would give good returns to the creators of the series, especially through a drama that has its main strength in the clarity with which this story is conceived on paper, the pulse with which the direction channels them through the setting on screen, and the way the two actors defend it, in characters with characterological richness and infinite nuances that only they know how to add in their assumption.
One of the great things about 'Love Sea', and one that the production team cared a lot about, was showing the paradisiacal environment and the natural settings that serve as the setting for the erotic-existential journey of two young people in love and that provide truth and essence, because if there is a place that wins by a landslide, it is that southern Thai island, the meeting place of the protagonists and where their romance takes place. Having been able to record in that place is one of the great achievements of the drama, since it is integrated in an outstanding way into its DNA.
'Love Sea' effectively combines the conventions of the romantic genre and a fresh visuality by placing the narrative heroes in a natural and paradisiacal environment, which also takes center stage, to which is added the bill of the presentation and farewell, and the curtains of Transition.
So far, the performance of actresses and actors has been, in general, high, and the combination of young figures with other already established ones was among the most successful. It was especially appreciated to once again enjoy Forth Kashane Pichetsopon, Ja Phachara Suansri, Boss Chaikamon Sermsongwittaya, Noeul Nuttarat Tangwai, An Oliver Poupart, Jinjuta Rujirakumthonchai Liu, Ivy Phattaree Tassananakajit and Chanya Amarit Duval. Kevin Tray will provide his voice as Conner.
The best thing about the MAME-Net binomial's staging lies in its way of capturing the love and physical contact between Mut and Tongrak, materialized in the hugs, kisses and sex they share in different situations: at the bottom of the ocean , on board a moving yacht or during their sexual encounters both on the sand of the beach and in the resort room, where the eyes, lips, hands... the entire body of one travels over the body of the other and vice versa. The latent desire between them is subtly filmed through gestures and glances, which communicate everything that is not expressed verbally. But how much is there left to express when in one way or another everything has been said... or almost everything?
The direction knows how to give credibility to the sex scenes and the dialogues exhibit enough youthful nihilism and naturally.
Fort and Peat consolidate themselves as a ship with great aspirations to continue being one of the most anticipated by the public, and as two actors with attitudes in abundance after 'Wedding Plan' or especially 'Love in the Air'. Their respective Mut and Tongrak work from the beginning because of their talent and also because their characters' status as people called to surpass themselves gives them the strength to stand out dramatically.

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'The Rebound' exudes sensuality in a love and sports triangle

Beyond the media hype, the posters and trailers that teased a sensual love triangle between Ping Krittanun Aunchananun (who plays the naive but combative Zen) and Meen Nichakoon Khajornborirak (as the problematic Ryu), the truth is that it is difficult to imagine that a BL series set in the world of basketball is so sexy, addictive and exciting.
This is the umpteenth work by the acclaimed filmmaker Golf Tanwarin Sukkhapisit, who has already left half measures and whose productions, in the coming of age category, have become a success, especially after the commotion caused by Great Sapol Assawamunkong and Inn Sarin Ronnakiat in 'Wandee Goodday'.
'The Rebound' is like a basketball game in which much more is at stake than a sports award or a university scholarship, and throughout the series we will discover what it entails. Masterfully, its creators dose the information to continually keep us on the edge of our seats, wanting to know more, spying on each key scene in the characters' lives, anticipating each of their movements and adjusting our expectations to each revelation, precisely, as if we were playing. a basketball game.
The writers choose a non-linear narrative, through flashbacks placed with the precision of a three-point basket from the semicircle. Each one explores the lives of the two protagonists until they separated and how each of their choices influences the present, in which many things happen at the same time. This is a series that uses racconto intelligently, that is not afraid of fragmented narrative and the possibility of narrating the past from the present.
What is disputed on the playing field is not only the love between the boys or sporting success, but the honesty between two lifelong friends who have feared to accept each other in their completeness and this led them to confront their own contradictions. Although at first reading it may seem that sexuality is what gets in the way of this friendship, in reality it is precisely the repression of sexual desire that triggers all conflicts.
'The Rebound' grows with each new revelation, and, like a good basketball game, the excitement of reaching the middle of the series at the time of writing this review comes from unraveling everything that happened before and how it will affect the tension further. forward. For this reason, and for the excellent staging and the conviction of the actors with their characters, we can enjoy the audiovisual without having to find more meaning than the apparent one.
The series is partially superficial (although not empty), and doesn't tell you more than what its premise suggests, and that's a very good thing. It is a series about basketball, repressed desire and first love, the one that we make possible to be the only one or, failing that, the one that remains alive in our memories for a lifetime. It is also about how the two protagonists can finally accept each other in all their fullness.
It also touches on human fragility and man's struggle for survival and improvement. As Ryu puts it: "Basketball taught us to love others, and helped us love ourselves."
In that, the series is similar to a basketball game, or the very act of playing it: playing it always means the same thing, with the same rules and assumptions, but the how is what matters most, the how is infinite. 'The Rebound' says little, but it says it very well, and Suthipong Teerasakul, the director of photography, plays an important role in this.
For our sake, the style of the series is very Tanwarin Sukkhapisit: carefully crafted shots, current pop music and some hip hop at full volume, characters reacting impulsively, the tandem between pleasure and restriction, desire and taboo. There is no restricted and subtle eroticism, quite the opposite.
The director lets the scenes with greater erotic tension last longer than necessary, she films them with fixed angles, quite stable shots, with a certain fixation on symmetry and a rigid composition. Beautify sex.
The MeenPing ship, in its best series, immerses us in a story that shows the codes of the explosive and popular sport of basketball and also a story full of moments of sexual tension, love, self-discovery and acceptance.
Meen and Ping have created a dream couple over time. It must be taken into account that they have been developing a stable relationship on a professional level for more than four years, starring in two previous series: 'Ai Long Nhai' (2020) and My Dear Gangster Oppa' (2023). This has allowed greater rapport and comfort in the performances. They have proven to be two actors who constantly renew themselves, who reinvent themselves for the public. The peculiar way of expressing themselves in front of the cameras makes them icons for BL lovers.
The non-binary Thai director did not disappoint. We are also not afraid to affirm that this could become one of the most acclaimed series by the public and critics of 2024. In each pass of the ball, in each shot on the basket, in each new quarter period of ten minutes each, in each trip from the camera in a subjective position (as if the viewer were a ball) we know that chaos is imminent.
First let's put ourselves in context. The story begins in 2024, and moves to the rhythm of a basketball game, with each pass to the past to introduce us to the lives of the two protagonists, and back to the present time. That is why we must also go back two or three years, just when Ryu and Zen were part of a school team in that sport, but they separated for reasons that little by little the viewer will come to know.
The objective behind the musical choice, in which the music composed by MAIYARAP for the series stands out, especially his single "The Rebound", was clearly to show the dynamism behind the simple fact that five players try to score a ball as long as an equal number of people try to avoid it: there is power, there is action, but not only that, the soundtrack is destined to make it very clear to us that, in their world, basketball players are true rock stars.
It is possible to feel it when Ryu enters the playing field, confident and imposing; but also every time Zen and Ryu's gazes meet; in scenes of street or school games, or in training, with those beats that put our hearts into overdrive.
Despite not being a protagonist, Frank Thanatsaran Samthonglai occupies a fundamental place in the story, because in this love triangle, the explosion to which we are exposed does not work without its three points.
The arc of Atom, his character, is to be able to be close to the boy who works part-time as a waiter or delivery man, precisely in a cafe run by the director of the series. If Ruy can't stay away from Zen, Atom can't stay away from him either.
Despite being the third wheel, it is not possible to hate him. Firstly, because by playing on a team opposite to that of the protagonists, when he prepares desserts with Zen's grandmother or emerges half-naked from the pool, he is a Greek god. It is impossible to watch him on the screen in a character that we are not used to seeing among those he usually plays and not feel complete admiration; secondly because it seems he alone pulled the strings so that Zen and Ryu finally looked at the tangible sexual tension that always existed between them and made the latter finally open up to love. In short, its role is to be a catalyst for romance between the protagonists. That brings us to the next point.
The small details of queer coding, like true works of art, present in every frame in which the protagonists are, and the obvious sexual tension of this pair of friends. Let's start with the opening scene, in which Ryu, fleeing from some pursuers, bumps into Zen on the street and both, after meeting again after a while, run with complicity and desire in their eyes despite the danger.
From here on, the constant and incisive flashbacks will reveal a very intimate relationship between Ryu and Zen, lost in time, when in the showers, after a match, naked, both share what, without a doubt, is the most homoerotic scene in the game. year: one applies soap to the other's body and vice versa, and in a moment they look at each other, their eyes show desire, passion, love. They bring their faces closer, and about to kiss, Ryu pushes Zen away a little roughly, after having activated all the alarms of straight cis men.
His reaction is logical: Ryu, the street basketball player, is confused and hesitates to admit his feelings for Zen, the team captain.
This will not be the only scene, as there will be frequent exchanges of glances on and off the court that will increase the sexual tension, evidenced in the contact of their hands, which are continuous and consecutive as is that of the hands of players with the ball, confront each other for possession of the ball or share attempts to score points through shots, drives to baskets or dunks, while trying to avoid baskets from the opposing team by stealing the ball or making blocks, or when a shot towards the basket fails, and they must try to catch the rebound, as will the players of the opposing team.
Not to mention the scene when Zen looks at Ryu full of love and desire while demanding an explanation of why he abandoned him some time ago or asks him, regarding basketball, if he is going to allow someone, for money, to have to say if they have to win or lose a game, or when they travel, one close to the other's back, on a motorcycle, with one's arms surrounding the waist of the driver, which will make us remember other BL series, such as ' My Ride'.
Or the scene in which they listen to music sitting on the school roof and then run like children – as if the world, or anyone else, mattered – and they merge not only in a hug, but also in a suggestive twist of body, one very close to each other, or when they also hug on the landing of an abandoned building while fleeing from the police who are chasing them for participating in a clandestine game, since Ryu is being forced to go against his will to pay a debt.
The important thing about reviewing these scenes is that they also talk about a neuralgic topic: toxic masculinity, but also about friendship and real love, despite everything.
It is evident that all this happens with a well-defined objective: there would not be a story to tell if they had assumed the love that united them, that same love that led them to separate, to competition and toxic rivalry, to get involved in a species of love-hate-and love again relationship. Only Golf could make basketball look sexy in a series.
Later, when Zen is surprised by Ryu when he accepts being one of the new players on the school team that is in danger of being dissolved, and decides to risk everything on the field - even the ultimate consequences to achieve his dreams, which were initially that of obtaining a scholarship that allows him to get out of poverty and help his grandmother in her old age, now it will be that of both of us being champions side by side on the same team – he also manages to become the Greek hero that we didn't know we were looking for .
On the other hand, and this is the true message that we want to rescue from this series: Real love also allows camaraderie, vulnerability and competition. When one of them faces their worst fears or the possibility of failure, the other is ready to receive them with open arms and help them move forward together.

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Slow-burning love and a tangible chemistry that goes beyond the screen

Legend has it that thousands of years ago humans were made up of two people. That being had two heads as well as two pairs of arms and legs. His wisdom was delirious, his reasoning was precise, and in his body two hearts beat with harmony and fullness. The person was happy because he lived in love with his counterpart, but one day he defied the gods and received the most severe punishment: being separated from his other half. He was condemned to search for the one who was taken from him in order to feel whole again.
From that moment on we wander the world looking for the ideal person, the perfect partner who will complement us.
What if love is not in that stranger but in someone very close? What if your childhood friend, the one who accompanied you since you were a child in childhood games and pranks, or who was a little older in high school or university, could be the perfect match? Couldn't the love of your life be that friend who has been there all the time, by your side, the one who listens to you, the one who knows you well, the one who gives you advice, a hug in the moment of triumph or a shoulder in the moment of pain and sadness? It may seem strange, but if he has been there for so many years to support us, maybe he is also there to love.
If there is a recurring trope in film and television, it is the movies and series of best friends who fall in love, something that is also very common in real life.
With this premise, Ayaka Kato, the director of the Japanese BL series 'My Personal Weatherman' and 'Zenra Meshi', called on the screenwriter Takeshi Miyamoto ('Perfect Propose') to work together, as they did in 'Old Fashion Cupcake' , to adapt and give life, in real action, to the characters and events of 'Kare no Iru Seikatsu' ('Living With Him'), the popular original manga by Toworu Miyata. Koji Nomura also joined in writing the scripts. Together they created a drama that exposes the complexities of love, painting a vivid picture of a relationship that evolves over just over a decade.
NBC Universal Entertainment Japan's romantic comedy-drama tells the story of two childhood friends who reunite after a few years apart and realize they have feelings for each other. As they navigate the challenges of early youth and the expectations of their respective social circles, they must decide if they are brave enough to risk everything for a chance at love.
The narrative, as the title suggests, offers snapshots of a life together, weaving together the shared experiences of Kazuhito and Ryo. Over the course of 10 half-hour episodes, the series encapsulates the bittersweet exploration of young adulthood, highlighting fleeting but impactful moments that shape their relationship.
In a total departure from his role in the 'Kamen Rider' franchise, Sato Ryuga, in his first leading role, plays Kazuhito Tanaka, a young man with a sparkling aura, good personality and physical appearance. This young man has had feelings for his friend Ryota for many years. There was a past between the two when he was a member of the baseball club, which could be the key to their union and attraction.
For his part, Sakai Sho, a Japanese social media influencer who turned to acting by participating in the film 'Tokyo, I Love You' and the series 'Jeanne no Sabaki' and 'Takara-kun to Amagi-kun' , the latter also from the BL genre, plays Ryota Natsukawa, a housewife-type boy who is good at household chores, such as cooking and washing clothes, with an honest and expressive personality.
They are both best friends since childhood and total opposites. Ryo, who in high school was part of the "normal" group, today longs to be independent from his parents and living in his own house while studying at university will give him the desired freedom. Meanwhile, Kazuhito, the one from the "popular" group "As he goes through high school, he is in need of a place to sleep. The turning point of this story begins when the two friends meet again.
Upon reconnecting, Ryota recognizes that, despite his perfect appearance and pleasant personality, Kazuhito does not have a girlfriend. Curious to know why he hasn't found his better half, he tries to point out his flaws from a girlfriend's point of view. But you can't see any imperfections.
This is how he proposes to have a date, with the pretext of finding him an ideal girl. However, Ryota finds his heart fluttering at Kazuhito's kind words and actions. As the two deepen their relationship and Ryota gets to know more about the young man with whom he shares a roof, he wonders if he is in love or if it is just a deep feeling of friendship.
As they share time together and the old friendship seems to have been rekindled, the spark will fan their hearts. Little by little they are getting closer. Kazuhito is the one who takes the first step, declaring his old and undying love to Ryo. He suddenly finds himself in the middle of a crossroads: not knowing whether or not to love his friend, or whether he is right or wrong. How can you find the answer to this great enigma?
As they deepen their friendship, love simmers. They will need time for everything to develop. The series shows us how little by little two souls recognize each other and a beautiful feeling is created in their hearts. Will they be ready to take the next step?
The interplay of love and memories of the past drive their individual and shared narratives. The uncomfortable initial encounter matures into meaningful dialogues, fostering the expected physical interactions on the part of the audience. Lovers of the BL genre will gladly receive this story about best friends who fall in love, for the innocence and development of their characters and for the dramatic and even fun situations that are generated when they discover that they are in love.
Kazuhito and Ryo are the clear example that shows that opposites attract, and that they can be very happy together. The reunion and living together under the same roof shakes the lives of the two young people. These events trigger a story marked by the complexity of human bonds, an aspect that, although typical of the romantic genre, in this work delves into love, friendship, discovery, acceptance, family relationships and reflection on complexities of being an LGBT person today.
The audience will obtain a lot of information about the hidden feelings and thoughts of the two, mainly those of Ryo, which will be revealed through the conversations of the protagonists and the evocation of the moments lived long ago since they met until their lives He set them on different paths. The viewer will find it nice to see the two of them together. The way their lives are told is actually very enjoyable and seems authentic. The flashbacks will help you travel to the past to learn that there was always something special between them.
The stories of the secondary characters offer the viewer even more information about their love story. The plot arc develops throughout the drama: the friends will meet again to become lovers and will have a very romantic ending.
There's something undeniably touching about watching two best friends fall in love. However, everything can be unpredictable when this happens. Will things work out because they know each other and have a deep enough connection to embark on the journey of love? Or, on the contrary, will one of them, or both, not take the step for fear of breaking the friendship? This is precisely a dilemma in which we can all be at some point.
Sato Ryuga is the star of the show. As Kamen Rider Geats, his transition into a romantic role as the young college student who falls in love with his best friend is believable. He has a strong screen presence and those romantic scenes can delight the audience.
The dramatization presents a peculiarity in its conception: it is a look at homosexual youth in a conservative society with strong patriarchal and heteronormative traditions in which discrimination against LGTB+ people persists and gay marriage or equal marriage is not recognized.
In order to bring together current generations and members of the LGBT community who are increasingly interested, some in understanding relationships between people of the same sex in a changing society and others in seeing themselves reflected in various audiovisual content and formats, the director He guided the production under certain influences from cinema and serial products of the moment. The creative photographic work, the use of lights and the unique transition curtains show a relationship with the plot.
'Kare no Iru Seikatsu' also surprises with one of the most original presentation designs of the latest JBL dramas, where even a minimal detail denotes intention, insight, while revealing identity elements of the work. Music, an essential complement in fiction, also fits like a perfect piece in the scenes, especially the romantic ones.
However, the true essence of the series lies in the tangible chemistry between the two characters. His portrayal of Ryo and Kazuhito's quiet, fun, and tender relationship transcends the screen, filled with raw emotions, chaos, and affection.

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Alan and Ben have an instant connection during a breakup party. They both leave the party to get a room to have a night of sex.
However, every place they go they find reserved rooms. It's a Saturday night, and many couples long to have sex and live a few hours of adventure.
As they wander through the streets and alleys of Hong Kong, from hotel to hotel, which at that time are completely booked, the two young men get closer and open up about their past: Alan tells Ben about his first hookup experience, At the age of 17, in a school uniform, he went with the only boyfriend he has had to a villa, where they do not allow two men to rent a room, and since then he has not found a place where she could have sex. Therefore, tonight, with Alan, she would have her first sexual experience.
While they spend the night walking together, Alan will confess that he hates McDonald's food and everything related to the services of this food chain, because he went with his ex-boyfriend to one of these places every day after class, and it was there where the boy ended the relationship.
For his part, Ben will reveal that he was also in one of these establishments when he last saw his mother, since the woman abandoned him with his younger sister, and since then he has not seen her again.
With his father dead for years, he had to separate from his sister when he was taken in by another relative, while he went to live with the family of the girl who organized the party where they met.
Answering questions, Ben also reveals his Chinese name: Won Ka Chun, and having been in five or six relationships up to that point.
As they chat about which male celebrities they would both like to sleep with, their day surprises them. At this point, their conversations have opened up many possibilities beyond erection and lust: Is love possible? Will there be a chance to move forward? Is sex the only bond that unites them?
With a duration of 20 minutes, 'After Erection', the short film filmed in Hong Kong in 2017, stars Lei Jeun Sek and Lee Wai Lok. The first, an actor, screenwriter and director known for directing the film 'Tracey' (2018), which tells the story of a transgender man and his struggles in Hong Kong, takes on the role of Ben.
In his fight to make the LGBT+ community visible, Lei Jeun Sek has worked on the films 'Drifting' (2021), 'Forever 17' (2019), and 'I Miss You When I See You' (2018), among others.
Meanwhile, Lee Wai Lok, who plays Alan, has his acting debut and only role in his career to date in this short film.
'After Erection' appears to be a version of the Taiwanese LGBT+ themed romantic short film 'YuXiang & Mark' (鈺翔和馬克), filmed in 2016, written and directed by Huang Sheng Tim, but in it instead of Ben and Alan the The names of the two characters are the same as those that give the work its title, as well as the setting is not Hong Kong, but Taiwan.
And although neither of the two short films has high levels of production and interpretation, I like the one produced in Hong Kong better, because I find greater depth in the script, I manage to empathize better with its protagonists by providing greater strength in their human connections, without ignoring music, editing, dramaturgy, photography, sets, among other technical aspects.
'After Erection' reflects some of the difficulties faced by the LGBT+ community in Hong Kong at the time it was filmed, specifically having trouble trying to find public places to have sex.
'However, films like this and actions such as those carried out by activists for the rights of this human group, such as Lei Jeun Sek, have made it possible for today, 7 years later, lesbian, gay, bisexual and transgender people in Hong Kong to celebrate some achievements, such as that granted by the Court of Final Appeal, which in a historic ruling on September 5, 2023, urges the Hong Kong government to establish a legal framework for the recognition of same-sex couples, marking a milestone in the fight for equality and human rights.
Although it does not grant full marriage rights, this ruling represents a hopeful victory for the community, by supporting civil unions between people of the same sex, a legal process that has not yet concluded.

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BY WAY OF INTRODUCTION

In 2023, a story about a young man who spies on his company president's favorite reclusive artist to get his job back, captured the hearts of Korean series enthusiasts in general and lovers of boy love stories in particular.
TVING's original drama 'Unintentional Love Story', based on the manhwa and webtoon of the same name, written by Phoebe, starring Cha Seo Won as Yoon Tae Joon, and Gong Chan as Ji Won Young, showed us a second couple, played by actors Woo Tae Min ('You Make Me Dance', 2021), and Han Do Woo ('Love Playlist: Season 5' (2021), the former playing Go Ho Tae, and the latter playing Kim Dong Hee.
Loved by fans and the cause of the so-called "sub-disease" or love for the protagonists of the stories attached to the main one, at the end of the series complaints rained down requesting that the story of Ho Tae and Dong Hee be resumed to tell the exciting previous relationship between these two young people that was not included in the series, especially one that reflected their exciting school days.
Ultimately, the request was to represent in another work the vague narrative and interesting relationship of the couple made up of Go Ho Tae and Kim Dong Hee; but equally, that the future main couple was assumed by the same actors, with the same character names.
Thus came the idea of ​​filming a spin-off to tell a sad, but at the same time beautiful and tender story of two children who grew up together and discovered mutual love.
Directed by Yang Kyung Hee, a renowned director who has filmed several BL stories, such as 'A Tractor Loaded with Love' and 'The Director Who Buys Me Dinner', both from 2023, or 'I Wanna Bite It' ('Kissable Lips' ), from 2022, and 'Florida Banjeom', from 2021, and with the script masterfully crafted by Shin Yoo ('Where Your Eyes Linger', 2020), the film 'The Time of Fever' ('When your temperature touches my fingers' '), introduces the viewer to an immersive narrative journey.
At the forefront, Won Tae Min shines as a straight swimmer who one day discovers he's in love with his best friend, along with Han Do Woo's nuanced portrayal of the character he plays, and the support of a talented cast who bring depth to their respective roles.

ABOUT THE DIRECTOR AND HIS WORK

In the film, its director approaches the issue of homosexuality with an intimate and personal approach, a topic that, as has already been said, he has addressed on previous occasions.
Yang Kyung Hee's work is marked by a display of sexual and emotional discovery, a theme that is addressed in a very suggestive way in 'The Time of Fever'. Far from reaching that need to search for personal identity from the beginning, with this film, the South Korean director takes up a love story not told in depth in an original story already brought to the small screen.
Therefore, from the perspective of the journey to the roots, a reunion between two old friends ends up becoming a labyrinth of passions. What stands out about the script is that it gets rid of superficial flourishes or moral dilemmas about the conception of masculinity. Although at certain moments he highlights the clichés surrounding homosexuality, he then puts them aside to reveal an internal story. Thanks to this, it gives the public a love story without consuming, where the fact that they are men becomes something circumstantial, but necessary.
In this way, the film talks about feelings and the attractiveness of emotion, where the physical becomes the result of an intimacy that occurs prior to sexual relations. It cannot be denied that that depth about what it means to love, desire or suffer is what makes the difference. Although the story follows a structure that has already been seen previously in other films, also with LGBT+ themes, perhaps, that naturalness of the unexpected love between two people with a common past makes it become a different film.

THE HISTORY

Produced by Number Three Pictures Co., Ltd., the film tells us that Ho Tae and Dong Hee have grown up as brothers since childhood. Ho Tae, who was born in Gangneung and moved to Seoul the year he graduated from primary school due to problems with his father's business, was never particularly interested in studying. For this reason, he started swimming at the school he transferred to in the South Korean capital.
Owner of enough talent to occupy a high position on the swimming team, he is forced to return to his hometown after his father's funeral, because his mother decided that they would return to start a business.
Upon returning home, Ho Tae, now 17 years old, discovered that Dong Hee, who is two years older than him, had filled the space that had been empty for a long time. Dong Hee, who had been expelled from his father's house after admitting to his family that he is homosexual, found a roof over his head in Ho Tae's uninhabited house.
Born as sons of friendly mothers, both, without any full siblings, grew up together as older and younger neighborhood brothers.
In the summer of Dong Hee's third year at High School, Ho Tae returned. The two meet again and end up living together under the same roof.
Despite their close brotherly bond, Dong Hee, who has hidden his homosexuality after being beaten by his father, who also called him "mentally ill" for this reason, cannot help but feel emotional when he sees Ho Tae, who is like a real brother to him, but he is also his first love, and he tries to repress his feelings. But it's not easy to bury these feelings.
Similarly, Ho Tae, who sees his friend as a kind young man who likes to smile, confronted with Dong Hee's presence, also develops feelings for the boy whom he has not seen in a long time, but is confused by those feelings sensations stirring inside him that he had never experienced before.
In an effort to escape his confusing emotions, Ho Tae begins dating girls in superficial relationships, which inadvertently causes pain to the previously independent Student Council president and valedictorian of his school.
As their dynamic changes after an unforeseen event, the delicate balance of their relationship hangs in the balance.

OF ACTORS AND CHARACTERS

Having a cast with few performers allows the acting direction to be focused and give greater impact to those who participate. In this way, in 'The Time of Fever' the protagonist duo is exploited above all. On the one hand, Woo Tae Min offers a metamorphosis in his character that gives him the ability to shine at an acting level. Along with this, you can see that he has a connection with the camera, giving realism and naturalness to his character at all times. Furthermore, the mischief with which he balances the most subjective effect contrasts with the sensitivity that he lets emerge at every step. It should also be noted that he is generous with his co-star, given that they form a team with great chemistry, where the tension necessary for this type of narrative is perceived.
On the other hand, Han Do Woo uses that connection with his co-star to his advantage, given that what begins as a performance in the background ends up exploiting his quality as an actor. On the one hand, it has that exquisite familiarity, which combines perfectly with the tone of the film and, then, it knows how to perfectly convey that whirlwind of sensations that lives inside. Likewise, it would be important to highlight the difficulty of being on a more restrained level, in the face of a reaction that follows that slower line, but letting out all the emotional tear that it suffers, with gestures and physical expression, something that it achieves perfectly.
With solid performances from both actors, I would highlight actor Do Woo's deeply repressed emotional performance. Won Tae Min's acting, which was childish but serious, is also very good.
They both express their feelings and emotions well. Both powerfully show the vision of two people leaning on each other's shoulders and seeming lost in deep thought.
Personally, I can perfectly empathize with the feelings and circumstances of the two characters.

SOME THOUGHTS

Korean LGBT+ films and series have gained significant popularity in recent years, captivating audiences with their heartfelt narratives and compelling characters. This lineup is joined by the spin-off of 'Unintentional Love Story'.
From the trailer, I anticipated that the reunion between the two old friends would provoke a complex mix of emotions, particularly for Dong Hee, whose affection for Ho Tae runs deeper than brotherly love. Upon learning that 'The Time of Fever' was in the process of filming, I was deeply curious to witness the synergy between these two young actors, and I must admit that they did not disappoint me.
This is one of the Korean LGBT+ film productions that delve into themes of love, friendship and self-discovery within the context of same-sex relationships. Through its delicate depiction of emotions and nuanced storytelling, this film offers viewers a unique combination of romance and drama, providing insight into the complexities of love and identity in contemporary Korean society.
The temporal background of the work is from the fall of 2013 to the spring of 2014, and from there it jumps, in its final scenes, to the present, to make it coincide with the story told in 'Unintentional Love Story', in which It tells the reunion of Dong Hee with Ho Tae, when the former returns to his hometown after studying in Seoul, while the latter runs a business with his mother.
As was the case with the OST sung by actress Cha Seo Won in 'Unintentional Love Story', the OST sung by Won Tae Min in 'The Time of Fever' is one of the many notable aspects of the film.
In addition to "You Call My Name", by B1A4, used as the final song, we will hear in the soft and emotional voice of the actor who plays Ho Tae the song "What If (원태민), composed by Kwak Jeong Im, which captures the deep emotions of the film, and "Someday Again" (언젠가 또 다시), by Masa (도우).
The viewer will feel as if the lyrics of the songs and the content of the film are intertwined, further increasing the emotions.
And the kiss scenes, especially the first one... still shake me because of their tension and the tremor of that moment.
The cameo of Gong Chan, who played Ji Won Young in 'Unintentional Love Story', is a special and long-awaited appearance.
The cinematography is exquisite. The day and night views of Donghae-si, Samcheok-si and Gangwon-do, Samcheok Meister High School and Mangsang Beach, where the film was shot, are beautiful.
Even knowing that the ending would not be happy, in order to connect the story with that told in 'Unintentional Love Story', the exploration that 'The Time of Fever' makes about sexuality is one of the most attractive that South Korean cinema has given. in a long time, with maturity, without resentments and with much more reality than fantasy. A story that will break our own internal and external limits, as it will make us cry, it will tear our hearts, but we will always keep in mind that the story of Ho Tae and Dong Hee does not end here.
Despite the lack of sincerity of the two in not expressly acknowledging their feelings, the rapprochement between both characters, very well carried out by Woo Tae Min and Han Do Woo, is honest and credible, a teenage friendship that is slowly growing. They are the story and it is the chemistry between them that allows the film to be beautiful, at the same time sad and heartbreaking.

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'Pretty Boys is a romantic comedy that follows Grey, a flamboyant and charming young man, and his lifelong best friend, Jonas (Kiel Aguilar), a heartthrob with masculine appeal. While Jonas effortlessly navigates the gay dating scene, Gray struggles to find love, convinced that his effeminate style is an obstacle. But despite countless rejections, Gray remains hopeful.
Their world turns upside down when Yates (Markus Paterson), Grey's crush, returns from the United States. Grey's heart races at the chance to rekindle his old love, but his plans are derailed when Yates unexpectedly confesses his feelings for Jonas.
By enlisting Gray's help to win Jonas's heart, Yates puts Gray in a love triangle he never saw coming. As the plot unfolds, Gray is faced with a crucial decision: support Yates in her conquest of Jonas or take the opportunity to rekindle her own love story and prove that love knows no stereotypes.
This is another film about a boy (or three) facing his sexuality and searching for love and happiness. In reality, a film that dealt well with this topic would be novel, but that is not the case. And what bothers me the most is that it is directed and written by Iván Andrés Payawal and Ash Malanum, respectively, the filmmakers of 'Gameboys', 'Gameboys: The Movie', among other series and films, and the lovers of series and feature films LGBT+ Filipinos (and universals, why not?) recognize what this means.
What bothers me the most is that it stars Tommy Alejandrino, whom I loved in his role as Nikko in 'The Day I Loved You', Kiel Aguilar, who stole my heart playing Dave in 'Osmosis' and Jerome in 'Our Story', and Markus Paterson, who still steals my smiles and sighs since I discovered him in the role of Simon in 'Hello Stranger: The Movie', three actors who, with a better script and better constructed characters, would have made the film hit the mark.
'Pretty Boys' is a simple story with fairly flat characters. The girl in love with the confessed homosexual, the three declared homosexual boys who are not sure of anything or are too silent or declare their love so superficially that they do not move anyone, the members of the technical team of the play who contribute nothing to the story... All very topical and, deep down, a reflection of a reality.
The problem is that such a serious topic requires being treated in another way, at least with credible characters. Furthermore, the story seems to be in a nebula, since the protagonist's objective seems to change with each scene; and suddenly, everything happens in the last four, maybe two minutes, leaving only dissatisfaction.
The film is entertaining, but it doesn't contribute anything because not even the director knows what he wants to tell.

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Tawan (Key Patiphan Namsamut) and Tunn are a young couple who, from the moment they met, had a great connection, but over time their relationship changes and experiences stages that bring out the true being of each one.
Tunn is the "perfect" man for Tawan with whom he shared beautiful moments of his life. However, as time goes by, he begins to discover a new side of Tunn, who enters a circle of abusive and violent attitudes to the point of chaining him to the bed, making communication with others impossible and preventing him from going outside, even to go to work or university.
With this plot pretext, the director of the Thai medium-length film 'Limerence' manages to crudely teach us that we should not ignore the red flags in a relationship, and that at the first blow or violent attitude, we have to report it and get out of there; Although saying it seems easy and not many can make the decision, it is important to see and analyze the message it offers us in its little less than 60 minutes.
Love, "true" love, is not exempt from bringing tears and jealousy, but the truth is that it should give us peace and not suffering.
The film teaches us to understand that when it comes to interpersonal relationships, we cannot force the other to love us the same because at the end of the day, love is organic and born alone, so no matter how much we love someone, that person does not is obliged to respond to us in the same way (even if we have given our best).
Getting out of a toxic attitude is understanding the previous point, having the empathy to accept that the other loves us with what they have, and if we do not receive what we expect and according to what we give, the best thing is to leave their life without burdening them blame the other.
The importance of the film, far from showing a toxic relationship, is to tell the viewer what we should not fall for the person with whom we share a life.
Tawan held on for a long time until he decides to escape the relationship, however, will this way be the right way?
Also, wouldn't the story be different if behind the cameras, the harassed person is the harasser? What if after the lights are turned off and the filming equipment is removed, the perpetrator is the victim and the tortured person is actually the executioner?

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The boys whose names together are not the only thing that look good on them

Who has seen 'Hit Bite Love', the six-episode teen romantic drama released on Jinloe Media's YouTube channel in 2023, which tells the story of six boys from "Rose Garden College" who decide to break all taboos and learn the real truth about love...pain...and growth, don't you remember Burger and King, two of those teenagers?
Don't you remember those two classmates who one day, sitting at their desks next to each other, King, played by Newyear Nawaphat Thannamongkhonsawat, discovers that he forgot a book, so Burger, played by Jur Vasin Traiprakhong, tells him offer yours to share?
Have you already remembered? Of course. It couldn't be any other way, because you immediately connect with the story of these young people that starts from that precise moment, when King sees a drawing of himself in the book and mistakenly assumes that Burger likes it. After this, King finds happiness just thinking that he is loved by the boy who sits next to him and asks him out. However, he will soon discover that everything has been a misunderstanding, because Burger has no feelings for him.
But if in matters of the heart, misunderstandings have caused conflict and broken relationships, they have also brought love, happiness and hope. This is precisely what King finds when Burger enters his life and the two build an emotional connection.
Directed by Jakkaphong Pachara (Yuan), 'Firstly "Like" You' (ตกลงใครชอบก่อน), picks up the story to, through the eyes of Burger, the main narrator, delve into the relationship of the two young high school students .
Based on the entire footage of 'Hit Bite Love', which is just over five hours long, 'Firstly "Like" You' leaves aside everything related to the other two stories, that is, the love triangle between Ken , Shogun and Matteo, and the relationship of the stepbrothers Hida and Saint, to, in about 80 minutes, focus on the birth and evolution of the romance between the president of the school's drama club, and the student transferred to the famous college of high society.
By leaving out everything else, the drama is transformed into a comedy, which achieves a lot of acceptance among an audience that may have rejected the series for addressing topics such as toxic relationships and BDSM.
Bordering on a love triangle that is also not very interested in exploring in depth, the screenwriters Poy Orachat Brahmasreni and Chim Sedthawut Inboon expose in the narrative text themes such as love, adolescence, friendship, discovery, acceptance and personal growth, always in order to entertain, but also to make you reflect.
In this way, we will follow in the footsteps of the young boy with a silly, neurotic, enthusiastic and immature personality who, while he wants to join the drama club because he dreams of being an actor, will have to deal with the persecution of King, who is firmly convinced that his partner class is secretly in love with him.
Personally, I was amused by all of Burger's witticisms to get King away, because every time King approaches him, Burger gets nervous. Likewise, I enjoyed the close relationship between King and his mother, with whom the student has no reservations about confessing his most intimate secrets.
The audience will be able to enjoy how, based on the misunderstanding, King is the one who will be interested in approaching and pleasing Burger. It is pleasant to see how King, a responsible, mature and popular teenager, always surrounded by many girls interested in joining the club to be close to him, suddenly discovers his sexuality while experiencing a homosensual awakening.
'Firstly "Like" You' more than meets what is expected from a film of these characteristics. The keys are, mainly, its script, its aesthetics and its performances, because although the two protagonists have little experience and are only 16 years old during filming, their performances fit perfectly with the narrative style of the story.
Jur Vasin Traiprakhong takes the cake, for his grace, charisma and the way he handles the humorous scenes.
Another element to highlight is the music. Being the same as the series, the cast itself is the one who sings the songs that make up the film's soundtrack. In this way, we will enjoy Jur, Tae, Newyear, Pure, Bigboss, Vic and Alan, who perform "Hit Me Bite Me", a song composed by Alan Campana, and Vic and Tae singing "Oxigen", a song written and scored by Vic Vittawin Panichtamrong.
The photography, by Suchart Makhawimarn, contributes to making the story of two people who become friends and fall in love credible, despite being polar opposites.
Suriya Kaewkrong's editing achieves a fast and quite adequate narrative. However, flashbacks to scenes already presented could have been avoided.
Even so, it is regrettable that, seeking to visualize diversity on screens, the film portrays queer characters in a stereotypical way, due to their continuous screams and mood swings.
While it is true that Thai serial and film fiction with the presence of LGBT+ plots has experienced various changes since its appearance, going from an initial invisibility and stigmatization, in which the characters had to be presented as the opposite of what is morally acceptable in society , to a quantitative increase in these characters, and despite their decrease, traditional and recurring stereotypes continue to be used such as the effeminate LGBT+ character or transsexuals who, due to circumstances, act in a grotesque, exalted or tormented way due to their condition.
Despite the positive increase in the visibility of diverse sexual orientations and identities in BL series and films in this country, creators must take into account that a poor symbolic construction based on stereotypes reinforces not only the deformed social imaginaries about this minority, but the very identity of the collective.
This is even more important if we take into account the great socializing potential that the film and television industries have and the capacity for transnationalization that the distribution platforms of these entertainment products have achieved, as they can promote a distorted vision of this non-human group. only in the Thai national space, but also in the rest of the globe.
'Firstly "Like" You' reminds me of 'Kieta Hatsukoi', the 2021 Japanese teen and school Yaoi romantic comedy from the TV Asahi network, which tells how through a misunderstanding, Aoki, the high school student with a personality Brilliant and in love with Hashimoto Mio, the girl who sits next to him in the classroom, he ends up in a romantic relationship with Ida, his classmate.
I also find similarities with other Thai BL dramas. If in 'My School President', for example, Gun (Fourth - Nattawat Jirochtikul) and Win (Winny - Thanawin Pholcharoenratm) get to know each other more deeply after answering "36 questions that will make people fall in love", in 'Firstly' Like" You' King will propose a series of questions that Burger must answer as part of a theater club survey, claiming that the objective is to get to know the future actor better.
Of the three couples in the series, Burger and King was always my favorite. If they brought joy and life to the series, the film carefully chooses and stages the appropriate scenes to preserve the world created around these characters in the six-episode drama.
The one between King and Burger is a surprisingly tender and innocent teenage romance that is highly recommended, for its humor, for the reflections it invites us to, for the palpable chemistry between the two young people, and for how they manage to create a friendly bond first, romantic. later, without becoming a couple, since we will surely find this in the announced second season.

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