Concerted alliances: common practice of the time recreated in the film

After Sundown is a 2023 Thai film by prolific director, screenwriter, producer and actor Aod Bhandit Thongdee, which aptly combines the genres of horror, supernatural mystery and romance in a creative narrative and a certain historical period. In this way, Thongdee weaves multiple threads with admirable balance and skill.
The film delicately captures the vintage elegance and glamor of the 60s of the last century. The decoration, the costumes, the hairstyle, the scenery enhance the work in that sense. The script is based on the novel "Dap Saeng Rawi".
Rawee (NuNew Chawarin Perdpiriyawong) is a 21-year-old young man who lives a humble, folksy lifestyle. Raised in Aytthaya by his grandfather, the monk Chantakorn (War Jirawat Vachirasarunpatra), he accepts the invitation of Parit (Nu Surasak Chaiat), a generous patriarch of a wealthy family, to live in the city. Chantakorn sees in the invitation the possibility of a better life for his grandson, as well as the opportunity for him to continue his studies, and encourages him.
In his new home, Rawee will soon experience terrifying visions and strange nightmares. Every night he is tormented by the presence of supernatural beings. It will soon become clear that Rawee is the only victim of whatever is lurking and lurking in the house. The question arises from the first bars of the plot: why does he suffer these spooky hallucinations?
In addition to Parit, his son Patchara (Tao Adisorn Athagrisna) and his daughter-in-law Pimpila (Meenay Jutai) live in the rich mansion. The couple has a 25-year-old son, Phloeng (Zee Pruk Panich). This is an entrepreneur dedicated to the family business. Phloeng's parents believe their son is cursed.
According to a prophecy, Phloeng will suffer serious misfortunes during that year. Unless an auspicious event occurs, he is destined to spend the rest of his life alone. Your salvation lies in finding your soul mate as soon as possible. This must meet certain requirements: It is not necessary to get married. It is enough to unite their destinies. His age must be an odd number and not older than 25 years, he must have been born outside Phra Nakhon and it is not mandatory to go looking for him, as the indicated person will come to meet Phloeng.
Rawee meets all the criteria and turns out to be the ideal candidate to be Phloeng's soulmate. The proposal is made by Parit himself after knowing the prediction. But it conveys a doubt: don't Phloeng's parents care that they are men? They both agree that if Rawee can save Praphloeng from misfortune they have no objection.
The meeting of the young people could not be more unfortunate. As Rawee cycles through the city, he collides with the arrogant Phloeng, who is returning home from abroad by car, after being called to return home and seal his fate by joining his soulmate. Class and cultural differences will hinder the relationship of the two. Phloeng does not miss the opportunity to belittle Rawee and accuse him of seeking to get his hands on his grandfather's fortune. Rawee is not daunted. In the face of threats and accusations, he responds with pride, haughtiness and a good dose of mischief, leaving Phloeng without resources to respond. The grumpy servant Pudsorn (Namping Napatsakorn Pingmuang) takes it upon himself to annoy and make life miserable for Rawee.
Phloeng, a modern young man for his time, is not superstitious and is skeptical of his relatives' proposal. Refusing to be a stranger's soulmate, he finally accepts the agreement to calm the fears of those close to him. For her part, Parit asks Rawee for understanding after explaining the misfortune that would befall the family if he did not agree. It is then the young man's time to return the favor to his benefactor. A very common practice at the time, especially in rural areas and provincial cities, was to establish alliances agreed upon by the members of two families, beyond social origins, ages of the couple and other aspects.
The film shows a practice that is still common today in various regions of the world, including Southeast Asia, such as consensual marriage, in which the couple has allowed outsiders to bring them together.
Under these conditions of a consensual marriage to ward off misfortune and in the midst of growing tensions between the two young people, on the one hand, and the terrifying visions that Rawee suffers, on the other, Phloeng becomes engaged to Rawee. But he sets a condition: if after six months the relationship between the two does not deepen, he will cancel the arrangement. They both reluctantly accept the compromise.
To comply with the rules and avoid misfortune, they must remain under the same roof after sunset. The discomfort they feel being close to each other is evident. However, Rawee will soon discover that his nightmares disappear whenever he is around Phloeng. The approach and subsequent romantic commitment of young people is inevitable. We will soon discover that they are both united by deeper ties than an arranged alliance could ever weave.
Let's add as positive features a fascinating narrative, the combination of genres, the historical period as a unique added detail, the impressive images, the majestic landscapes, especially the lake, and the elegant atmosphere.
The film offers conclusive answers about the origins of the ghost that haunts Rawee. Music contributes to the development of the plot and fulfills its function as a vehicle to tell the story.
Positive: The movie seems unpredictable. The viewer is not able to foresee what will happen next. The level of intrigue, suspense and surprising twists for almost two hours. Solid performances, especially from the leads. Passionate and healthy chemistry between the two main actors. Tender gay love scenes.
Negative: Little exploration of the historical and cultural context of the 60s of the last century. Weak character development. Poor construction of the supernatural. Inefficient characterization of the characters, hence the viewer's poor understanding of their personalities and life stories.
The characters, both from the script and the staging and from the performances of the protagonists, are built with so much love and delicacy that the film is irresistible even in its most obvious moments. It may not do anything revolutionary with the gay initiation genre, but it is emotional and honest.
If you are looking to be entertained with a supernatural movie with suspenseful plots and surprising twists, After Sundown is a good option.

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The projector turns on. The big screen lights up. The images roll. The movie within the movie begins. The latter is a kind of Filipino-style surrealism that will soon envelop us. “For adults only” can be read on a curtain after crossing the porch. Meeting point for hustlers and scammers. Prostitutes and homosexuals offer sexual services sitting in their seats or in the main lobby. Transvestites and bisexuals kiss or have oral sex with anyone in the dark while the unsurprising gaze of a child on a bicycle. The room remains in darkness with the smell of overflowing semen. There is no celebration of flavors with popcorn, candy or hotdogs. A labyrinthine space with more than one surprise in every corner.
Service (Serbis, in Filipino) is a 2008 independent drama film directed by Brillante Mendoza, leader of a generation of new Filipino filmmakers who leaves a trail of wonder wherever he goes. With this, his seventh film, Mendoza was the first filmmaker from his country invited to compete for the Palme d'Or in the official section of the 2008 Cannes Film Festival. It is also the first Filipino film to compete in that important international film event since Bayan Ko: Kapit sa Patalim, by Lino Brocka, in 1984.
The script, written by Armando Lao and Boots Agbayani Pastor, shows us thieves fleeing from the police roaming the hallways of the theater. Mothers with infants looking for another child, also a minor, who may have entered the dark room to meet with gays. Sellers of flowers or watermelon seeds walking through what was once a prestigious establishment that became a dilapidated movie theater dedicated to presenting double programs of erotic and pornographic films from the 70s, to advertise their products for sale. People going up and down stairs in an endless maelstrom of sound, noise and movement.
Transvestites and prostitutes showing their bodies to the moans of the movie lovers in the background as if they were being exhibited on a catwalk. Homosexual couples at the entrance to the bathroom waiting their turn to let off steam, but not the urge to urinate but the sexual appetite.
Family problems aired in everyone's ear. Sewer water that floods the bathrooms and nooks and filters down the stairs to the ground floor. Between the stench and the squalor, we will soon learn about the various family plots that will become intertwined with the comings and goings of the public and clients.
Claire Villareal's montage allows us to appreciate the graffiti on the walls of the bathrooms or hallways that display penises or vaginas with the names of their owners along with the telephone number and the price to be paid by the potential client. Layers of paint with a broad brush to hide graffiti. Posters of gay and erotic films hanging on the walls. Lazy people are the only ones who do not have entry permission, as can be read on another sign at the entrance. A runaway goat pacing in front of the projection screen after entering through a hole in the wall. Lights that turn on. The luminosity invades the stalls. Pants that are pulled up in a hurry, zippers that close in an enigmatic frenzy, shirts that hide nakedness are placed again on the unsheltered bodies. The lovers run in terror due to the terror of being surprised. The four-legged animal on the run and in pursuit a herd of two-legged animals that bleat as much as that one.
Two cinemas closed due to the economic crisis and this one, the only one open, does not generate enough income to feed everyone. Rolled films pad the walls before rolling across the floor to the Philippine Rabbit Line bus that links Angeles City to Manila. The city, doors outside, like another spectator of the film that rolls inside the building. People on the streets coming and going and fixing their gaze on the posters to discover that it is not the one showing the film they expect to see.
If viewers have their party at the Family cinema, the Pineda family, a matriarchy around which children, grandchildren, cousins ​​and nephews swarm, also has its treat. Together they run an old, baroque, grimy, decadent and labyrinthine cinema, which in turn serves as the home of the family clan, a kind of microcosm in which women, especially the two mothers, play a central leadership role in all the events. senses, moral authority and control of the property and custody of its members.
Nanay Flor, the matriarch, her daughter Nayda, her stepson Lando and her adopted daughter Jewel are in charge of selling tickets, meals and candy. His nephews, Alan and Ronald, are respectively the painter and the projectionist. While the family members go up and down the stairs in their daily chores, what happens in the living room and the more than populated hallways is foreign to them.
Bigamy, unwanted pregnancy, hasty commitment to silence what others will say, possible incest and boils on the skin are part of the daily challenges faced by this troubled family. And there, before them all, the true “star” of the show: a huge, dilapidated movie theater that serves as a family business and living space.
The exploration of family dynamics, particularly the relationship of Nanay Flor, played brilliantly by Gina Pareño, and her daughter Nayda (Jaclyn Jose), adds depth and emotional resonance to the story. The cast also includes Coco Martín, Dan Alvaro, Mercedes Cabral, Julio Diaz and Kristofer King.
As the film progresses, the plot becomes increasingly absorbing, drawing viewers into the journey of what happens in each space of the film establishment. Gian Gianan's music helps with this. Photographed by Odissey Flores, the raw, arid images, infused with a moving intimacy, enhance the emotional resonance of the story, while subtle touches of ironic humor serve to increase the tenderness aroused by the members of this surprising fallen gang. .
Mama Flor under the clock that relentlessly rings, with her best clothes, waiting for the curtains to come down. The cinema is silent. People go out. Among them Alan, backpack on his shoulders, fleeing from responsibility.
The tape burns. The projector turns off. The big screen goes dark. Images die until the next day. The movie within the movie ends.

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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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Build the path to freedom, inclusion and empowerment with empathy

Let's get used to his name, JP Habac, because this Filipino filmmaker is going to provoke lively controversies, raise dormant consciences and enliven an independent film scene, in need of exponents like him.
After pleasantly surprising us with the critically and popularly acclaimed 'Like in the Movies', in 2020, or other dramas and films, such as 'Meet Me Outside', 'Drag You & Me', or the short film 'I'm Drunk, I Love You', from 2017, now returns with the series 'Marahuyo Project'.
In its 8 episodes, about 35 minutes long, we will meet King.
You either love King or hate him. There is no middle ground, and everything will depend on the person you are.
King is one and a thousand people at the same time, but he is not defined by the push he gives to the homophobic principal of his high school. This is just a pretext for punishment to get rid of the progressive student and send him to finish his studies in Marahuyo, his place of origin, where he returns after leaving in his childhood.
And there we, the viewers, join their journey, which began long before the first scene.
Ricardo Matayog, his real name, is similar to many other activists for the rights of gays, lesbians, transsexuals and bisexuals, due to his profound ideological positions: his anti-imperialism, anti-totalitarianism, anti-colonialism, anti-fascism, anticlericalism..., inherited from his grandmother and his own experience of fighting homophobia.
King's story is much more than the story of a human being faced with violence, discrimination, homophobic persecution, and the violation of the Human Rights of LGBTIQA+ people. King is the essence of a country with joys, sorrows and a lot of faith to rise up every time logical and illogical setbacks bring it to its knees.
King is Philippines. King has the essence of any Filipino. He is a person who has been through a lot, but still clings to the fact that things can get better, because he has great energy and faith.
King is a natural leader. It does not need to be recognized officially or formally. He is chosen by the group for his actions. He is capable of leading at any level of the organization he is creating and meets the needs of those who, due to their prejudices and fears, hide their homosexuality to comply with what a conservative country with strong patriarchal and heteronormative traditions demands of them.
King calls, in each episode, to reflect on everyday life, common events (or not), social representations inherited from patriarchal hegemony, the world with its lights and shadows...
Like many others, King fights for the acceptance of the LGBTIQA+ community in Philippine society, to accelerate policy reforms and to establish programs to ensure the inclusion of its members in the political, social and economic life of the country.
That is why he immediately points towards the Church, as he perfectly recognizes that it has faithful followers in the Philippine political sphere, who have blocked any bill that tries to prohibit discrimination based on sexual orientation or identity, as well as prevent conquests in other countries places in the world, such as that two people of the same sex can marry, carry out a joint adoption, or have the right to have their sex change reflected in the Civil Registry.
Likewise, understand that political institutions easily give in to the influences of the Catholic Church when it comes to limiting the rights of gays, lesbians, transsexuals and bisexuals.
King will always be valid, as long as there is a discriminated person in the world, for whatever reason.
Regardless of the topic that the audiovisual deals with (the life and adventures of an activist for the rights of LGBTIQA+ people dedicated to making a difference in his community of origin through the creation of the first organization that brings together the members of said group in its campus, the defense of human rights, community empowerment and much more, and that is where a very important conflict begins), is a pretext to address many things that are happening in that country.
Like all Quixote, King needs his Sancho. Venice (Ian Vila), a teenage man wrapped in the wrong body, will ride alongside him against all the windmills that will arise in his path and try to stop him.
But there is also the King who loves, who falls in love, and in this aspect he is also faithful and committed. Since his return to the island, he has been attracted to Ino (Neo France Garcia in his acting debut), the president of the Student Council and heir to a legacy of conservatism and heteronormativity.
The great merit of 'Marahuyo Project', the first Filipino queer series presented by Anima Studios, directed by JP Habac, based on the creative idea of ​​the director himself and Benson Logronio and Fatrick Tabada, is the social denunciation against the violation of Human Rights of Filipino LGBTIQA+ people.
Another of his achievements is stealing the audience's ovation despite having a patriarchal society as a setting. Art is followed by the masses, what it legitimizes almost becomes law, often in a stronger way than what the country's legislators could say, strongly influenced by the Catholic Church, refusing to approve measures that protect the members of this human community against discrimination.
It works in favor of the series that the script intelligently discovers the psychological profile of the main character and correctly recreates everything that happens in his private life, elements that tend to humanize 'Marahuyo Project'.
King is played by Adrian Lindayag, a young actor known for his role as Dominic Cruz in the 2020 film 'The Boy Foretold by the Stars', and as Dominic Benjamin Fuentes Cruz in the series 'Love Beneath the Stars', 2021, with a high range of records that knows how to do its thing well and projects an overflowing sympathy that encourages the viewer, because its maximum interest and priority is to advocate for freedom and for people to be happy in the way they want.
The actor composes his activist for the rights of the LGBTIQA+ community with determination, a difficult challenge because he is very far from the things he has done. And he achieves it, with the maturity of an actor who grows on stage in accordance with King's own rhythm, a resilient human being, with shocking energies.
'Marahuyo Project' is also a kind of contemporary "Odyssey": returning to the origins, letting ourselves fall into the arms of the sirens that ask us when passing by, or fighting against temptations or prohibitions and maintaining the commitment to yourself to move forward.
Magnificent and complicated like life itself and necessary, like the fact of discovering that a future promise of cinema, JP Habac, has become an author of the present and we will have to count on him from now on.

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Sharing a roof with complete strangers may seem risky, but over time, unconditional friendships are built... and possibly even more. On the other hand, making new friends who make you reflect and with whom you can share expenses is always encouraging.
Having roommates will definitely go from "sharing the house" to sharing everything; the bad jokes, the bad times and the existential crises. Although it is impossible for everything to be rosy, returning home to be yourself and having someone to talk to about the good in all circumstances is always a relief. The constant company of other people around you helps to observe the panorama beyond the tip of your nose.
The premise of this 'rom-com' may seem corny and implausible: Latte, Tawan, Peak and Almond are four young people who share a rental house. One night of drinking and playing spin the bottle, the first three discover that Almond is still a virgin.
In this way, the young man who has never enjoyed sex makes a bet: if one of them manages to connect him with the person he likes, he will cover a year's rent.
However, the creators of 'Knock Knock, Boys!' (Thai: บ้านหนุ่มโสด โหมดพร้อมเลิฟ/Ban Num Sot Home Phrom Love), make this 'fairy-tale' story a hilarious and emotional delight. This is how the story of love, dreams and friendship begins.
The series stars Nokia Chinnawat Phattharathanachot, who we saw in one of the episodes of the drama 'If I Love a Boy', specifically in 'Han on Me', and in 'Thank God It's Friday', both from 2019, playing this time to Almond.
Carrying out the daring and romantic mission is carried out by Latte (Boss Jaonine Jiraphat), who we know for his role as Tar in the drama 'Find Yourself'; Thanwa (Seng Wichai Saefant, star of the dramas 'Secret Crush on You' and 'War of Y', and Peak (Best Vittawin Veeravidhayanant), an actor we remember for playing Pluto in 'Love With Benefits' and Daonuea in 'Check Out'.
Directed by Natavut Leewairoj, the youth comedy-drama with an LGBT+ theme leaves us with a great lesson: living with roommates will mean that the jokes and fun will not stop, and the complicity and support at home, whether to set up night games, to prepare food, doing the laundry or helping you find the love of your life will be nearby whenever you need it.
The upbeat music, composed and produced by Susui and performed by Smart Wattana, makes 'Knock Knock, Boys!' remind us that true love and soulmates are also in our closest friends, which can even be those we just met. It also commemorates that in the same way that a loving relationship is built every day, so is friendship. Furthermore, an external look always helps us see more clearly.
Together with Almond, we will learn that not everything has to be perfect if you have the right roommates, because any difficulty or setback will be fixed as we go.
They are four opposite but complementary roommates, real, fun and imperfect young people who explore their sexuality, embrace their ambitions and face their insecurities while dealing with the difficulties of youth, such as coming of age, conventions, secret loves. , bisexuality, the discovery and acceptance of homosexuality without dramas or tragedies and a commitment to normalization, in a beautiful and fun youth story.
I would like to highlight the use of humor to dedramatize difficult moments such as coming out or recognizing one's virginity or pansexuality.
The drama aims not only to fulfill what one expects from such a premise, but also to overcome any idea or preconception, entering from a perspective full of love and humor into the lives of four friends in their early twenties in constant existential crisis. that oscillate between love dramas, student and work confusion and identity doubts finding their salvation in each other.
I recommend this hilarious and unprejudiced Thai series, with its satirical humor with heart and its commitment to cultural, sexual and gender diversity, through the vicissitudes of four strangers who go from friends to lovers.
Nokia leads with Almond's desperation to fit in and purest innocence. Jaonine puts security and emotional independence into her Latte; Best brings the bed entanglements with married women and sickly perfection of Peak, while Seng brings the carefreeness and sexier self-love of Thanwa.
The four complement each other, argue, hug each other while drinking a drink of alcohol and, above all, they never fail each other.
Much of its success lies in the perfect chemistry between the four young people, especially between the two couples in love.
The cast closes with the performances of Mon Taechin Phaisanwan as Sean, Pak Varayu Pusomjitsakul as Jumper, Tuss Thotsawat Sing-uppo as Max and Ten Tosatid Darnkhuntod, among other actors and actresses.
'Knock Knock, Boys!' It is a fantasy that we have all been able to or wanted to have, but that is more bewitching, natural, genuine and immensely fun in this production that has just begun and will bring us many surprises before its conclusion.

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A dream and a forbidden love

Every year, the music industry launches numerous boy bands around the world to make their international debut. Other industries, also dedicated to entertainment, such as television, always at the forefront, have not been left behind, in the effort to tell us about the creation and evolution of these groups.
And if, along with this, they address stories of overcoming and forbidden love between members of said bands, the public awaits them with greater interest.
That is why today we remember 'Boyband The Series', a Thai audiovisual characterized by its excellent performances, a dream soundtrack and enviable scenery.
Its premiere took place in February 2023, and with 6 episodes lasting approximately 45 minutes each, we are introduced to Top, played by Phiphat Wichasu (Zubom), in his first acting role, a young man who has had to make an effort in life to be able to pay the debt contracted by his father, in addition to paying for the medical treatment of his mother, a disabled woman after suffering a traffic accident, and also paying for the education of his minor sister. To get ahead, he has had to work as a waiter, elephant keeper and sword fighter.
Top will have the opportunity to travel from Khon Kaen, Isaan province, to Bangkok, to become an artist under World Star, the company of Khun Serena (Metinee Kingpayome - Lukkade), the queen of the entertainment industry, through a singing, dancing and acting contest, which in addition to artistic skills, will evaluate the behavior and attitudes of the contestants.
This trip into the competition represents a new stage in his life for Top, full of surprises that he is willing to accept without hesitation, because in addition to competing against a hundred young people to obtain one of the six positions in dispute, he will meet Juju (Theerachet Yanwantana - Jaymin), the impulsive son of a wealthy family, with whom our protagonist will live a forbidden romance, because the contest imposes a rule on the participants: "Artists are prevented from establishing romantic relationships with each other."
With a chemistry that transcends the screen, Top will help Juju deal with her main problem: her father's refusal to accept her fulfilling her dream of becoming an idol.
One of the aspects that attract attention in this dramatic, romantic, musical and youth comedy with LGBTIQ+ themes is Top's constant race in pursuit of Juju. The unforgettable sequence of Zubom on the motorcycle arriving, with delays, to the place of the band's debut, among the first scenes, while the music directed and composed by Terdsak Janpan for the series plays in the background, is one of the vertices about the that a plot is articulated, which will lead us to other chases, such as that of Top behind Juju's car in an unfortunate first encounter in which the two come out as enemies.
There will also be other chases, such as the chase that is not after Juju, but with Juju, to rescue Juju's bag that the motorcyclists intend to steal, or the race to prevent Juju from fighting with other contestants, due to the risk of being disqualified.
Another race is when Top follows Juju to the latter's mother's house in Krabi, the boy requiring his authorization to continue in the competition.
Each step in those runs brings them closer to each other, and not only from the point of view of shortening the distance.
Top and Juju are joined by Jeff (Arm Boonyavanit - AP), the typical prankster that everyone will want to have by their side to have fun; Ryu (Pakpoom Juanchainat - Art), the famous dancer with many followers on social networks, Ken (Intouch Kooramasuwan - Intouch), the brilliant singer who will fall in love with the singing teacher, and Atom (Wasin Suungkavathin - Aom), the boy seriously focused on his art.
These young people, along with Sun (Natthanun Kurusatienpron - Man), Kampun (Phutawan Yamsai - Tawan); Tiger (Phicaphop Khamnanak - Auto), Pokpong (Patchapol Bhamornbuth - Tong) and Yok (Athiphat Arkrawarachotihiran - Nice), will fight to join the world-class boy band, and will undergo intense training in singing, dancing and acting, as part of the fierce competition that would allow them to achieve their dreams.
As in all competitions, there will be envy and professional jealousy that will play dirty and, through cheating and disloyalty, will try to get others to abandon. Likewise, there are those who will rejoice in the stumble and fall of their rival so that they do not continue in the fight, but there are also those with wise advice and timely encouragement, those who will not mind helping those who do not master the technique or those who He has suffered a blow to his foot that prevents him from dancing well.
We are not looking at the classic BL (hence surely the low rating of the drama), because 'Boyband The Series' aims much higher by exposing problems inherent to the entertainment industry, such as the corrupting power of money to buy artists trained in other agencies , the pressure from managers towards future idols with promises that are not always fulfilled, topics that are rarely addressed in series of the genre, with the exception of 'Call It What You Want I' and some others.
The series, directed by Dome Jade Bunyoprakarn ('My Dear Gangster Oppa', 'Together with Me', 'Bad Romance'), also reflects another theme equally little or poorly portrayed in Thai BL. I mean homophobia. Top and Juju's budding love relationship is used for the purposes of not only causing harm to them, but also to Khun Serena.
And here the series contributes to the struggle of the Thai LGBTIQ+ community, because although discrimination against the members of that human group persists in that country, the initial scenes of the series, which take us to the moment of the meeting of both young people before their debut , shows us that the revelation of their romance will not stop them from moving forward.
Two other main characters are Madame Pauly (Anon Saisangcharn - Pu), in charge of convincing Khun Serena to return to talent training after a period away from the agency she created, after the breakup of her marriage to Phanu (Maethanee Buranasiri - Nino), a manager in the entertainment industry to whom anything goes if he can punish his ex-wife.
Madame Pauly also has the mission of searching for contest candidates and serving as a judge for the competitions.
The writing of the scripts is carried out by Piangpaitoon Satrawaha – May), known for being the screenwriter of 'Naughty Babe' and 'Hormones Season 2', among other series, who in 'Boyband The Seires' plays the judge and teacher My .
Throughout the series, Serena, Pauly and My act as judges and guides in the training of the contestants, imitating the style of programs like "American Idols": while the former acts as an infallible judge, with a reputation for being a "strong hand" , there are always some performances that allow us to see their most sensitive and fair side, because although difficult to convince, they have sound recommendations that are usually accepted and applied by all those who aspire to join the band.
Everything seems fine to My, while Madame Pauly is the one who tries to be objective and lets herself be carried away by her criteria, to which she is always faithful. The actor who plays Madame does not believe in gender stereotypes that pigeonhole men who play very effeminate characters, like his. Lukkade and Pu's performances spice up the series.
'Boyband The Series' darkens in the final episode, with a discussion on stage after the winning team is announced, which contributes little to the closure of the story. It is very unlikely that what happened took place in real life, much less in the grotesque way it was portrayed. These disputes are ultimately aired in court.
Another reason that worked against 'Boyband The Series' was that it aired alongside other popular ThaiBL, such as 'Never Let Me Go', 'My School President' and 'Moonlight Chicken'. It is also not helped by the difficulties that the public has in accessing audiovisuals with English subtitles.
The series brings us as a bonus the possibility of meeting several BL stars who show their faces as guest artists. These include Copter Phanuwat, Bas Suradej Pinnirat, Max Kornthas Rujeerattanavorapan, Fluke Natouch Siripongthon and Peter Knight.
Love triangles, forbidden romances, infatuations between contestants and teachers, seductions of judges to try to be favored by them, villains who steal talents just to cause harm, young people who fight to achieve their dreams, self-realization, personal and spiritual growth, diversity sexuality, acceptance, homophobia, among other topics, appear in a very well written script.
Top and Juju have a dream. The realization of it comes to the first almost by chance, when he no longer had hope after his uncertain initial steps in Korea. Juju won't stop until he reaches it. And both manage, by putting one brick on top of another, to build together that dream life that grows together with romantic love.

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The alternate universe and BL romance

Have you wondered if there are parallel universes in which Israel does not invade and colonize Palestine and its peoples were like brothers, each within their own borders, or the small, sovereign, rebellious and heroic Cuba is the one that imposes a genocidal blockade? economic, commercial and financial to the United States? Science is not willing to deny the possibility that there may be other realities parallel to ours in which things happen differently, but, for now, that only exists in film and television.
Our own universe is limited by the laws of physics, but when it comes to shows and movies, these rules can be bent and broken to create parallel universes and alternate realities where the possibilities are endless and the impossible is no longer impossible. Therefore, by managing to blur the boundaries between fiction and reality and, as a result, they leave us with great innovative stories, characters and incredible worlds that make us want to explore them, while testing the limits of our own mind.
The creators of 'Why R U' know this, who to curl the curl of their delirium of poetic science fiction and BL romance, decided to present a parallel reality in this 2020 Thai romantic series, to, through the multiverse, explore the possibility of getting to know a character in a million different ways, changing stories and destinies, correcting contexts, offering second chances or simply playing with our minds, with the aim of achieving an addictive and entertaining product.
Imagine waking up one day in a dramatic world written by your sister in which everything has become completely opposite to reality: your best friend is in love with his archenemy... and your lover is your nemesis.
In his personal vision and a distinctive style in his own cinematographic process, director Cheewin Thanamin Wongskulfat proposes the aforementioned synopsis to bring us a romantic comedy that revolves around two main couples, those made up of Tutor (Saint Suppapong Udomkaewkanjana) and Fighter ( Zee Pruk Panich), and Saifah (Jimmy Karn Kritsanaphan) and Zon (Tommy Sittichok Pueakpoolpol).
Intimacy, love, self-discovery, acceptance, sexual diversity, the search for happiness and coming of age, are some of the themes that the series explores through the dynamics of the characters, achieving hilarious scenes unique to the series. Thai drama, as well as intense, tender, romantic and dramatic moments, which are also inherent to the entertainment industry of that Southeast Asian nation.
The development of rivalry to friendship and from this to romance is one of the hooks to attract the public in Thai BL, and on this occasion it does not fail, despite the fact that the story of the alternative reality suffers some setbacks. along the way, or the poor development of events and secondary characters, especially Zon's friends, whose roles and performances, as comic relief, contribute little to the story.
With good, genuine performances and competent direction, the cinematography and scenery are surprisingly valuable. But the script falters at times. Perhaps I'm being too harsh, given all the Covid-19 production and post-production issues during the filming of the series, and the obvious hasty script rewrites.
The final episode is one of the great demonstrations of terrible writing. It rushes to the end of the series without anything interesting to say or show. And it's unfortunate, because the central story of the alternate reality has a lot of potential. It is right there, in those failures, when the creators try in their efforts to make the public understand when they are facing the real world and when they are facing the alternative reality, that all the cheesy clichés of the BL genre are incorporated, and the good work ends. , while satire and romantic comedy are left to their own devices.
The four main characters are introduced at the very beginning of the series through a dream sequence. In it, our main character, Zon, discovers that his best friend, Tutor, is in a relationship with his archenemy Fighter. But his astonishment increases when, suddenly, he discovers that his adversary Saifah approaches him and begins to show him affection, which obviously causes him to reject him and, scared, flee.
And at this point the series incorporates a component rarely used in Thai series: animation. Zon will continue his dream through the use of this film technique, allowing Cheewin to show a new facet as a director, since directing live action and animation films requires similar skills but results in very different experiences for the director, because although the task consists of direct the project in terms of its story, soundtrack, cast, costumes, special effects and editing, both types of productions have their determining characteristics.
But this will not be the only novelty, as the series has another big surprise in store for us, when Zon has hallucinations that involve several very popular BL characters. We are then fully introduced into a parallel universe.
Saifah is a very popular musician who frequently engages in pranks with his college friends. One of his most frequent pranks is playing pranks on Zon, so the two always end up involved in a fight every time they meet, in public or private.
For his part, Zon is a shy, but opinionated online science fiction writer. Much to his chagrin, his younger sister, Zol, maintains a vlog in which she writes and publishes successful BL novels whose characters are based on real people.
When Zon discovers that Zol is writing a BL story about his imaginary relationship with his nemesis Saifah, he insists that he delete them. She shamelessly asks him to swear that he has no feelings for Saifah, knowing beforehand about the two's accidental kiss during a fight. Zon hesitates to answer honestly, but swears anyway. And this is your mistake? His obvious lie throws him into an alternate BL universe, where Zol's boy romance story seems to come true.
Fighter and Tutor make up the other main couple. Tutor is an intelligent and wise engineering student who acts rationally. His family, once rich, now lives broke. To pay off his parents' debt and support himself financially, Tutor accepts several part-time jobs, including at a coffee shop near the university and his tutoring classes.
For his part, Fighter is an arrogant, emotional and aggressive final year student of the same major, who from the very first day he meets Tutor, when he goes to him to obtain his signature in that absurd process of welcoming students, New entrants to Thai universities, thanks to a misunderstanding, begin to treat each other with coldness and animosity.
Like Zon and Saifah, the relationship between Fighter and Tutor begins with contempt and eternal arguments, only to discover their true feelings for each other.
Their approach, both physical and emotional, begins to occur when Hwahwa, Tutor's childhood best friend, convinces Fighter to hire Tutor for private English classes that will help one to pass the subject and the other to improve. their economic position.
Between tutoring classes, Fighter discovers Tutor's personality and internal struggles. And what is expected happens, especially if we take into account that both look at each other with lust from the very first day they met.
Although everything seems to be going well for the couple and their relationship seems fluid and tender, both will face challenges and their love will be tested on more than one occasion. While the scene in which Tutor kisses Fighter's Adam's apple is considered one of the rawest, most beautiful scenes seen in a BL drama, Fighter's confrontation with his father when he discovers his son's romantic relationship with a boy, is without a doubt the most dramatic scene in the series. Tutor will be ordered to abandon the romance and leave Fighter alone.
Fortunately, both boys have friends, who will help them stay together and accept the challenges imposed by a society in which, despite homosexuality being legal, gay marriage and homosexual relationships are not recognized, and all those behaviors, Sexual preferences and identities that transgress the social regime and are outside of it - as is the case of lesbian women, gay men, transsexual and transgender people - occupy a marginal situation within the heteronormative system and are therefore discriminated against. , made invisible and persecuted through different mechanisms.
Both Tong and Hswahwa, Tutor's sister and best friend, respectively, will be among the people who encourage the couple. The first will be in charge of encouraging Fighter to follow his heart and love bravely. For their part, Zon and Saifah will also contribute to Fighter's father finally accepting the two young people's relationship.
Another moment to remember is the scene where Fighter and Tutor get into a fight that completely annihilates the former. Without going into more details so as not to give away too many spoilers, anyone who has seen the series will know exactly which scene I am referring to, but it would be correct to add that this is not the only occasion in which Zee and Saint show the talent of the two actors.
For Saifah and Zon, the innocence of their relationship is maintained so well throughout the series. To their surprise, Zon and Saifah have been chosen to perform at the university concert as a duo. Initially, they are unwilling to share the stage, but, forced by circumstances, both begin regular practices on campus and at Saifah's house. And this is how the romance between the two begins.
Of note are two moments of the couple: the torrential rain scene under which both boys begin to run holding hands, and the pajama party after which Saifah develops an interest in Zon.

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Dismantling the myth of a teacher-student relationship with the particularity of being a gay romance

From Nabokov's Lolita, in which a forty-year-old professor becomes obsessed with a twelve-year-old girl, to Bernard Schlink's The Reader, where a student falls in love with an almost forty-year-old woman, passing through The Dying Animal, the novel by Philip Roth that tells the story of a sixty-year-old critic and renowned professor who becomes involved with a 24-year-old intern, the bond between teacher and student is written in fire in literature.
Film and television are not far behind in telling a love story between the master and his disciple. Asian series generally have a fun way of approaching love. When it comes to stories that have a secondary school or university as a background, they do not always show romance between students, because upon discovering this feeling some may develop a crush with their teachers.
The stories range from one-sided infatuations to those in which teacher and disciple meet again years later and it is then that they can begin a relationship. However, there are others in which some decide to take the risk and start a romance in the middle of the classroom, the school hallways and, why not?, in the gym. The latter is the case of the Japanese romantic comedy 'Sahara-sensei and Toki-kun', from 2023.
From director Shibata Keisuke Sukiyanen (who also directed 'Kedo Do Yaro ka', 'Nare no Hate no Bokura', 'Yukionna to Kani wo Kuu', 'Rokuhodo Yotsuiro Biyori' and 'Waltz of Turtle', among many more, the series tells the romantic relationship of Toki-kun (Hachimura Rintaro), the rebellious 17-year-old student at a Japanese high school, and his handsome Physical Education teacher, three years older. The former only needed a fraction of a second to fall in love.
With the minimum age of sexual consent met, according to the legislation of his native country, and close to reaching his majority, love makes Toki-kun grow. That student always involved in fights and absent from classes stops looking for problems and his life takes a 180 degree turn to give way to a totally different person. He will be the first to arrive to the classroom, he studies hard and participates in all curricular and extracurricular activities. He is guided by a single objective: to attract the attention of his beloved instructor Sahara-sensei (Kizu Takumi).
The person in charge of adapting the manga to television is the screenwriter Miura Yuiko, also the author of works such as 'Ultraman Geed', 'The Sango Ranger', 'Screaming Class' and 'Itazura na Kiss: Love in Tokyo', among others.
What do 'Sahara-sensei To Toki-Kun' and the series 'Big', from 2012, have in common; 'A gentleman's Dignity', 2012; 'My Rommate Gumiho', 'Hello Mr. Right', 2016; 'Hello, My Teacher', 2005; 'Teacher Monarch', 2018; 'Somewhere Only We Know', from 2019; 'Doctors', from 2016; 'Sensei', from 2017; 'Tunnel of Love: The Place For Miracles', 2015; 'Thorn', from 2014; 'My Rainy Days', 2009; 'Close Range Love', 2014; 'My Little Bride', 2004; 'High School Teacher', 2003; 'Flower Boy Ramyun Shop', 2011; 'Doctor Crush', 2016; 'Exclusive Memory', from 2019; 'Secret Love Affair', 2014; 'A Story To Read When You First Fall In Love', 2019; 'Daytime Shooting Star', 2017; 'I'm Sam', 2007; 'Met Me After School', from 2018, among others?
All of them raise the teacher-student love relationship as a theme and view it from various points of view. But there is a decisive factor that differentiates them: while these latest television productions narrate a heterosexual romance, 'Sahara-sensei To Toki-kun' addresses a gay love.
This 8-episode series debunks the myth of the romance between teacher and student. The program at no time plays with the viewer. It doesn't give them false expectations. Let no one think that they are facing the umpteenth story of forbidden love between a teacher and the teenage schoolboy. There are no first kisses or secret sexual encounters here. There is no rape or pedophilia here. Here we are not in the presence of sexual abuse of minors disguised as falling in love.
We witness a pure, sincere and innocent love, even clumsy. As the chapters progress, it's easy to forget the age difference between the two. The story encourages you to accompany them in that sincere passionate and tender love. They will soon confess their love for each other. Communication is quickly established and they face problems together.
Who has never known love before, much less in a man, sighs every time she has classes with Sahara-sensei. He looks for him in the hallways or in his office that he shares with other teachers. You need to see him, be by his side. And for this he will look for a thousand pretexts. He waits after school or in the morning when he arrives at school for the being that seems to him the most attractive, most perfect and most complete in the world. He fantasizes, he dreams about him, he listens to music thinking about him, he walks through the streets with him in his mind. Sharing with the only person who really looks at you and understands you will become your priority. Thus a sincere love arises between these two people who are too pure.
As soon as he discovers love, an antisocial Toki-kun befriends Rise Tatsumasa (Sono Shunta), a student in his same classroom whom he had never paid attention to before; Todo Shinji (Matsumoto Hiroki), a third-year student and friend of Sahara who is assigned to be Toki's tutor; and Todo Takuya (Momose Takumi), Shinji's foster brother. Although less interesting because it is not developed well, there will also be a romantic bond between these last two boys.
The love of the two protagonists will be tested when Nekoto Minato (Hori Kaito), whom Sahara-sensei declared her love for when they were both studying at the same school years ago, returns to take over as teacher and claims that she also loved him since then, but he did not have the courage to recognize it and today it is ready.
Is the temptation of the forbidden the driving force behind Sahara-sensei and Toki-kun? Is it the idea of ​​a forbidden relationship that generates the fantasy of being able to sexually possess something taboo? Is the possibility of being discovered what motivates you? Is this a love with an expiration date because once the “hidden” is overcome, one falls into normality and from there to boredom? Is the intention to challenge the norm the main characteristic of your relationship? Perhaps it is the desire to control, to exercise power, an emotional need or seeking to make an illusion come true that moves them?
From Toki-kun's point of view: Could it be an attraction out of admiration and curiosity? Will your interest be in possessing something from your teacher, such as his or her knowledge and skills?
From Sahara-sensei's point of view, is what he feels is basic sexual attraction or the pride of feeling important and admired by his student? Is feeling that attraction from your disciple exciting to you from a sexual and emotional point of view, since it is a strong validation?
Are we facing a power relationship? Will Toki seek to take advantage of the person who has more power? Is the need to control the situation when the matter is complex the factor that generates this relationship? Will it be difficult for an athletic, runner and fighter like Toki-kun to pass the Physical Education subject? Should the teacher avoid a loving bond with the person he loves? Is the solution to postpone the relationship until the student reaches the age of majority and is no longer under the “shadow” of the teacher? Will this relationship have a future? Is it just desire or a fantasy and will it eventually die? Will it prosper and become a lifelong romance, as the two young people have vowed?
The protagonist, a boy who is not at all insecure and with very high self-esteem, very mature for his age, is not a victim, and takes charge of his actions until the end. Knowing that he is in love, he is able to acknowledge his love to his friends and classmates, despite living in a society where homosexuality is illegal. That confession will define him.
For her part, Sahara-sensei is not the archetype of the manipulator. He is a serious and responsible adult. He is aware of his strengths and weaknesses. He shows that he knows his physical and moral limits when he resigns from being the advisor of the Swimming Club, a position for which he was proposed, or when he stops swimming due to a fracture in his spine.
He admits to being afraid of losing the trust of others. His personality, sensible and calm, becomes one of the most rational, balanced and endearing in the BL universe.
He conveys the feeling of being a friendly, unique, wise older brother. He respects Toki-kun, gives him his space and freedom of decision.
The relationship is based on mutual respect, trust and friendship. There is healthy communication and complicity between the two. Everyone is happy with the person who is next to them. They both feel valued and their limits are respected, both physical, emotional and sexual. In other words, Sahara-sensei and Toki-kun fit perfectly into the relationship established by them. They complement each other.
There is no morbidity or adrenaline in the actions of either of them. Their brilliant performances elevate the story and make the characters much more interesting and fascinating to watch. Both actors are capable of transmitting feelings and emotions naturally. Hachimura Rintaro and Kizu Takumi's outstanding performances have delicacy, subtlety and depth
As for the relationship between Toki and Sahara being unhealthy because it is a relationship in which one has power over the other, as one is a student and the other is his teacher, nothing could be further from the truth. The two agree to wait for each other. What are you waiting for? Why don't you give free rein to your love? Why don't they kiss in the corners of the school or in the park, away from it? Why don't they have sex in a hotel room, if they both want each other? Wouldn't theirs be consensual sex? Isn't Toki 17 years old? Don't the laws in Japan set the age of sexual consent at 17? Isn't that an age when kids fantasize about sex all day? Isn't that the age at which you dream of losing your virginity, if you haven't already? What then prevents them from loving each other freely?
They both wait for Toki to finish graduating from the Institute and go to the University to be an “adult” and thus be able to help Sahara in a life together, as the young boy stated to his lover.
The series even goes as far as NOT to violate their relationship, when the agreement to wait for each other is NOT sealed with a kiss, with sensual hugs, with genuine expressions of love, as anyone would expect. They sealed it with a fist bump and a smile on their lips. That is the purpose of the series: we are NOT faced with a power relationship. The teacher does NOT exercise any authority over the student nor does the student take advantage of obtaining possible advantages from the teacher to the detriment of the rest of the students.
In the final moments, Nekoto will reveal to Sahara that she always loved him, but she refused to be his boyfriend because she did not want to be a burden on him, since Sahara was destined to be a star swimmer and fear that a relationship with him would obstruct her future.
Learning the truth from Nekoto himself will allow Sahara to heal her still open wounds. Sahara can now close a page of pain in her life that meant rejecting her love for the man she loved. Now Sahara can be happy with Toki because Nekoto's ghost will no longer haunt him.
This revelation opens up a range of possibilities for Sahara between rescuing her relationship with someone she knows well, of the same age, someone with whom she shares beautiful memories and indestructible ties, on the one hand, and, on the other, with a new love like Toki. As we could see, Sahara chose Toki. Sahara distinguished the person he loves today above the person he loved in the past, despite the latent age difference, or that one is a minor or the teacher-student relationship. This contributes to debunking the myth of teacher-student romance.
The Japanese use kintsugi as a perfect metaphor for resilience because not only is the damaged piece of pottery repaired, but even it becomes more beautiful, stronger and more valuable. This centuries-old technique consists of reassembling ceramic pieces that have broken or developed cracks with resin mixed with gold dust.
Toki-kun becomes a potter who heals Sahara-sensei's wounds through kintsugi. The professor sees himself as a heartbroken person. He needs to get over falling out of love. The student becomes the new love that repairs the broken pieces of the teacher's life with golden strips to make it stronger, more resilient. I do not doubt that in his thoughts, Sahara-sensei asks Toki-kun not to abandon him, since without him he will once again feel empty, destroyed, hollow. A person in these circumstances gives themselves to their loved one with devotion. I would never hurt her. I would never try to lie to you, manipulate you, hurt you.
Regardless of the possible interpretations, what there is no doubt about is the ability of the director and screenwriter to dismantle a myth, give other causes to the theme of homosexuality in dramas, make the BL genre thunder, shake it up. , wake him up and dress him long in fine and new clothing, due to both the effectiveness and the organicity with which the creators integrate an entire arsenal of romantic cinema resources into the narrative.

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Miniseries in which Tar and Bom break the fourth wall and stand out for their joy and monologues

The miniseries 'You Made My Day' (Thai title ชื่นใจไปทุกวัน), also known as 'Refreshed Every Day', 'You Make My Day', 'Chuenjai Pai Tuk Wan' and 'Chuenchai Pai Thuk Wan') us brings back to the screen the actors Tar Atiwat Saengtien and Bom Tanawat Uthaikitwanit, the protagonists of the LGBT+-themed comedy-drama 'I Will Knock You', broadcast by AIS Play and Channel 3, between November 2022 and February of the following year.
Those people who, like me, enjoyed the story that revolves around the romance between "Thi" Thiwa Ananbhuchai, the boy who combines his university studies with his part-time job as a tutor, and Noey Watphlu, the leader of a gang, that behind the tough guy façade there really is a noble and ridiculously stupid boy, now you will have the opportunity to see these two actors again in a miniseries of 5 episodes of about 8 minutes each.
Playing themselves, the two protagonists of 'I Will Knock You' give us a beautiful story about two friends who, driven by circumstances, fulfill a mission every day, such as preparing a surprise party for Tar's mother or traveling the city looking for Bunny, his missing dog.
In this way, the series invites us to travel with the protagonists through the streets of Bangkok, visit its temples, monuments and other sites of historical and cultural interest, appreciate Thai cuisine, navigate the rivers that cross said capital, while we learn about various interesting aspects of the Southeast Asian country.
With the aim of promoting Minzz inhalers, we could define 'You Made My Day' as a commercial advertisement turned into a miniseries. This type of television product fails to win over BL followers. However, due to the lack of budget, many creators and actors have had to accept financial proposals from companies to carry out their projects.
I like the way in which, indifferently, both actors become main narrators and break the fourth wall by addressing the viewer to introduce themselves or ask them to encourage them to carry out the missions to be carried out in each episode, causing the audience to form part of the work.
I like the way in which, indifferently, both actors become main narrators and break the fourth wall by addressing the viewer to introduce themselves or ask them to encourage them to carry out the missions in each episode, allowing the audience to become part of the work.
Likewise, I like the monologues that the characters use, now one, now the other, to define traits of their personality or so that the audience can get to know their most intimate thoughts without the need for a narrator to intervene.
Tar and Bom carry on their shoulders a miniseries full of sweetness and tenderness, in which the chemistry and charisma of the characters, the festive color palette, the music and the contagious joy of the protagonists, make us all hope that a From moment to moment the two friends become lovers.
There are still three episodes left until the conclusion of 'You Make My Day'. We will continue to support the miniseries until the end.

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A series to sink our fangs and leave us bloodless

Vampires have been a fascination in both film and television. These beings have flooded literature and horror films and series, given the mystery and fascination that the public has felt for them. It is normal if we take into account that these mysterious and seductive subjects sleep in coffins, feed on the blood of their victims and cannot stand sunlight, among other attractive qualities for the public.
Film and television have also witnessed various versions of vampires who have developed a homosexual love relationship, such as the one between Tom Cruise and Brad Pitt giving life to Lestat and Louis, respectively, in 'Interview with the Vampire' (1994). ), by Neil Jordan, based in turn on the 'Vampire Chronicles' saga (1976-2014) by Anne Rice, in which various characters alternate with intense homoerotic content.
As a symbol of transgressive and predatory sexuality, homosexuality in vampirism has been used as a cinematographic resource. Already in 19th century literature, it was present to show the vampire as a metaphor for homosexuality where "the undead" is a creature that appears human but must hide its true nature to avoid rejection and persecution from the society that surrounds it. . Television series have contributed to reconfiguring the figure of the vampire.
As a type of literature aimed at a homosexual audience developed during the 20th century, the vampire lost its transgressive sexuality as part of its predatory nature, and homosexuality became just another feature of it, without a clear difference from the homosexuality.
Male vampire homosexuality appears directly reflected for the first time as a comic element in 'The Fearless Vampire Killers' (1967), by Roman Polanski, where the first gay vampire on film appears, the effeminate son of Count Von Krolock.
On television, vampire homosexuality has appeared very occasionally. The main vampire and gay-themed television series is 'The Lair', produced by here! in 2007, a work that is aimed mainly at a homosexual audience.
For its part, the Chilean horror and romance soap opera 'Conde Vrolok', written by Pablo Illanes and produced by Televisión Nacional de Chile in 2009, shows one of its characters, Úrsula Donoso, having lesbian relationships with several women in the plot. .
The American dark fantasy horror television series 'True Blood', produced and created by Allan Ball and based on 'The Southern Vampire Mysteries', a series of novels by Charlaine Harris, features vampiric lesbianism in the figures of vampires Pam de Beaufort and Sophie-Anne Leclerq.
Along with GMMTV's 'My Golden Blood', 'My God! Vampire, Very Good' and 'The Vampire Project', from Studio Wabi Sabi, '1000 Years Old' tells a vampire-themed story.
Something in common that the aforementioned titles have with each other is that their premise is to intrigue and entertain the public with strong doses of mystery and action with a mix of a captivating supernatural plot and a love story between boys.
The series, which makes no apologies for its queerness with enough content of a homosexual vampire loving a boy, gives off strong homoerotic vibes to please all fans of the genre.
The drama, which depicts a blossoming romance between a vampire who has lived for almost a thousand years and a human, marks the return of Nutchapol Cheevapanyaroj (Shane) in a BL, now as the main protagonist, after 'My Engineer' (2020). He is joined by promising rookie actor Kritsapatorn Napawiwattanaku (Opal), who makes his debut in a drama and does so in a genre in which he can show off his artistic talent: BL.
From the first episode it can be seen that the series has proposed giving a supernatural twist to the traditional BL genre, by exploring an unlikely relationship between a vampire and a human.
The tone of comedy is very positive as a key element to expose the story between moments of humor and others of romance, while the characters face the unique challenges that this dynamic brings.
In this supernatural romance, what will be Yo's reaction when he discovers the truth behind Pun's identity? Will someone try to interfere with their romance? Can love materialize? Will a vampire and a human be able to love each other? Will this love end beautifully and be timeless like the longevity of vampires?
Pun, a mysterious and cool young man, has lived a simple life as an ordinary person. Around him, people are born, grow old and die, and he remains with a face similar to that of a 25-year-old young man. He lives alone in an apartment and rarely goes outside, only to go to a store near his house where he buys pig's blood soup. This is also the favorite restaurant of Yo, a third-year student who also enjoys Pun's favorite dish. This is where the two protagonists will meet.
From the first meeting, both feel a strong connection after introducing themselves with their respective names. From that moment on, they will deepen the bond. Yo begins to know the truth behind Pun: he was actually not a normal human being, but a vampire who had been living in this world for over a thousand years. He will be struck by the fact that his new friend uses the pronoun "I" to refer to himself and calls others by "sir", which is unusual for teenagers these days.
Only I know Pun's well-kept secret, with whom he has begun to open up and trust him with even his own life. Pun did not want to reveal it to anyone else, fearful of what might happen to him if the truth were revealed. Now, why does Pun agree to tell Yo everything? As his feelings for his friend grow stronger, Pun will understand that he wants to grow a love relationship between the two.
Unlike other series about vampires, Champ Weerachit Thongjil's “monster” is the most human and sensitive monster that any viewer will ever encounter. Its creator has let romance arise freely and spontaneously between these two beings totally opposite to each other.
The series does not shy away from intimate moments, both emotional and physical, between our two protagonists.
With this new BL romantic comedy by Champ Weerachit Thongjil, the same director of '2gether The Series', 'Kiss Me Again: Pete-Kao' and 'I Will Knock You', a collaboration project is established between the production companies Feel Good Bangkok and Study H8.
Since the very announcement of '1000 Years Old', fans have been extremely happy for the BL series and are shouting their joy on social media. “The love between the two will be eternal”, “They are both happy” or “This vampire will sink his teeth into you and leave you without blood”, are some of the most striking comments.
Also starring are Mind Sathittha Sinsakhan (as Kaemsai), Looktan Phusanisa Faichaipakdee (Yam), Boy YourMOOD (Chin), Jo Ployukon Rojanakatanyu (Phakwan), Mae Warisara Asawapattanakul (Bowie), Poon Mitphakdee (Chalui), Boss Natthakit Sangwankitruechai (Somchai), Jomjam Kanpitcha Phongphanit (Chanja).

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A story closer to real life than the usual BL and an ode to indie cinema

Hope (Night Yodsakon Khamnang) is a fried dumpling seller. Nine (Kong Chindanai Boonruang) is an actor from the Chiang Mai BL production company, who reluctantly accepts a leading role in a new boy love series. The young man is reluctant to the proposal of York (Sak Kidtisag Makongrach), the director of the company, to be part of a new couple to replace the one formed by the main cast, whose members were forced to abandon the film project after the expiration of their contracts.
The worlds of Hope and Nine intersect when the former parks his sales cart in front of the production company and in one of those turns of life the young people meet. The two begin a journey when they realize that they are united by unexpected and uncontrollable feelings.
I highly value series like 'My Star', from Wayufilm Production, for the same reason that others will surely deny it: good execution, level of acting, filming and production, despite its low budget; characters far from the clichés of attractive boys that populate BL series, many of them with nothing to contribute other than their beautiful faces and contoured bodies; simple stories that are much closer to real life, truly passionate actors and a production team in each installment, and a firm determination not to kneel before the giants of the entertainment world with their very common mediocre stories interested only in making money, and whose proposals frequently fail, among other reasons, for not taking their fans seriously.
We are faced with a Thai BL that is not cheesy and unpleasant. The couple has very good chemistry. They are actors who have starred in other projects, such as 'LGBTQ+ Dramas Season 2', 'Our First Time' or 'Midnight Love', among others, and they know each other well.
Furthermore, the editing team chose exceptional music to accompany the miniseries.
I also appreciate the tenacity of the creators to not succumb to the dictates and whims of commercial companies, eager to contribute funds to the production of many BL audiovisuals in exchange for advertising their products, something that we frequently criticize in other series of the genre, thus respecting Wayufilm Production its ethics and principle of being a production company that is committed to indie cinema.
'My Star' can be considered within the name of independent cinema because it has a low budget, is made in more precarious conditions than the so-called official cinema, deals with everyday themes and is closer to the public, lacks mass distribution and, therefore, having fewer possibilities of obtaining large income and being made by a director outside the world of large production companies.
Being able to film without falling into the rigid schemes of the studio system is one of the highest aspirations of every director.
Written and directed by Thai filmmaker Nitchapoom Chaianun, CEO of WayuFilm and founder of MongKlong Studio and GoodJob VDO, 'My Star' joins other dramatized films of his authorship that address issues related to sexuality and gender identity, such as since he debuted with his first short film 'Fresh' (เฟรชเฉิ่ม), in 2006, which was followed by 'Fresh Cool Story 2' (เรื่องเฟรชเฉิ่ม 2).
Determined to delicately portray the diversity of human relationships, dismantling the prevailing stereotypes regarding what is "normal", and contributing to the struggle of Thai LGBT people, Nicchi, as he likes to call himself, has obtained popular recognition with his films and series BL-themed feature films such as the feature film 'My Bromance' (พี่ชาย, RTGS: Phi Chai), 'My Bromance 2: 5 Year Later: The Series', 'My Bromance: Reunion', 'Key Love', 'NightTime', ' The Rain Stories', 'Yantra' (อาถรรพ์ยันต์มหาเสน่ห์), among others.

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Mos Panuwat Sopradit and Bank Mondop Heamtan join forces again to lead the cast of the series 'SunsetxVibes', a piece that shines in the BL universe like the name of the company where the protagonists work.
The Thai director, screenwriter and assistant director Mi Puwadon Naosopa ('Secret Theory of Kissing', 'City of Stars') convened a team of writers, composed of, in addition to himself, his colleague Somchai Tidsanawoot, known for writing ' Lovely Writer', 'Hidden Agenda', 'I Feel You Linger in the Air', and newcomers Nunt Thongngamkham and Baifern Ataya Sawatdee, to adapt the web novel "Sunsetxvibes" (เพียงชลาลัย) by Rosesarin, and place, in the competitive business world, this suggestive variation on the theme of two young people who meet by chance one night and the next day discover that one is the newly appointed director of a large fine jewelry company and the other his new employee.
After 'Big Dragon', the series that introduced the MosBank ship in 2022, both actors participated in 'Y Journey: Stay Like a Local' and 'Club Friday Season 15: Moments & Memories', in the first two both as protagonists and in the latter having Bank as a supporting actor.
However, despite its powerful cast, made up of renowned actors and actresses, the undeniable chemistry between the protagonists, the predictable multiple romantic relationships, including perhaps a lesbian one; the beautiful cinematography, its contemporary style, the brilliant visual effects, its majestic soundtrack, the clarity with which the story is conceived on paper, the pulse with which the direction channels it through the production, and the way of defend it from Mos and Bank, the series, like its predecessors, does not enjoy the approval of the public, and I fear that the cause does not have to do precisely with the audiovisual product, but with the "trauma" that 'Big Dragon' left in many fans of the BL, as many CDM users recognize.
Someone could tell me that the problem lies in the fact that they do not accept that one of the protagonists hides their identity from the other, but, although the series must generate a conflict to be resolved with consequent personal growth, in my view, the problem does not come from hence, since the low ratings are observed from episode 1 itself, when the young people had not yet met in person. In other words, no one could know what would happen between them. The comments make it clear.
They have not given the series the benefit of the doubt and without thinking they have sent it to the slaughterhouse for reminding them of the disappointment they got (we got) with 'Big Dragon'.
I believe it is time to grow as we demand of our narrative heroes. It is not logical, fair or ethical to judge an audiovisual product because it reminds us of a frustration.
Let's trust that this time there will be an explosive, mature, healthy romance, and that we will come to identify with the feelings, the emotions of the characters.
Let's wait for warm atmospheres to be created with which we can identify and empathize with the story, so that we see ourselves reflected in the protagonists.
Let's trust that we will delight in a full love story, without red flags (as there were in 'Big Dragon') and that the proposed premise, the intellectual potential and the good intentions of the team behind the camera, the cinematographic resources at the reach of the creators and the undeniable artistic abilities of the cast.
Let's hope that the intrigue and the outcome surprise us, provide us with the satisfaction of our expectations and we can believe that love can change the course of a story, a relationship, even the universe, and feel that magic and passion can exist even if be it in television series.
There will be time to send it to the stake if it fails to meet our expectations.
For the moment, I say my YES for 'SunsetxVibes' and I hope, as on other occasions, that MDL allows me to return to this review to update it.
Thank you.

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