Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko 2024 (English title: A World Where Everything Definitely Becomes BL vs. the Man Who Definitely Doesn't Want to be in a BL 3 / (絶対BLになる世界VS絶対BLになりたくない男) by Konkichi (紺吉)), continues the story of Mob (Inukai Atsuhiro), the young university student who lived a monotonous but quiet existence until he discovers the true reality of his existence: he is a secondary character in a Boy's Love manga.
From that moment on, he decides to dedicate all his energy to fighting against that reality, to preserve his heterosexuality at any price and not to let himself be carried away by the seductive reality in which he lives... until he falls in love with a boy, Kikuchi (Asahi Itō). , who rejects him just at the moment when our protagonist declares his love for him.
Directed by Ryuichi Honda and Tatsuya Aoki, and scripts written by Izumi Kawasaki, the series has two previous seasons: the first, premiered on TV Asahi in March 2021, and the second broadcast in March 2022.
Erina Koyama returns to take charge of the music. Meanwhile, the seven-member dance vocal group GENIC performs the theme song: "New Game!!".
The drama is not exactly a BL series but a parody of the genre, celebrating and subverting the most common Boys Love tropes.
Will the protagonist manage to fall in love? Will Kikuchi return to Mob's life, after rejecting him to return to Igarashi, her handsome boyfriend? Will Mob open his mind again after the initial setback and finally find love in a boy? Will Mob prefer to continue being a supporting character? Will he let the other couples, including his brother Ayato and his boyfriend Toujou, be the center of attention while he chooses to stay out of it? Will he decide to maintain his identity as a passerby or will he once again become the protagonist of the BL world?
The drama is a live-action adaptation of the manga series "Zettai BL ni Naru Sekai VS Zettai BL ni Naritakunai Otoko" (絶対BLになる世界VS絶対BLになりたくない男), created by Konkichi (紺吉) and initially released in November 2018 on pixiv Comic, and subsequently published by Shodensha's Feel Comics FC Jam label, currently reaching four compilation volumes.
In addition to the actors already mentioned, the cast is reinforced by Yūtarō Goto in the role of Ayato (excellent in the LGBT+ romantic comedy-drama 'Zenra Meshi'), playing the role of Mob's younger brother; Akihisa Shiono as Toujou, Ryō Sekoguchi as Hatano, Wada Hayate as Mayama, Yuya Tominaga as Jōji, a schoolmate of Mob, and many other Japanese actors and actresses.
The introduction of many secondary characters and guest artists, as well as irrelevant plots, which do not contribute much to the general approach, in order to keep the audience entertained, works against it. It is common practice in most series, but sometimes it gets twisted.
And here, to make matters worse, these gloating largely undermine the cohesion and coherence of the proposal. In fact, the creators did not hesitate to violate the initial conceptions of some secondary characters, in order to adapt them to the emerging needs of the narrative.
Let's hope that in this installment the shot is rectified and it manages to close with sufficiently attractive conclusions to sustain the expected adventures of the protagonist, which will surely be taken up in a later season.
However, the viewer has had to forgive many inconsistencies and more or less drastic or hasty solutions, of various characters and conflicts, and especially of the initial approach, since the series does not manage to fully embrace the madness of the original premise present in the sleeve. It is true that, for example, it manages to make fun of the BL topics contained in Konkichi's work, but the drama in all seasons has stayed with the most conventional ones and has left aside the truly ridiculous ones that would elevate the final result.
I am referring, for example, to everything related to attractive male ghosts that one can only get rid of by hiring the services of an exorcist (equally attractive, of course), something that also happens frequently to Mob in the manga, but It has not been incorporated into the series, and this has an impact on the story.
It is also regrettable that while the manga is made up of very short chapters that go to the essence of the main plot, in the series, despite the fact that each episode has an average duration of 25 minutes and is divided into two segments, it is not possible to the same effect of immediacy that it would have if they were a series of short sketches.
This season may hold surprises, associated with the fate of the character played by Inukai Atsuhiro, a charismatic and ductile actor who in moments of humor achieves hysterical reactions, exaggerated expressions and clownish gestures, but in moments of greater drama he reinvents himself in gesture and restraint.
If someone asked me: What's so special about the series? I would answer that I can't help but compare this one with the previous two seasons:
- A romantic drama that radiates a humorous vibe from the first season.
- A series that sacrifices its humor to show more romance and sentimentality in each installment.
- A comedy that draws attention for its exaggerated reactions and scenarios, such as Mob employing the strategy of "sacrificing" anyone who is nearby instead of being the new love interest or target of the young people in love who surround him and who try to win him over, or the frequent extravagant moments such as finding an attractive stranger unconscious on the street and suggesting that others take him home to recover, something that Mob admits happens to him several times a month and that always happens long wishing him that someone else would take care of the young man and that they would be happy together.
- A protagonist who gains maturity in each season, especially by abandoning his initial outright rejection of BL and gaining understanding of the loves between boys.
- Greater romantic interaction between the characters than in previous seasons.
-The idea of ​​Mob continuing to break the fourth wall.
- It offers a unique possibility of making the public enjoy a plot so absurd that it gives rise to a multitude of ridiculous and quite funny situations that mercilessly mock all the clichés and common places of mangas and BL series.
- Inukai Atsuhiro's solid performance and his extraordinary expressive force.
- The hope that the many supporting actors and guests will become more memorable characters by having greater developments in their personalities and backstory.

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More than friends in a homophobic country whose army punishes homosexuals with triple humiliation

'Just Friends?' (친구사이? / Chingu sai?), a South Korean short film that follows two young people who are not just friends, but something more.
Starring Lee Je-Hoon and Yeon Woo-jin (sometimes credited by his former stage name, Seo Ji-hoo), the short film follows the secret romance between Seok Yi, a college student who works part-time at a restaurant and faces the dilemma of whether to leave school to focus on his culinary aspirations or fulfill his mandatory military service, and Min Soo, a young soldier who is serving in the armed forces.
For some time they have planned to enjoy a romantic weekend, and Seok Yi travels to the city near the South Korean capital where the military base is located to meet Min Soo again and be able to carry out his plans, but they will not go as planned. While they are enjoying their meeting, Min Soo's mother appears, who has also gone to visit her son and is unaware of the bond between the young people.
When the mother (Lee Seon-joo) asks him about their relationship, so as not to reveal the truth, Min Soo replies, "...we are just friends."
With his mother, Min Soo has a close relationship. We'll see how she playfully makes fun of him, asking him if he's not going to sleep on her chest, and reminds him that he used to call her "boob mom," and he responds that's how he acted when he was little, and then confesses to Seok Yi , who sleeps next to him after missing the last train, who as a child used to sleep on his mother's chest to cheer himself up.
In this way, Kim Jho Gwang-soo, as writer and director, is weaving a story in this short film of the youth romantic comedy-drama genre with an LGBT+ theme that, released in 2009, aims, in addition to telling us about another cycle of release coming out of the closet, showing, with naturalness and simplicity, the relationship between gay men and their families in a conservative society where parents consider any homosexual act a crime.
It is also proposed to denounce homophobia within the Army and South Korean society in general, as well as to make visible the risks, including criminal ones, to which homosexuals are exposed in the military forces of said country.
The denunciation of institutionalized homophobia in the army is shown in a very subtle way. After arriving at the military base in Cheorwon to meet her boyfriend, after traveling from Seoul, Seok Yi has to fill out a contact form in which she must state, among other details, what relationship she has with the person she is contacting what a visit
Elated to be able to see Min Soo after a while, when answering this question in the official document he writes the word "lover". Realizing the risks that his mistake entails for both him and the soldier, he tries to obtain a new form to write "friend" and thus circumvent any suspicion about the type of relationship that both maintain, but when he fails to obtain it, he is forced to carefully cross out what is written and in its place draw the other word.
Homophobia will haunt them throughout the short film, which lasts about 30 minutes. The fear of suffering from it if they are exposed as homosexuals is shown in various ways, and the two lovers will have the urgent need to hide their homosexuality to comply with what a conservative country with strong patriarchal and heteronormative traditions demands of them.
For example, Seok Yi strikes up a conversation with Chae Eun (Lee Chae Eun), a girl on the bus in which he makes the trip and with whom he will be very careful to avoid pronouns when referring to her boyfriend. He will show her a homemade cherry candy he made himself to share with her boyfriend. However, at the moment he delivers the gift to Min Soo, he notices the presence of the girl, who is watching the lovers from a nearby table. Seok Yi's hasty reaction is to snatch the dessert from Min Soo's hands and put it back in a bag, as he had assured the young woman moments before on the road that it was a gift for her partner.
Internalized homophobia as an accompaniment to homophobia is also reflected. Seok Yi will reject Min Soo when he approaches him to kiss him in public and will not shake his hand in the street so as not to be a victim of hatred and intolerance, and will tell the girl who returns with him to Seoul: " Today I also hate being a man!" This is how he expresses feeling harassed and excluded by his loved ones and society.
In its second part, 'Just Friends?' It is filled with joy, enthusiasm and hope. While Min Soo sings a sad but hopeful song to her mother that reflects the feeling that despite liking men she will become happy with the person she loves, we will see the two lovers reunited again, after Min Soo obtains a period of leave from military service.
He will go to look for Seok Yi at work and both will walk the streets of Seoul showing their love in public.
Min Soo has found the exact words to describe the person he will introduce to his mother: "I want you to meet my boyfriend."
The lovers are ready to combat the discrimination that awaits them, after acquiring a mutual, shared feeling that allows them to overcome the feeling of shame and self-exclusion.
'Just Friends?' It has a happy ending that proudly celebrates the love, identity and struggle of homosexuals for their freedom and happiness, and it is something to celebrate doubly, since the short film is a pioneer in South Korea by reflecting a homosexual relationship in a country where Today, in the 21st century, there is resistance to recognizing equal marriage, and even more so against the backdrop of that country's army.
South Korea is a conservative society and the only developed economy in the world in which consensual sexual relations between two men are a crime under military law, and if discovered and charged, every officer or soldier potentially faces a triple humiliation: a sentence penal, an exclusion from the army for unworthiness and a forced coming out of the closet in the face of society and his parents, who describe themselves as "conservative and devout Christians", as the short film clearly reflects on Min Soo's mother.
Intentionally and intelligently, Kim Jho Gwang-soo places one of his protagonists involved in the army of a nation in which, according to article 92.6 of its Military Penal Code, soldiers who have homosexual relations face two years in prison and forced labor if convicted by a court-martial.
Based on his own personal experiences as a gay man, the director and screenwriter expressed, "I wanted to create a real gay film with 99.9% purity, after observing that many Korean films in the past contained misleading depictions of homosexuals." Kim also stated that after completing her 2009 short, 'Boy Meets Boy', which focuses on a first romantic encounter of two teenagers, she wanted to create a successor that involved more mature themes.
Produced by the company Generation Blue Films, in collaboration with Korean Gay Men's Human Rights Group Chingusai, which shares the same name as the film's Korean title, 'Just Friends'? It had its world premiere at the 14th Pusan ​​International Film Festival on October 10, 2009. Before its theatrical release on December 17 of the same year, it was screened at the 35th Seoul Independent Film Festival. The following year, the work was screened at film festivals in Italy, the United States, Japan and Hong Kong.
With music by Kim Dong-wook, photography by Kim Myeong-Joon and editing by Nam Na-yeong, the film, due to its subject matter, has been involved in a rating and censorship controversy.
Before its release, the Korean Media Rating Board (KMRB) called the film's trailer "harmful to youth." In November 2009, KMRB gave the film a "restricted to teens" (19+) rating, citing "sexual situations" and "risk of imitation."
This decision generated criticism from artists, intellectuals, and politicians, who argued that the KMRB was reviewing homosexual-themed films with different criteria than heterosexual-themed films.
In September 2010, the film's producers, Generation Blue Films and Chingusai, filed an administrative contentious lawsuit against the KMRB, asking the Seoul Administrative Court to cancel the film's classification. The court ruled in favor of the plaintiffs on September 9, stating that the film "provides understanding and education about minorities." Despite this, 'Just Friends?', 15 years after its release, continues to be condemned by the most conservative members of a society who still claim that the film contains scenes that "would provoke sexual curiosity in young people."
'Just Friends?' has other values, being Kim Jho Kwang-soo's second film work as director and screenwriter, the second collaboration between this filmmaker and screenwriter Min Yong Keun, and presenting for the second time Min Soo and Seok Yi, two characters that the The previous year he introduced them to form the protagonist couple of the short film 'Boy Meets Boy', also following up Min Soo in 'Love 100°', another short film he authored, from 2010.

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Disappointing because manipulative

When will BLs reflect the real diversity of the LGBT+ community in Thai society?

Something missing from 'To Be Continued' is a convincing explanation of why Ji has rejected Achi for over 10 years.
It is evident that while Achi fully accepts her sexuality, Ji hides it and does not want to acknowledge it. That's why he approaches a girl, but still doesn't decide to make her fall in love with him. It can't be any other way: he is gay. He hides his homosexuality and denies his love to the person he loves. He is a victim of internalized homophobia.
Ji knows his place in an inhospitable world, but he doesn't dare to position himself in it. Ji lives in a world built by and for the heterosexual man. He lives in a heteronormative society that still discriminates against homosexuals, harasses them, persecutes them and excludes them.
Ji, like the other members of the Thai LGBT community, is a man who lives surrounded by heterosexual stimuli everywhere. And everything that goes beyond the "normative" is viewed with suspicion and incomprehension and even hatred. Anyone who dares to feel differently runs the risk of being separated and excluded from the group. As an animal of habit, Ji is afraid of the unknown, he doesn't really know how to act when faced with what is different from him and those who are like him. That is why he chooses to sacrifice his love to try not to be attacked, cornered, ignored.
In series like 'The Promise' a boy hides being in love with his friend, but his decision not to confess his love is justified for fear of breaking the relationship between the two, but he also damages the friendship by putting distance for 10 years, which It is also excessive.
But that's not the point in 'To Be…'. Here the two boys are in love. And while one is open to the relationship, the other does not dare to take the next step. They are in a world and a society that prevents them from leaving the established rules. Going outside the norm has always implied social exclusion. They know each other and love each other. But out of fear Ji does not open himself to love. The series fails to be convincing about why two men who love each other and have no other impediment than the one indicated above, can declare their love and be together.
When will the creators of BL series stop being afraid to demonstrate in their works that love and feelings have no borders?
The question is that Thai BL series have not yet decided to address the reality of LGBT+ people in that country. Until now, BL dramas tell us two very different realities. Although the "positive representation" of relationships between male characters is celebrated, in the sense that they are no longer always synonymous with tragedy or come with a strong load of stereotypes, the genre of love dramas between boys does not show representations close to the Thai reality.
BL series generally focus on “young love,” omitting the realities faced by gay men in Thailand, who still do not have basic rights such as equal marriage. This leads many viewers to misunderstand that Thailand is a gay paradise. And that is not true.
Even homosexual romance dramas are broadcast with the intention of not disturbing "the tranquility and sleep" of the most conservative sectors of the country. The episodes of the BL series are broadcast on alternative platforms through smartphones and digital devices, in order not to interfere with the usual TV soap opera programming.
When will BL series come to reflect the real diversity of the LGBT+ community in Thai society? While dozens of BL series are produced and broadcast each year, stigma and discrimination against LGBT+ people continue to occur within society. When will the creators and directors of television channels understand that making homoaffective representations in BL series more nuanced and political could bring important and positive changes in a society that is beginning to observe its diversity through television creations?
Why do two young people of the same sex, like Ji and Achi, live 10 years of their lives apart, suffering, dying in life, despite loving each other? What prevents you from living a life together, as you wish? While Achi fully accepts her sexuality, Ji hides it and does not want to acknowledge it. And I answered myself: "The reason is that same-sex marriage is still not recognized in Thailand." And he argued that Ji is a victim of internalized homophobia. Ji represents one of those hundreds of thousands, perhaps millions, of young homosexuals in the world forced to hide their homosexuality to comply with what a conservative society with strong patriarchal and heteronormative traditions demands of them.
In the South Korean BL series 'Jazz for Two', broadcast in parallel with 'To Be Continued, three of its protagonists are also victims of internalized homophobia. Tae Yi, one of its main protagonists, is a victim of the discrimination, rejection or shame he feels towards his own sexual orientation or gender identity, living, like Ji, in a society that stigmatizes and represses sexual diversity.
But the creators of the Korean series did not hesitate or mince their words when addressing this complex and current topic. By exposing the reason why Tae Yi rejected Seo-Hun, the series put its finger on the sore spot and, in addition to making internalized homophobia visible and generating debate and reflection on this issue, it denounced a homophobic society. What courage on the part of the actors, the production team and the directors of the television channels, taking into account that South Korea, like Thailand, is a society in which, despite the fact that sexual activity between people of the same sex is Legal, Gay Marriage, Equal Marriage or Same-Sex Marriage or other forms of legal partnership are not available to same-sex couples.
To argue my point of view, I allow myself a spoiler: Towards the end of the series we will learn that Ji and Achi have suffered a voluntary separation for 10 years due to "a simple misunderstanding." Let no one justify that "they lacked communication or were very young." They are the same age as Tae Yi and the rest of the young high school students in the aforementioned South Korean series. How can "a simple misunderstanding" be credible as such a crude justification for the human suffering, represented in these two young people?
Ji and Achi did not lack communication or experience due to their young age. Ji and Achi lacked the courage of the creators to address sensitive topics, such as internalized homophobia and the homophobia itself present in Thai society.
Ji and Achi lacked the courage of the creators to denounce the harassment and discrimination suffered by real, flesh-and-blood gay youth depicted in Thai BL fiction.
Ji and Achi lacked the courage of the creators to criticize the discourse that seeks to suffocate minorities by stating that being homosexual is something abnormal and depraved.
Ji and Achi lacked the courage of the creators to propose to reflect on real and tangible issues that the members of the Thai LGBT+ community have suffered and suffer, who have been affected by that intrinsic message that society constantly sends you and that tells you that You are not normal, that there is something wrong with you and that you have to hide, make yourself invisible.
It is unfortunate and very questionable to witness how BL lovers set themselves up as censors in the face of reviews like this and, feeling attacked by a critical intellectual exercise and having no arguments to refute the author's approaches, they choose, through trivial arguments, to question the sincerity of someone who carries out a critical analysis with objective criteria, without being carried away by their own tastes or passions.

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Just a week ago I wrote a post on MDL about this story. The text can still be read. At that moment I asked myself several questions: is this the story of a wounded boy looking for “revenge” after feeling betrayed by his girlfriend? Is it perhaps the story of an escort who unexpectedly falls in love with one of his potential clients? Has Third carefully chosen Pai or is it just a coincidence that it is this boy who accompanies him and not another? Then other questions would arise: Is the viewer facing a skillful and sexy game of cat and mouse while camping? Will it be the beginning of a tumultuous romantic relationship?
I must confess that the second part of the story completely changed the perception I initially had of the film. It has a terrible script and the performances leave a lot to be desired, but it has in its favor that it addresses prostitution, both male and female, an interesting topic that is little addressed in the context of BL series. The narrative is also unpredictable, since the viewer is not able to predict what will happen next. It is also worth noting the surprising twists with which they catch us from time to time.
Negative:
1- The retrospective flashback technique is used as an easy and “recurrent” resource. Its abuse means that at times the viewer does not know what the main plot is, whether what is told in so many flashbacks or the backstory. As a result, we have the main plot lose intensity and prominence in favor of the recurring memories of the two main characters.
2- Repetition of scenes in their entirety.
Movie summary (Contains spoiler):
Third is a young man who learns that his girlfriend, Ann, is dedicated, through a digital application, to being hired by women to work as a companion or scort. One day he follows her and discovers that her job also includes prostitution. Finally, Third finds out that Ann has set her eyes on a young woman, is in love and intends to start a lesbian relationship with her. Third and Ann ask to have a week apart to reevaluate their relationship.
For his part, Pai is a young man also dedicated to prostitution. In fact, his girlfriend has just broken up with him because she refused to accept him doing this job. He is reluctant to submit to his girlfriend's whims, claiming that if he depended on her he would become useless again. There is no doubt that prostitution is Pai's profession. At one point, he asks Third: “And if we want to say no when (clients) want to have sex, how do we compensate them in a way that makes them feel less bad and avoids bad reviews?”
Pai's proposal to his girlfriend is laughable, as he refuses to break up with her: “I will find a middle ground. I will stop holding hands with my clients. Just dinners, movies and walks. And I will also add a rule: do not touch any customers, especially women.”
Third hires Pai for three days to go into the woods to “watch birds,” but he really has ulterior motives. Third knows in advance that Pai works as an escort or “hand-holding” other men, that is, he is a man you pay to have sex with. And he also knows that the girl his girlfriend is having an affair with is none other than Prang, Pai's girlfriend. Third's goal is to trick Pai into following the two girls and exposing their infidelities.
When the time comes, Third confesses to Pai what his purposes are. Pai initially feels hurt because, on the one hand, he understands that he has been deceived by his girlfriend: while he demanded that she quit her job as an escort or she would break up with him if she did not comply with his requirements, she was having an affair with a woman. And on the other hand, Pai feels that he has been used by Third and is a pawn in his plan. Finally, they both surprise the girls by being unfaithful, they turn to each other for support between drinks of alcoholic beverages and they console each other.
Third is clear: He has no future with his girlfriend, with whom he is forced to break up. This is evidenced when Pai asks Third to make peace with his girlfriend, who he hasn't broken up with yet. And Third responds: “Do you want me to chase my girlfriend and make peace with a person who is in love with someone else?”
On the other hand, Ann confesses that she will stop prostituting herself for love of Prang. The love that the two girls feel for each other is palpable, so it is incomprehensible that, when they discover that they have been trapped by their boyfriends, they claim, between tears, that they have devised a plan to deceive them, offer apologies and hope to be forgiven. for them.
Could the two initial couples forget what happened and start over again when Prang and Ann love each other?
I also find it incomprehensible:
- Ann, who is a prostitute and therefore cheats on her boyfriend, when arguing with Prang about whether they should get back together with their respective boyfriends, tells him that she doesn't want to cheat on anyone or make anyone feel bad because of her. .
- Why, if the two girls love each other, do they ask to forget their relationship and return to their respective boyfriends?
- Was Ann's goal to make Third jealous, as Prang suggested?
- Third is okay with his girlfriend earning money from the dating app, but not being a prostitute?
-How could Prang know that Third would follow Ann into the forest and bring with him Pai, a person he didn't even know?
-How is it possible that the two girls devised a plan to deceive them based on information that it is impossible for them to have had when they planned to go camping?
Third accompanies Pai to the bus that will take him back to Bangkok. They say goodbye, they plan to follow each other on social networks, but at the last moment Pai gets out of the vehicle, returns to where Third is and confesses to having fallen in love with him in those days of tribulations. Third smiles as a sign that he too has fallen in love. At that moment a phone call comes in from Prang. They try to say something to them, but the call is cut off.
The ending allows us to see the emotions and feelings that overwhelm the two couples in their respective cars traveling to the capital. While the two boys talk animatedly, laughing and joking, Pai lovingly fixes the hair of Third, who is driving the car. I have no doubt that there is a future between the two. Love has won. For her part, an obviously upset Ann drives the car and Prang, also angry, tries unsuccessfully to establish telephone communication. They have lost in the game.
The director of the film, Jedi Suriyan Dangintawat, has also directed “I Wish You Love”, “Fake Love” and “Friends Forever”, stories that make up, along with others, the series “My Universe”. I have been able to see the last two. Refund Love is the only redeemable one, in my opinion, even though it lacks ambition (or taste, or subtlety, or class). Not even the sometimes pretended humor comes to compensate for its flaws.

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A story of healing, love and the fusion of two opposite worlds

No one can resist the charm and cuteness of pets; Regardless of whether it is a parrot, rabbit, dog or kitten, they win your heart and little by little they end up being part of the family. Most human beings enjoy spending time with their pet, which is not surprising since while you indulge in the moment, your brain feels happy and secretes "the happiness hormone."
'Love is Like a Cat' (사랑은 고양이처럼), also known as 'Sarangeun Goyang Icheoleom', the romantic comedy from South Korean director Kwon Nam Ki ((권남기), revolves around Piuno (Mew Suppasit - 'What The Duck ', 'TharnType' and 'TharnType2: 7 Years Of Love'), a well-known Thai star who doesn't like animals, and her romance with Lee Dae Byeol (Chu Jimin, known as JM, from the South Korean idol group JUST B), the director of a pet daycare.
Every time he crosses paths with an animal, Piuno remembers a traumatic episode he experienced in his childhood that makes him not want them around. Pets do not awaken that feeling of love or tenderness in him. He suffers from zoophobia. He is aware that this phobia is considered an irrational act of human beings, but he cannot help it.
It has been suggested to him that his "illness" can be treated with professional help, since he can find the necessary support to overcome the trauma and gradually manage to coexist with the animals. But he has not paid interest to the matter, thinking that it would not be of much use to him, and he has moved on with his life.
However, when he finds himself threatened by those who wish to see him brought down, there is only one thing he can do to save his reputation and his career: work at a pet daycare in South Korea.
Putting aside his severe dislike for animals, Piuno begins working alongside Dae Byeol, who will help him find ways to overcome the trauma that first inspired his hatred of animals. This is how he will end up appearing in a reality show set in a pet cafe in Seoul.
But these will not be the only surprises that the protagonist encounters: as his heart begins to soften, unexpected feelings begin to arise for the young owner of the daycare center. What will happen between the cold and enigmatic actor who doesn't believe in love, and the outgoing and romantic pet daycare owner when their lives intersect?
Lovers of the BL genre in general, and of Mew Suppasit, in particular, will be pleased with the reappearance of the renowned Thai actor, singer and producer in a romance drama between two boys of the same sex. On the other hand, JM, his co-star, shows his youthful charms and the dreamy aura of the idol, as well as his talent as an actor, in this, his first appearance in a drama.
In addition to the aforementioned actors, on screen we will see GeonU, also a member of JUST B, also in his acting debut, playing Gi Min, one of the pet daycare workers; and Kim Kyoung Seok ('Hot And Sweet' and 'Someday Office'), as Jun Hyuk, a friend of Dae Byeol and one of his biggest followers. These secondary characters play a very important role and contribute intensity and complexity to the conflicts.
With a seductive cast, in addition to wonderful chemistry, the direction, cinematography, writing, music and staging transport the viewer to a dream and fairy tale universe in which everyone involved, including the Animals, especially dogs, contribute their own, to achieve a series capable of marking a milestone within the genre, as it escapes stereotypes, and shows human beings with their nuances and in various circumstances. The narrative maintains a good rhythm that enhances the emotional closure of each episode and the series in general.
All these details give an idea of ​​the story told to those who still do not know it, a narrative firmly based on the love stories between two young men of different personalities, countries, professions, languages ​​and cultures, but determined to sustain their idyll against all obstacles. , prejudices and cultural, linguistic or temperament divergences. One looks like a dog, while the other looks like a cat.
What an actor lacks because he is new to these issues, the other provides, due to his extensive experience. It's fascinating to watch the couple navigate their uncertain feelings. One of the main reasons audiences will admire the series is the simplicity and relatability of the story, as well as the good visuals.
Although slow, the romance gradually intensifies, allowing 'Love is Like a Cat' to show one of its greatest strengths. With the ability to create many tender moments between the two young people, I would like to see them flirt in the garden of the animal nursery and kiss in the sunny corner of the clinic room, under the knowing gaze of their friends, including those of four paws.
Every affectionate interaction, through beautifully polished images, would be appreciated by the BL fanatic public.
Dae Byeol is a well-defined protagonist. He knows his work and loves animals. He is sincere, responsible and faithful to his friends, both those who bark and the others who accompany him on this journey of taking care of pets and falling in love with a famous television star. His qualities create a memorable character with nuances. His charm emerges once the performer gains confidence in the role he plays. Just then the couple's chemistry strengthens, going from being a little embarrassing at first to building a more comfortable and deeper relationship.
In comparison, Piuno's backstory will also draw the viewer's sympathy with high marks. He likes it more and more, especially when he overcomes the somewhat mysterious, reserved, fearful attitude when encountering the animals for which he has always felt rejection, when leaving behind the weight of the circumstances that forced him to move away from his comfort zone, and when you begin to adapt to the people, the language, the customs, the culture of a foreign country.
The series explores the couple's bond physically, emotionally and spiritually. When I think about how Piuno and Lee Dae Byeol started the story of "strangers to friends and friends to lovers", both of them, side by side, went on an eventful journey. They overcame personality clashes, misunderstandings, and even cultural and language differences. Best of all, there's a lot of cute BL content.
One of the strong and striking points of the series is the fusion of two worlds. Piuno and Dae Byeol come from two different countries and cultures. Their universes will collide when their paths cross. Everything that separates them will not be an impediment for the two main characters to get closer, fall in love and begin a journey in search of happiness.
Each episode aims to ensure that the viewer is not disappointed, that they remain hooked, that they have a closure that lives up to expectations. The technical and artistic teams worked to achieve it. The arc of the characters, their development, as well as the events and conflicts, are very coherent.
The script, the depth of the themes addressed, and the aesthetics with which they are presented, the attention to detail to be as realistic as possible, the convincing performances, with a cast made up of established and young actors and actresses, determine, among others , the elements that mark the success of 'Love is Like a Cat'.
'Love is Like a Cat' is a story of healing and love. In addition to the entertainment factor and the fun and tender interactions between Piuno and Lee Dae Byeol, the series tells a story about overcoming trauma, opening your heart, and falling in love.
The inclusion of the adorable animals will provoke a positive reaction from pet lovers and the general public.
This is one of the four joint Thai-Korean BL projects from Hanyang Studio, from the same WeTV Original production, 'Peach Of Time'. The remaining dramas are 'Eccentric Romance', 'Wuju Bakery' and 'The First Love Manual', scheduled to premiere in 2024.
This collaboration between the two countries demonstrates once again that BL series defend the correct formula to sustain and consolidate the genre with the aim of satisfying an audience that craves authentic and moving love stories.
Personally, I liked the way the plot was executed, subtly exploring the characters' personal stories.
This romantic comedy is designed and taken from the script to the images with the potential audience being fans of the romantic genre in general, since love is universal and knows no genres, as well as fans of romances between boys in particular, and makes it clear that its objective is to portray love, acceptance, self-discovery, sexual diversity, the search for happiness, the influence of reality shows on viewers, the perception of the image of actors and idols by the public. , the pressures of the entertainment industry on artists, the challenges that come with being a queer person in today's world, themes explored through the dynamics of the characters.
Conceived to move people and involve audiences, through the main story and secondary plots, the series proposes to generate controversy about other dominant, current and universal elements, such as the tumultuous relationship between father and son, the love of animals and how they influence children's behavior, workplace camaraderie, sexual exploration, positivity, self-validation, and maturation issues. There are cultural debates and topics related to veterinary medicine and animal adoption, which helps make all the stories relatable.

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Cheng Kai-Xin (Yao Jung Tsai) and Chen Jie (Li-Hsin Money) are two homosexuals involved in a beautiful romance despite keeping it secret. Their tender romantic relationship begins to falter when they both discover what the other is hiding: Kai wants to enter a Catholic seminary to become a pastor, following in his father's footsteps; and her boyfriend plans to go abroad to train as a soccer player.
While Kai asks Jie not to travel to another country as this would mean an immense distance between the two, Jie points out that if Kai becomes a pastor the relationship would also be compromised due to the Catholic Church's opposition to homosexual relationships.
'Icarus' (伊卡洛斯的翅膀 / 'Yi Ka Luo Si De Chi Bang' is a 2017 LGBT+ themed romantic drama, written, directed and edited by filmmaker Alan Chen, which tells us through the characters and their conflicts an authentic myth of our times: that of Icarus, one of the shortest and, at the same time, most complex classical myths.
Produced by Shao-Han Wen and with photography by Meng Chen Hung, the short film tells us that Kai lives trapped with his father, a pastor played by actor Chin-Liang Liao, not on the island of Crete, but in a Taiwanese church. But when he falls in love, Jie is the sun that illuminates his life. However, the more he wants to reach out to his boyfriend, the more he falls into the embrace of the heat.
After Kai learns of his lover's plans, his first reaction is to paint Icarus falling because his wax-glued wings cannot withstand the heat of the sun. When Jie asks him "What did you think about when you drew this?" Kai responds with two questions: "When are you going abroad?" I mean, will our feelings for each other disappear?" It is evident that Kai has come to the conclusion that the path Jie has chosen may result in the end of the existing relationship between the two. But doesn't Kai's decision have the same destructive power?
However, like the story of the myth, the short film leaves us with a variety of interpretations and meanings. These include the one about young people who do not control their impulses and crash immediately, or the one that tells us about an ingenious father and his unfortunate son, both victims of their own ambition.
With Daedalus unable to save his son, many see the story of Icarus as a warning about the dangers of ambition or lack of moderation. Some interpret the story from a more positive perspective, emphasizing the importance of living life fully, even when there are consequences.
Given the backdrop of the Taiwanese Catholic Church, some might take the film text as a metaphor for what can happen to people when they stray from the path of righteousness, assuming that the Church represents this.
Others see Icarus as a symbol of punished youthful recklessness, or the symbol of the rebellion of young people with respect to their parents, but also as a symbol of the innate curiosity of youth, the attraction of risk, the pleasure of adventure, of the interest in learning, of the fever to rise to the top.

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Created to be featured on the variety show "Gozen 0ji no Mori"

'Nekutai magatteru yo', which in English would be translated as "Your necktie is crooked", by Japanese director Ikeda Ayano, is a Thai-Japanese BL short film starring Perth Nakhun Screaigh as Rokko, and Lay Talay Sanguandikul as Ratanapol.
The film marks the return after four years of two of the actors who first participated as a couple in the 2020 Thai BL drama 'My Engineer', playing Ram and King, respectively.
The short film, just 7 minutes long, was created with the purpose of being presented in the variety program "Gozen 0ji no Mori" (Midnight Forest). It is a one-hour Japanese television interview program in which participants talk about a wide variety of topics that have recently happened in Japan during the Reiwa era, the current era of Japan that began in May 2019.
As assistant director of the program "Gozen 0ji no Mori", Ayano Ikeda conceived the idea of ​​interviewing the two actors visiting Japan under the legend "Reunited in Tokyo", while a short dramatized film aired, without great claims, in which both participated, and which also served as a letter of introduction to the public.
Due to the popularity of BL in Japan, the television space has invited Perth on several occasions to talk about Thai dramas of this genre. Taking advantage of the coincidence of Talay being in that nation, he was also invited to present himself.
The short film also pays a kind of tribute to the culture of the two countries, since the story revolves around two young Thais, one of them an actor (Talay) and the other a translator of the Thai-Japanese languages ​​(Perth). , who separated after having had a romance, because each one took a different path to build a future, and now, six years later, for work reasons, they meet again in Japanese lands and, as they are still in love, they have the opportunity to continue their love relationship.

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A story of healing, love and the fusion of two opposite worlds

No one can resist the charm and cuteness of pets; Regardless of whether it is a parrot, rabbit, dog or kitten, they win your heart and little by little they end up being part of the family. Most human beings enjoy spending time with their pet, which is not surprising since while you indulge in the moment, your brain feels happy and secretes "the happiness hormone."
'Love is Like a Cat' (사랑은 고양이처럼), also known as 'Sarangeun Goyang Icheoleom', the romantic comedy from South Korean director Kwon Nam Ki ((권남기), revolves around Piuno (Mew Suppasit - 'What The Duck ', 'TharnType' and 'TharnType2: 7 Years Of Love'), a well-known Thai star who doesn't like animals, and her romance with Lee Dae Byeol (Chu Jimin, known as JM, from the South Korean idol group JUST B), the director of a pet daycare.
Every time he crosses paths with an animal, Piuno remembers a traumatic episode he experienced in his childhood that makes him not want them around. Pets do not awaken that feeling of love or tenderness in him. He suffers from zoophobia. He is aware that this phobia is considered an irrational act of human beings, but he cannot help it.
It has been suggested to him that his "illness" can be treated with professional help, since he can find the necessary support to overcome the trauma and gradually manage to coexist with the animals. But he has not paid interest to the matter, thinking that it would not be of much use to him, and he has moved on with his life.
However, when he finds himself threatened by those who wish to see him brought down, there is only one thing he can do to save his reputation and his career: work at a pet daycare in South Korea.
Putting aside his severe dislike for animals, Piuno begins working alongside Dae Byeol, who will help him find ways to overcome the trauma that first inspired his hatred of animals. This is how he will end up appearing in a reality show set in a pet cafe in Seoul.
But these will not be the only surprises that the protagonist encounters: as his heart begins to soften, unexpected feelings begin to arise for the young owner of the daycare center. What will happen between the cold and enigmatic actor who doesn't believe in love, and the outgoing and romantic pet daycare owner when their lives intersect?
Lovers of the BL genre in general, and of Mew Suppasit, in particular, will be pleased with the reappearance of the renowned Thai actor, singer and producer in a romance drama between two boys of the same sex. On the other hand, JM, his co-star, shows his youthful charms and the dreamy aura of the idol, as well as his talent as an actor, in this, his first appearance in a drama.
In addition to the aforementioned actors, on screen we will see GeonU, also a member of JUST B, also in his acting debut, playing Gi Min, one of the pet daycare workers; and Kim Kyoung Seok ('Hot And Sweet' and 'Someday Office'), as Jun Hyuk, a friend of Dae Byeol and one of his biggest followers. These secondary characters play a very important role and contribute intensity and complexity to the conflicts.
With a seductive cast, in addition to wonderful chemistry, the direction, cinematography, writing, music and staging transport the viewer to a dream and fairy tale universe in which everyone involved, including the Animals, especially dogs, contribute their own, to achieve a series capable of marking a milestone within the genre, as it escapes stereotypes, and shows human beings with their nuances and in various circumstances. The narrative maintains a good rhythm that enhances the emotional closure of each episode and the series in general.
All these details give an idea of ​​the story told to those who still do not know it, a narrative firmly based on the love stories between two young men of different personalities, countries, professions, languages ​​and cultures, but determined to sustain their idyll against all obstacles. , prejudices and cultural, linguistic or temperament divergences. One looks like a dog, while the other looks like a cat.
What an actor lacks because he is new to these issues, the other provides, due to his extensive experience. It's fascinating to watch the couple navigate their uncertain feelings. One of the main reasons audiences will admire the series is the simplicity and relatability of the story, as well as the good visuals.
Once the romance escalates, 'Love is Like a Cat' shows one of its greatest strengths. The series has the ability to create many tender moments between the two young people. We will see them flirting in the garden of the animal nursery and kissing in the sunny corner of the clinic room, under the knowing gaze of their friends, including the four-legged ones.
Every affectionate interaction is like a treat for BL fans, making these scenes even better thanks to the beautifully polished visuals. The public will witness the generous abundance of romantic images. The cinematographer captures every intimate look and every loving gesture with pinpoint precision.
Dae Byeol is a well-defined protagonist. He knows his work and loves animals. He is sincere, responsible and faithful to his friends, both those who bark and the others who accompany him on this journey of taking care of pets and falling in love with a famous television star. His qualities create a memorable character with nuances. His charm emerges once the performer gains confidence in the role he plays. Just then the couple's chemistry strengthens, going from being a little embarrassing at first to building a more comfortable and deeper relationship.
In comparison, Piuno's backstory will also draw the viewer's sympathy with high marks. He likes it more and more, especially when he overcomes the somewhat mysterious, reserved, fearful attitude when encountering the animals for which he has always felt rejection, when leaving behind the weight of the circumstances that forced him to move away from his comfort zone, and when you begin to adapt to the people, the language, the customs, the culture of a foreign country.
The series explores the couple's bond physically, emotionally and spiritually. When I think about how Piuno and Lee Dae Byeol started the story of "strangers to friends and friends to lovers", both of them, side by side, went on an eventful journey. They overcame personality clashes, misunderstandings, and even cultural and language differences. Best of all, there's a lot of cute BL content.
One of the strong and striking points of the series is the fusion of two worlds. Piuno and Dae Byeol come from two different countries and cultures. Their universes will collide when their paths cross. Everything that separates them will not be an impediment for the two main characters to get closer, fall in love and begin a journey in search of happiness.
Each episode aims to ensure that the viewer is not disappointed, that they remain hooked, that they have a closure that lives up to expectations. The technical and artistic teams worked to achieve it. The arc of the characters, their development, as well as the events and conflicts, are very coherent.
The script, the depth of the themes addressed, and the aesthetics with which they are presented, the attention to detail to be as realistic as possible, the convincing performances, with a cast made up of established and young actors and actresses, determine, among others , the elements that mark the success of 'Love is Like a Cat'.
'Love is Like a Cat' is a story of healing and love. In addition to the entertainment factor and the fun and tender interactions between Piuno and Lee Dae Byeol, the series tells a story about overcoming trauma, opening your heart, and falling in love.
The inclusion of the adorable animals will provoke a positive reaction from pet lovers and the general public.
This is one of the four joint Thai-Korean BL projects from Hanyang Studio, from the same WeTV Original production, 'Peach Of Time'. The remaining dramas are 'Eccentric Romance', 'Wuju Bakery' and 'The First Love Manual', scheduled to premiere in 2024.
This collaboration between the two countries demonstrates once again that BL series defend the correct formula to sustain and consolidate the genre with the aim of satisfying an audience that craves authentic and moving love stories.
Personally, I liked the way the plot was executed, subtly exploring the characters' personal stories.
This romantic comedy is designed and taken from the script to the images with the potential audience being fans of the romantic genre in general, since love is universal and knows no genres, as well as fans of romances between boys in particular, and makes it clear that its objective is to portray love, acceptance, self-discovery, sexual diversity, the search for happiness, the influence of reality shows on viewers, the perception of the image of actors and idols by the public. , the pressures of the entertainment industry on artists, the challenges that come with being a queer person in today's world, themes explored through the dynamics of the characters.
Conceived to move people and involve audiences, through the main story and secondary plots, the series proposes to generate controversy about other dominant, current and universal elements, such as the tumultuous relationship between father and son, the love of animals and how they influence children's behavior, workplace camaraderie, sexual exploration, positivity, self-validation, and maturation issues. There are cultural debates and topics related to veterinary medicine and animal adoption, which helps make all the stories relatable.

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The rowdy Dino finally has his own apartment, a safe space to embrace his sexuality. So closeted that he doesn't even tell his parents or almost anyone about his sexual orientation: only his sister knows.
Look for safe sex and a decent chat. Through a gay dating app, he has scheduled to meet Vince, the attractive and discreet neighbor, but the sexual encounter is interrupted by the unexpected arrival of his parents, and before them he will once again restrain his deepest but most difficult desire: "come out of the closet."
However, Dino cannot prevent the brand new dildo from being seen by his mother.
Vince is willing to wait. The wait is worth it: a friendly relationship begins to emerge between the two that may very well lead to something more.
With solid performances, a beautiful script, magnificent camera work and charming surroundings, the short film 'This Is Not A Coming Out Story' (2022), by Filipino filmmaker Mark Felix Ebreo, brings us fun moments and an irresistible visual chemistry of its two protagonists: Dino, played by AJ Sison, known for his role in 'U-Turn (2020)', 'Dito at doon' (2021) and 'Love in the Ungodly Hour' (2021) and Vince, a character assumed by Jel Tarun, actor known for his role in 'Silent Cries' (2023).
The short film also tells us about homophobia.
The soundtrack fits perfectly with the film story.
With a script by Mark Felix Ebreo himself, the cast closes with the performances of Jun Nayra, known for his performance in 'Bonifacio: Ang unang pangulo' (2014), 'Darna' (2022) and 'Sandwich' (2023), and Gigi Hernandez, known for her role in 'Sandwich' (2023), 'Ikigai: Life Is a Beautiful Ride' (2023) and 'Alapaap' (2022), playing Jerome and Liz, Dino's father and mother, respectively.
Committed to bringing queer narratives to spaces to increase the visibility of the stories of people who have not yet discovered their true identity, Mark Felix Ebreo won with this short film the Best Director award at the 1st Pelikulaya LGBTQIA+ International Film Festival, as well as a Honorable Mention in the Short Fiction category at the 34th CCP Gawad Alternatibo.
Additionally, 'This Is Not A Coming Out Story' won the Cardinal Gold Award with the highest honor, as well as the award for best screenplay at the 20th CineMapua International Student Film Festival.

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In the things that pass, for those that stay

Kim Dong Ah is a teenager who seems to have been born frozen in the cold winter, and becomes obsessed with things that have not changed and are static, as if frozen, after his parents' divorce. His mother's love, which he thought would last forever, changed, and that change had a great impact not only on Dong Ah's family but also on his own life. With his mother gone, his father, wounded, became violent.
In order not to hurt himself and to avoid hurting others, Dong Ah thought that it was best not to change and not let anyone into his life, for fear that one day this person would decide, like his mother, to abandon him.
With his large round eyes, poorly defined face and dark, bushy eyebrows, he has a deep voice and a dry expression and humor. He has had to leave school.
But suddenly, Song Yeon Woo comes into his life, a young man, also 18 years old, with a very warm character, who finds it natural to smile and is friendly towards others. Yeon Woo always approaches Dong Ah with a smile, and little by little he breaks the wall of sadness and coldness that he has built around him. Who is this person who seems to show everything about himself without hiding anything, but whose true feelings Dong Ah is unaware of? How is it possible that this boy, so different from him and as warm as spring, can make him feel unknown emotions? Is Yeon Woo a figment of Dong Ah's imagination?
With this interesting and intensely powerful story, Kim Yeo-rim, the writer and director of the short film 'The Winter Child', exposes how people, emotions and relationships pass over time. Time melts the frozen and freezes the melted. But there are things that human beings need to hold on to so that they do not escape.
In the director's own words, the film sends a message of comfort to those who are suffering in the midst of numerous changes, to those who hold on to something that may be painful: it is okay to let go and move on. It is necessary that painful things pass by, so that those that give us happiness and warmth remain forever, like the fire at the end of the short, in contrast to the ice/winter motifs that are maintained in most of the audiovisual.
Starring Hyun Woo Ahn and Woo Joo Hwang in the leading roles, and the cinematography by Gyu-ri Lee and Park Jeong-hyeon, the short film captivates the viewer.
The image of Yeon Woo melting Dong Ah's icy exterior and her ironclad belief that she can't change anything in her life will haunt me forever. Yeon Woo is the person who came into his life to help him come out of his shell.
However, the ending leaves me with more questions than answers: Is returning to the same beginning a good change? What is preferable: staying in one place or seeking changes that allow us to free ourselves from what causes us pain?
Waiting for the continuation…

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An unusual love triangle

Sukitomo (I Like Tomo – スキトモ), the LGBT+-themed romantic drama and shounen-ai film by Japanese filmmaker Mitshuhiro Mihara, portrays that confusing time of youth in which relationships become imprecise and the balance between love becomes precarious. , friendship and family are broken.
The film, from 2007, proposes an unusual love triangle between the serious and responsible young man Aoi Tomokazu, a member of a boxing team and who is in his third year of university, Yoshiko Saitō, his best friend and two years younger, whom he sees as a little brother - although he feels something more for him than a simple friendship - and Tomokazu's sister, Aoi Misao (Komatsu Airi), who is also romantically attracted to Tomokazu and is jealous of his relationship with Yoshiki.
After his performance in 'Boys Love', of the same film genre, Takumi Saitō, star of the 'Prince of Tennis' musicals, now in the role of Aoi Tomokazu, continues in this film challenging perceptions of love, friendship and the sexuality. As in 'Boys Love', Saito acts alongside Aiba Hiroki, one of the co-stars of 'Prince of Tennis', the latter playing Yoshiko Saitō.
Released on January 13, 2007, the film was screened for the first time at the 16th Rainbow Reel Tokyo, an LGBT-themed film festival held annually in the Japanese capital, 'Sukimoto' tells us the evolution of relationship, from childhood to early youth, between the future boxer and the boy Yoshiki, who was hit by a truck while playing with Tomokazu and suffered an injury to his right leg.
This injury never fully heals and consequently he limps when he walks, a fact for which he believes Tomokazu feels guilty and treats him well for it. Yoshiki must deal not only with Misao's attempts to keep him away from his brother, but also with his own conflicting feelings.
The role played by Takumi Saitō is coherent in embodying the role of the young man so busy in boxing that he has not realized the attraction that Yoshiki and Misao feel towards him. I like his performance in this movie. I've seen some of his other work, but I really admire his art after watching 'Sukimoto'.
Hiroki Aiba also achieves naturalness playing the disabled friend in love with his best friend and neighbor, and Airi Komatsu as the 14-year-old sister who is jealous of her brother's relationship with Yoshiki, since she also has loving feelings for him.
Also convincing is the performance of Mizuki Tsuruoka in the role of Arisa Andō, Misao's best friend, who, despite her young age, has been able to understand not only Misao's loving attraction towards her brother, something she considers unhealthy, but also Yoshiki's love for Tomokazu.
The title of the film, which addresses themes such as friendship, love, family and fraternal relationships, is a play on words; «suki» (スキ), which translated from the Japanese language means "to like", and «tomo» (トモ), which refers to the name of the main character. Therefore, the name of the work could be literally translated as "I like Tomo."
With the production of Kawashiro Kazumi and Kataoka Masahiro, the director called on the award-winning Japanese photographer and director of photography Ashizawa Akiko to translate the script written by Kanasugi Hiroko into images.

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With a personal look, the Thai actor, director, screenwriter and assistant director Aum Natthaphong Aroonnet, known for the BL dramas 'Triage' (2022) and 'Manner of Death' (2021), the film 'Dew' (2019) or His role in 'The Love of Siam (207), among many other dramatized ones, gives us the romantic drama 'Beating Again', in which, in addition to addressing the boys' passion for dance, he portrays several stories of characters belonging to the LGBT+ community, its coming out and the challenges that come with being queer in today's world.
With great camera skill, sequential games and visual seduction, the director explores, among other topics, the search for one's own identity and the realization of dreams as the core of a drama that explores, as if that were not enough, many other issues such as family relationships, sexuality, love, pain, living with fear of being judged, past traumas, loss, acceptance, overcoming obstacles, the need for physical and emotional connection with other human beings, gender identity, discovery or passion for art.
Since before the first episode was broadcast, the audiovisual has awakened different emotions, especially on social networks, by inviting the audience to reflect on ourselves and on current societies, in addition to the topics represented, confront stereotypes and show human beings with their nuances and in various circumstances.
«I have been a lucky director. Since we published the trailer for 'Beating Again' and the actors and others involved in the project began to give statements to the press or through writings on social networks, there are those who say that the series is going to be liked and will positively attract the public's attention. ; Other people say that there are topics that they do not like. It is still early to predict if it will work or not. I think it is a series that is very well written. My staging, and that of the actors, was constantly trying to live up to the scripts,” said Aum Natthaphong Aroonnet.
«After editing, I liked how the chapters turned out. I have no doubt that they will move people and involve audiences. Let's let the series progress a little, to make conclusive judgments. Our goal is that the audience is not disappointed, that they remain hooked, that they have a closing that lives up to their expectations. We work for that, whether we achieve it or not. The arc of the characters is very coherent, as well as the development of the characters and the conflicts,” adds the director.
At first glance it might be easy to understand that the desire of young men to dance was not hindered by any reason, or at least human. However, 'Beating Again' reflects the incessant struggle of several boys to achieve a dream and thus fulfill a vocation regardless of the discrepancies to which they may be subjected during the process of achieving it, including the homophobic gazes of several of them. the secondary characters.
And even if your environment does not understand you, you cannot give up your passion, your talent and your vocation. The internal talent of each person must be firmly exploited regardless of the consequences that may arise for it.
Of the work, it is worth highlighting its transgressive capacity to break clichés and prejudices for a single but consistent reason: the firm attitude of young people to pursue their dream and illusion, that of being dancers and dedicating their lives to underground dance. In this way, a small group of people can have the power to create great change for the entire world through the love and passion for dance. The series is an example and a tribute to the triumph of perseverance, dedication and conviction.
In addition, it seeks to send other messages, such as respect and acceptance of sexual diversities, the spirit of coexistence between people who are initially strangers or unknown to each other, and honesty and sincerity as human values.
The attention to detail to be as realistic as possible, the convincing performances of a cast made up of established and young actors and actresses, some with experience in the BL genre, the depth of the themes it addresses, and the aesthetics with which it presents them , determine, among other elements, the quality of the series.
Scripted by Visuttchai Boonyakarnjawa ('The Iron Ladies', 2000), the Thai drama, in four episodes, presents its protagonists immersed in the world of dance in a sincere, lyrical and emotional way. While Dindaen (Oh Anuchit Sapunpohng) long ago achieved glory by becoming a dance champion, the young dancer Nai (Kang Korn Sirisorn) has a paradigm to follow in the now volunteer teacher. The character must face a conflict from 10 years ago that still haunts him.
For her part, Focus (Sophie Marguerite Indracusin), the self-confident young woman who loves dancing, after much effort, has managed to materialize her dreams of being an idol, but now she has been involved in a professional scandal and has had to return to his hometown where he will be part of a dance group with Tawan, Fae, Kai and Jidrid. To move forward, Focus will have to face his past.
If dance united Focus, Nai and Dindaen since they were children, love, friendship and passion for dance today continue to be the strong ties that unite them. The characters, like so many other young people in real life, have as their highest aspiration to be able to manage their own talents, believe in and become owners of their virtues and manage each of their potentials to achieve the goals set.
In addition to the conflicts of the three main characters, other problems will add complexity to the plot. I am specifically referring to the story of a girl trapped in a male body who, despite being overweight, likes to dance, the story of the teenager who juggles her life to balance high school studies and her passion for dancing. , and the love between two boys: Kai (Kaownah Kittipat Kaewcharoen) and Famous (Earth Katsamonnat Namwirote).
Love and dance will unite Kai and Fae, young people who also like to dance alternative dance (also known as indie dance or underground dance, the musical genre that fuses elements of alternative and indie rock with those of electronic dance music.
The public will enjoy young people while they dance to music that fuses new wave, "eurosynth" and postmodern technopop, as well as those arising from the indietronica or indie electronic movement, which is nothing more than a subgenre of alternative dance but more oriented towards indie. with great synth pop influences.
Among former member of boy group KLIMAXX and best known for his role as Long in the hit BL drama 'TharnType', Turbo Chanokchon in the Thai adaptation of 'Love Stage!!' and Talay in 'My Universe: The Camp Fire', in the latter two as the protagonist, and the actor identified for his roles as Tar in 'Love By Chance', Intouch in 'Until We Meet Again' and Seeiw in 'My Only 12' %', also in main roles, a passionate romance will emerge.
How I enjoyed, in episode 3, the scene in which Tawan, Fae, Kai and Jidrid have lunch in temple areas. At one point, Kai (Kaownah) and Famous (Earth) exchange pieces of the fish they eat and Tawan says, "So sweet!" And they try the fish and answer: "It's not sweet. It's salty," and she laughs mischievously because she was not referring to the food, but to the budding relationship between the two boys.
Jidrid suffers rejection from homophobes for being transsexual. These two are one of the topics addressed in the series, that is, homophobia and transsexuality.
I like the dynamics of the group, how the seven protagonists integrate into the community that they themselves have created, how setbacks are turned into victories, like when Famous accidentally spills a container of paint on the floor and the others, instead After reproaching him for the destruction, they pour other containers with paint and turn the place into a stage to practice dancing.
Does the theme of the series revolve around homosexual characters and their relationships with others, or LGBTI characters in secondary roles and whose sexuality does not influence the plot of the audiovisual? To know this and other conflicts we will have to watch the series until the end.

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First step in a career in favor of LGBT people

'Boy Meets Boy' is a South Korean short film of romantic, musical, youth and LGBT+ themes, premiered at the 13th Pusan ​​International Film Festival in 2008, and since then it has given a lot to talk about for several reasons: it was the first film work by Kim Jho Kwang-soo, the first collaboration between this filmmaker and the screenwriter Min Yong Keun, and presented for the first time Min Soo and Seok Yi, two characters that he would return to the following year to form the wedding couple of the short 'Just Friend?', also following up Min Soo in Love 100°, another short of his authorship, from 2010.
Since then, the South Korean filmmaker showed signs of taking his time to weave the story with the thoroughness that has always characterized him, working like a craftsman in his eagerness to recreate every detail.
The director of 'The New Employee: The Movie' (2023) has spent almost two decades building an authorial block of unusual quality in the history of South Korean cinema, full of triumphs and very few mistakes. Throughout his work he has not only made important films, series and short films, but through them he has known how to rewrite the history of his country anchored to its most recurrent film themes and objectives: such as sexual awakening, most of age, sexuality, gender identity, being queer in a heteronormative and discriminatory society towards LGBT+ people and activism in favor of the rights of this group to which he himself has acknowledged belonging since 2006.
To film the short, he based it on Min Yong Keun's script of the same name about a love crush, in a festive and magical way. The film, without spoken dialogue, describes the relationship between Min Soo (Kim Hye Sung), a boy who loves photography and is gay, and Seok-Yi (Lee Hyun-jin), who seems a little tough but still manages groom to show your soft side. It also tells us about the indecision when it comes to expressing feelings and the need to be brave and go in search of love when it has arrived at your door.
Despite its short duration and the incorporation of music, dance and a magical fantasy, the viewer manages to maintain the common thread of the story in that elegant background of love at first sight.
At one point in the film, Kim Jho Kwang-soo, wang-soo, who collaborated with director Lee Song Hee Il to produce 2006's 'No Regret,' considered "the first real Korean gay film," and has shot others gay-themed works such as 'Two Weddings and a Funeral' (2012), 'One Night Only' (2014) or 'Made on the Rooftop', and the BL series 'The New Employee', introduces a fantastic character in the form of a fairy which comes to represent Min Soo's thoughts as someone who falls in love for the first time.
Despite not having dialogues, the filmmaker manages to make the audience identify with his characters, in addition to clearly establishing the relationships between them, through looks, gestures, expressions, body language and useful inclusion of the fairy (Yeh Ji-won).
The fairy symbolically represents the thoughts and feelings of the boy who has just discovered love for the first time in his short life: the nascent passion, the sexual awakening, the discovery, the acceptance, the insecurities, the fears, the worries, the fears, excitement, enthusiasm, innocence, naivety, and expectation, all in a mixture that explodes in unison.
With a palette of bright, festive colors, and corny and strident music to identify the fairy, but restrained and romantic to enhance the mood of the characters and set the tone of the film, the director guides us towards the discovery of love and sexuality in a new and unique experience for the character.
Of an autobiographical nature, the director himself stated that he based the story told in 'Boy Meets Boy' on his first love experience.
I liked the chemistry of the two protagonists, palpable from their first meeting on the bus. They are both adorably acting actors whose performances are enough to recommend watching the film.
Also highlight the use of Min Su's film reel as a symbol of love and life, by first representing the union of the two protagonist boys, and then serving as an invisible and conductive thread that, in constant movement, like life itself, unites all the characters.

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Two soulmates condemned to suffering and oblivion

Imagine that you are completely happy with your partner, that you have built a common past with all the patience and complicity imaginable. Imagine that the myth of the better half has come true, the Japanese legend that assures us that there is someone linked to us by a red thread. Imagine that you finally found someone who was born to complement you.
Imagine that he is the only person on the planet who will understand you like no one has ever understood you, with whom you will merge in a love as deep as it is unimaginable. Imagine that you cannot conceive of a future apart, with a fence only between your house and that of the boy you have loved since adolescence, plans made, mutual friends. All perfect. However, one day a sad family secret that they both are unaware of catches up with them and turns everything upside down. Imagine that two soul mates are condemned to suffering and oblivion.
This is the premise of Regal Entertainment Inc.'s 2020 Filipino boy love (BL) romantic drama 'Ben .
Set in a period marked by the pandemic caused by Covid-19, the series follows the story of neighbors and childhood friends Ben and Jim, who lose contact after Jim moves to another city with his father after her mother's death.
Today, after 8 years, due to the restrictions generated by the new coronavirus, Jim will return to spend quarantine with his grandmother, Elma Magtibay (Christina Simon). In this way, friends reconnect and restart their friendship where they left off.
When two soul mates meet or are reunited, as is the case, a whirlwind of emotions and experiences are generated that serve as a sign of the undeniable connection that exists between them.
During that time, they had both lost contact and it is through his best friend, Flo (Kat Galang), that Ben realizes that Jim is a popular young man on social media. As the two friends reconnect their lives, Ben, the dumb boy who is insecure about himself and life, but more open about his sexuality, reveals to Jim that he is gay.
Jim, the sincere young man with the warm smile, is surprised at first. The strange discomfort between the two is evident. But soon Jim reacts and reassures him: "I'll support you in whatever makes you happy. I'll be there, like a friend."
But what Jim doesn't know is that Ben has been in love with him since his teenage years, and wants to be more than just "best friends."
The first season, told from Ben's point of view, begins with this young man narrating, euphorically, how Jim's return can mean that the two friends restart their friendship at the same point where they left it 8 years ago. From his prism, the series is dedicated to exploring how the relationship blossomed and how it withered.
Just as Ben and Jim begin to enjoy their courtship, the former's mother tells him a secret about his father that could affect Jim's confidence if he knew the truth. At the same time, her abusive ex-boyfriend also returns. Ben decides to break up with Jim without giving him any reason almost at the same time that Jim publicly confesses his love for Ben.
In histrionic terms, not everything is hunky-dory. The group of the most notable performers of the series is joined by Sarah Edwards in the role of Yana, Jim's girlfriend, with a performance lacking depth, and Ben's ex-boyfriend, Leo Portugués, is assumed from the most complete physical extremity. by Johannes Rissler.
Sticking to the rules of romantic drama, we have in 'BXJ' the character archetypes one can expect: the supportive best friend, Flo, and the respective third parties, Yana and Olan (Ronald Martin Angeles), the courier service boy. Their characterizations seem like stuffy formulas that fail to add interesting layers to the main story. The latter two fill the sad "broken people meet" role, and even with her own love life in the second season, Flo ends up stuck in the role of Ben and Jim's third wheel.
Starting from these central characters and situations, without deviating too much from the protagonists, the plot fully complies with some of the canonical rules of television melodrama, and is filled with secrets from the past, violent ex-boyfriends who return, the admirer, health mentality, the family history, the tumultuous relationship between father and son, jealousy, revenge, a layer of machismo and misogyny that in this case barely reaches the thickness of other Filipino series, in addition to other dominant elements, such as the relationship crisis, the fidelity, commitment, uncertainty, the emergence of the most devastating routine, couple experiments, and the challenges that come with being queer in today's world.
It validates the cinematographic staging with insistent and expressive camera movements and intelligent use of scenery and locations.
At this point, I must express my discomfort about the convenience with which Jim confesses his love for Ben in the sense that he goes from being a young heterosexual to being homosexual in an unconvincing and overly convenient way.
Easy Ferrer, director and screenwriter of the series, doesn't even try to put his narrative hero through that harrowing process of discovery and acceptance in slow-burn mode. This "transition" occurs too quickly, as something spontaneous and lacking in organicity.
Nor is it convincing that two such close friends would lose touch in this era of social media. After all, Jim was Ben's first love. How is it possible that they didn't exchange phones or follow each other in the digital world?
On the other hand, the way Ben literally forces Jim to fall in love with him is forced.
Ben's character is presented as someone who simply uses Jim for his own convenience. Ben knows his friend is straight, so making him feel bad about his sexuality is wrong. And similarly, it very conveniently turns out that Jim breaks up with his girlfriend.
The character played by Jerome Ponce can be a little inconsistent at times, especially when it comes to his feelings and emotions: Jim only treats Ben as his best friend, but there are many times where Jim's actions and words towards Ben hint the possibility of something more, such as calling him "wife", the furtive glances he periodically lavishes on him, saying that he will protect him or wanting to hug him and wanting to sleep next to him frequently.
The series revolves on the basis of friends to lovers. However, the story tends to become overly complicated or vary in intensity at times when we lose focus on the main characters. The narrative begins to lose cohesion in the first season due to the incorporation of new characters and conflicts, and the viewer loses sight of the main plot.
This situation is not resolved in the second season. Quite the contrary, it is exacerbated, with the introduction of even more secondary characters and subplots that contribute little or nothing to the main story.
With underdeveloped events, plots, and characters, some stories are also messy or inorganic.

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A series that leaves more questions than answers

'Bro and Me' (家教哥哥來我家) is a Taiwanese BL and LGBT+ themed miniseries of 8 episodes each lasting about 5 minutes on average. Starring in its main roles JN Yu as Jie En and Xie Yi Hong as Ye Hong, the plot shows the romantic relationship that arises between two heterosexual boys, one a high school student and the other, his tutor, whose lives will be altered once begin to live together under the same roof and in the same bed, after the second is hired by the first's mother. Filmed in 2019, in locations in Taipei, the series, of the comedy, romance and yaoi genre, was broadcast between September and December 2019 on Vidol TV, obtaining a notable commercial impact.
Argument
This sweet story of love and friendship introduces us to Jie En, who since he was a child dreamed of being as cool as Ye Hong, the boy 5 years older who lives next door. Immersed in his own routine, Ye Hong pays attention to Jie En just to have fun by teasing him from time to time.
As he grows up, the innocent and sweet-tempered Jie En sees in the cheeky and daring young man everything he has always wanted to be and secretly admires his neighbor as if he were his older brother.
In this romantic drama directed by Chen Mengwei we see how after Ye Hong leaves to study abroad, Jie En is devastated. He has lost the person who served as a reference in his life. However, you will soon have other reasons to occupy your thoughts: the pressure of getting into a good university forces you to focus solely on your studies.
Wanting only for her son to be able to study for a career, Jie En's mother, now 17 years old, announces that she has hired a tutor who, after graduating abroad, has returned and will move in with him to dedicate all his time. time and effort to ensure that his disciple obtains a good result in the exams.
If at first Jie En was insecure and even upset at having to share his house with a stranger, he will soon be furious when he realizes that the tutor is none other than the boy who has always made fun of him. However, both will live pleasant and happy moments under the same roof.
Living with Ye Hong brings joy to Jie En, at least until he discovers that Jing Han, the girl he has befriended in Ye Hong's absence, is actually Ye Hong's first love.
When Ye Hong's bed breaks, Jie En is forced to share his own with his tutor. One night, while the student is dreaming about Jing Han, he caresses Ye Hong's face, who, confused, believes that the boy has feelings for him. From this moment on, he changes his attitude towards Jie En and instead of mocking him, he will show unexpected affection.
This is how, suddenly, Jie En's life is altered again, now involved in a tangle of complicated relationships, misunderstandings and confusing emotions. Will the world make sense to him again?
Jing Han, who has understood the feelings between the two boys, acts like a fujoshi determined to match friends, and, to top it all off, adds a third to the already hectic dynamic between Jie En and Ye Hong, after proposing that they receive each other. his handsome friend, Xu Shaoyu, who has nowhere to sleep as his apartment is being renovated.
Will he come with the intention of breaking up the relationship in the event that Jie En falls in love with him?
From Jie En's perspective, will the unexpected visit be used to make Ye Hong jealous so that he decides to declare his love for her? Why does she accept the new guy's flirtation? Doesn't he seem to be very happy in Xu Shaoyu's presence?
That night the three boys must share the same bed. Waking up in the early morning, He Yong pulls back the covers and sees Jie En hugging Xu Shaoyu. Has he dreamed about Jing Han again and that's why he hugs him like he caressed him some time ago? Has he lost the affection of the young student? Have you ever loved him? Has it all been a product of your imagination?
The next day, after the visitor leaves, He Yong tries to talk to Jie En, but at the last minute he stops the impulse and remains silent. In the morning, Jie En discovers that the tutor has abandoned him.
In a series that leaves more questions than answers, it concludes as it begins, with the arrival of someone at Jie En's house and he, on the threshold, smiles and asks with disbelief, but marked surprise and undeniable joy: "So... you're the new tutor my mom mentioned?"
Although it is true that it is not shown who the tutor is, everything seems to indicate that it is none other than Ye Hong, who returns after abandoning Jie En. The long, thin, bony fingers are the same ones that ring the doorbell in the first episode. Furthermore, the newcomer drags the suitcase, as Ye Hong did upon his arrival, and not the backpack hanging on his back in which Xu Shaoyu usually carries his belongings.
The story is solid and the protagonists play their roles well and have the potential to act in BL series, as can be verified in their respective filmographies. With well-developed characters and events, a good boy love series could be achieved.

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