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

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What news will the creators provide to keep the public's interest alive?

Since its announcement, the public was divided between those who wanted or expected an additional chapter that would delve into the story of all the couples in the series, especially that of Khemthis (Shogun Paramee Thesdaroon) and Wela (First Piyangkul Saohin), and between those who look for unpublished behind-the-scenes images and other elements that serve to enhance the drama.
That is, the fans of 'Deep Night' showed their interests and doubts in: whether the content of the special episode would simply collect unpublished conversations from the actors and the filming and post-production team or would also reveal details that were not revealed in the series.
However, 'Deep Night Special Episode' does not satisfy either of them.
"Special" only has the name and a few minutes in which we can see, quickly, and without much depth, the evolution of the main couple a year after the events narrated in the series.
Then, the audience will once again witness more or less memorable scenes from the 8 official episodes of the series, recreated in the voice of Wela, and the incorporation of some new scene that does not contribute to complementing the story, infusing it with expressionism and affecting the viewer.
Due to some of Khemthis's actions in the first minutes, such as preparing breakfast and going to wake up Wela so that they can both enjoy that moment of everyday life at home, the audience might think that the story would be told from the vision of the character played by Shogun (which would be very significant), but we will quickly understand that it is not going that way.
The public will not find on this occasion an episode that reveals interesting behind-the-scenes images that have never been revealed, in which we could see the main couple and the rest of the cast having fun and being close on the set, or playing scenes that make them laugh, cry or express your love, friendship or work relationship at the club.
Nor will we be able to appreciate the long-awaited recordings of the cast's memories before and behind the camera, the answers to fans' questions or the expressions of gratitude from the actors and actresses to the technical and post-production team, which help the audience to have a clearer view of the making of 'Deep Night' and the efforts of the filmmaking team.
The special episode previously sparked interest in the public, eager to appreciate a series of passionate kissing scenes between Shogun and First that have never been broadcast, as well as many other romantic moments that did not officially appear in the series when it aired, but we will have We have to be content with the imagination.
Nor does the special episode please those viewers who think that adding too many kissing scenes is unnecessary, as they consider that this can "overwhelm" the audience, and expect, instead, more of the actors' honest exchange.
Likewise, fans interested in witnessing the cast and producers thank the audience for their love and attention to 'Deep Nigh' and promises to deliver better quality hybrid products in the future will also be left wanting.
Will this special episode mark the definitive and official end of the series?
On May 9, 2024, the day before the premiere of 'Deep Night Special Episode', another LGBTIQ+ themed series premiered a product with the same objective. In 'You Are Mine Special', its creators present an incredible closing to the Taiwanese drama 'You are Mine', from 2023, which pleases its viewers, as it delves into the progress of the relationship between Yao Shun Yu (Hsiao Hung) and Xia Shang Zhou (Parker Mao).
The public's reaction was immediate, and, despite recognizing that it is the perfect ending to the love story between the company's manager Xia and the company's new employee, viewers ask for more.
This explains, without a doubt, that while 'You Are Mine Special' reaches a rating of 8.1 points on MDL and other platforms, 'Deep Night Special Episode' only reaches 6.9 points.
When the magic of discovering new faces in the world of entertainment in general and Thai BL in particular, such as Shogun Paramee Thesdaroon, or being able to examine the latest work performed by already known actors, such as Seagames Teerapat Angkanit or Tanya Tanyares Engtrakul, they are no longer sufficient; chen the expectations of explaining to the audience about the work of the hosts when they are auctioned to entertain the clients who demand escort services with sexual content at the Deep Night Club have not been met, what is left to say to this series? What news will the creators provide to keep the public's interest in Thai drama alive?

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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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Saunas to hide gay sex from public view in Taiwan, despite having gay marriage recognized?

If you type "gay massage" in one of the internet search engines, you may be surprised by the numerous private spas in Taiwan that offer gay-friendly professional masseuse services in the field of physical and tantric massage.
There are not a few customers, of all races, ages and body types, as the managers of these establishments assure in online promotional advertisements and on printed posters placed in public places, who go daily to these centers where they can Select to your liking, among the handsome male masseuses, from which of them you want to receive first-class sensual massages. They even "marry" this sex worker, and every time they visit the sauna they will request the services of their favorite masseuse.
Cinema has told stories about the world of massages in the gay environment. The 2005 Filipino film 'Masahista' ('The Masseur'), ​​by Brillante Mendoza and with a script co-written with Boots Agbayani Pastor, paves the way to present stories about boys who work as masseuses in a sauna with homosexual clientele.
This film was followed by others such as "Spa Night", a 2016 American independent drama film, written and directed by Andrew Ahn, and set in Los Angeles, California, which follows the story of a closeted Korean-American gay teenager who accepts a He works at a Korean spa to help his struggling family and discovers an underground world of gay spa sex that both scares and excites him.
'The Younger', the 2014 Taiwanese medium-length film, presents the story of Chen Hao (Chen Hao-Chin), about twenty years old, poor and without financial resources, who is forced by circumstances to work as a masseuse in a local restaurant. sauna type in the Sanchong district, where homosexual people go.
Unintentionally, the young man enters a prostitution ring that uses a massage parlor as a cover. In it he discovers that the 'extra services' offer large sums of money. He makes the decision to work after not receiving a response to his request to the Taiwanese government for assistance for low-income people. In addition to not finding a suitable job, his grandmother, Chen Hao Zhi, suffers from Alzheimer's, and the young man cannot pay the high medical bills, food for her, or his own support.
Initially, the attractive young man accepts a job at the spa, but discovers that his colleagues, instigated by the owner of the establishment, offer special services that are not included in the massage program.
At this point it would be good to ask ourselves: Why do these saunas continue to exist today in which Taiwanese homosexuals seek sex hidden from public view, when, since 2019, the legislation of that island recognizes marriage for same-sex couples?
The objective of today's gay spas on Taiwanese soil are the same as in 2014, when 'The Younger' was filmed: in addition to offering a means of subsistence to their sex workers while they "entertain" the clientele, these centers serve as a more liberal and tolerant universe to hide the transgression of traditional Taiwanese values ​​by its homosexual clients in a society that, even today, after homosexuality and gay marriage have been legalized, coming out is still not well received in most conservative Taiwanese families, who reject the homosexuality of their children.
Even though equal marriage and same-sex sexual relations are legal; LGBT+ people and households headed by LGBT+ couples are not yet eligible for the legal protections available to opposite-sex couples. That is to say, despite the evident achievements in the matter, discrimination against gays, lesbians, bisexuals, transsexuals and other members of the community continues in Taiwan.
Chen Hao will face a moral dilemma for doing what he does. In that fight, who will be the winner? Ethics, his status as a kind and hard-working young man, or the need to get ahead? How many examples like this are there in real life both in Taiwan and the rest of the world? Isn't it the function of cinema, and art in general, to entertain, but also to show our realities, no matter how hard they are?
Initially, the boy refuses to offer these services requested by the regulars, but if he seeks to receive more generous tips to be able to get ahead with his life and that of his grandmother, he understands that he cannot limit himself to normal massages, but has to contribute the "extra" that his clients and, especially, his boss demand from him. This is how he gives in and earns illegal money, "on the outside", through unspecified erotic services.
However, his work makes him discover that he has an instinctive desire for the male body, so he begins to enter into relationships, bringing chaos and complications to his life.
Or would it be correct to say two lives? Yes, the young man lives two parallel lives: an exemplary grandson with economic problems who seeks to empower himself with a decent job, and a gay prostitute immersed in a world of saunas that offer homosexual services.
However, the creators of the medium-length film will not leave the boy to his fate and will not allow him to go down the drain into a much colder and darker hell, and throughout the dramatic changes he will experience, they will ensure that Let us be aware, as viewers, of Chen Hao's difficult situation by maintaining unconditional empathy with the character, whom they will seek to save despite his mistakes and bad decisions.
The boy falls in love with one of the clients, who also seems to have feelings for him, with whom he experiences, in one of the massage sessions, a brief, but first, warm and tender sexual experience. When the owner of the establishment discovers what happened, pressure increases for the young man, already open to having sex with men, to provide the same sexual service to other clients.
With images of explicit sex, the colors in dark tones, sepia and yellow, serve to define the narrative, identify the mood of the characters, and even manipulate the viewer's attention, to expose the grandmother's illness and the insecurities and the naivety of the young man, while he has sexual encounters with several men who come to the sauna looking specifically for him, keeping his life and his work in an erotic limbo from which he wants to get out, but which sucks him back to the bottom.
In this microcosm, the film wants to show us the drive of a young man who would do anything to keep his grandmother healthy, and how in the process he discovers his sexual orientation.
The obsession with the beloved client, the idea of ​​the need to escape due to his rejection of the work he does, the desert sensation, of aridity, that surrounds the life of the protagonist, and the representation of otherness, are represented in a strong symbolic load. behind the yellowish walls used in the film.
In this journey about life, the discovery and acceptance of sexual identity, the film intersperses two parts: one in which the protagonist boy takes care of his beloved grandmother, the only relative with whom he lives, and another that is his I work as a masseuse.
In this kind of tribute to saunas, those places so frequently associated with the homosexual world and where very diverse things happen, Chen Hao embarks on a journey of discovery, facing the pain of being powerless to guarantee the health and life of his loved one, but above all to questions about love, life and survival.

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Declaration of love and farewell with gay fairy tale ending

The holidays come to an end, summer says goodbye to return next year in a small fishing village in China. It is time to say goodbye to the beach, the heat, rest and, above all, to the person you love.
The camera follows the face of teenager Leaf (Xinyi He). You rush to brush your teeth and wash your face: you need to look and smell good. He has arranged to meet Qing Chen (Jianan Yang), his childhood friend, to spend the remaining days of the summer period in his company. His friend will soon leave for Shanghai to study. He also dreams of going to a university in that city or in Beijing or Guangzhou, but he must remain in the village by the sea to take care of his elderly grandmother (Xiaojing Liao). To get ahead, he has set up a small and thriving hair salon where locals flock.
The camera now "watches" Leaf and her friend from a distance. This is the way chosen by Meicen Meng, the director of the Chinese short film, 'Beyond the Green Mountain', to give visuality to the mood of the two protagonists.
That detachment that is farewell can be, perhaps, one of the most dramatic or significant moments in our history, because although sometimes goodbye can be accompanied by an optimistic undertone because it implies closing one story to open another, the emotionality is It appears through our tear ducts at the fact of seeing a person leave without being able to do anything other than observe how their silhouette fades with each step, before the uncertainty of not knowing if we will see them again in another chapter of our existence.
The faces of the two boys cannot be seen, since it is night and they are now positioned with their backs to the lens, while they talk about dreams, desires, the opportunities they could find to study or live in big cities, philosophical beliefs, gods. and goodbye.
The camera follows Qing Chen who can finally show his beautiful face. In order to reveal his repressed feelings and with unshed tears, he arrives at the doors of Leaf's humble house, but he does not dare to knock. It is evident that she needs to bring out all those hidden emotions that she keeps inside and tell them to the boy who is now back at her side, but her grandmother prevents this by inviting the visitor to dinner.
This film, made by queer people for queer people, breaks the patriarchal binary lens that has been dominating world cinema, to tell us how these two young people, who have known each other since they were children, merge in glances of fascination in each encounter, and they have been filling that void that haunts their lives, because it could not be without the presence of the other.
Although in more than one moment it seems that they are going to take the next step, it never happens, so the only thing they have left is to wait to say goodbye to the imminent departure of one of them.
Later, as they lie in bed, they look at each other's faces in the dark, but they don't dare to state their feelings explicitly, but Qing Chen expresses them subtly: "I will never be able to see so many stars in Shanghai." His words would rather say: "In another place, far from you, I will only find infinite darkness. You are the light of my life."
The film tells a story of pure first love through a pure narrative about these young characters who fall in love without realizing that loving each other romantically is even a possibility. However, feelings don't lie. To an untrained heart, these feelings are overwhelming. Confusion, doubts, insecurity and pain form a dark subtext. Love is pure, tender, sweet and beautiful, that is why the young Chinese director seeks to represent how love shines through the darkness that represents a goodbye or the two lovers being separated.
There are two days left until the farewell. Leaf, sitting on the beach, takes Qing Chen's diary, left by him in the sand. Unaware of his action, he is about to discover his most intimate secrets, but Qing Chen snatches it from his hands at the last moment, before hurting him to the depths of his being: "The damn villagers have no manners." He cannot express his regret for the hurtful words. Leaf doesn't give him time and runs away with tears of pain.
In this story about youth, friendship and love that blossoms in the summer breeze, the camera focuses again on Leaf's face as she brushes her teeth and washes her face the morning before saying goodbye. The ritual now will not be to reunite with Qing Chen. Perhaps the objective is to make visible the necessary act of releasing from within you the sadness that still persists and is reflected on your face. The bond between the two cannot end this way.
But he does not pay attention to the complaints of his friend, who persists in asking for forgiveness, when there are only a few hours left before leaving on his trip.
"I'm leaving tomorrow morning. How long will this childish tantrum of yours last?" Qing Chen confronts him. As they roll on the floor in a silly fight, a passionate kiss surprises them. They hug each other tightly. Their bodies orbit around each other. They would like time to stop. But Leaf reacts and abruptly separates. What will grandma think if she knows that I love another boy? How will she face the neighbors? Will she still be proud of me?
The next morning, Qing Chen, as if he were a sleepwalker who has not been able to sleep a wink all night, crawls towards the car in which his parents are waiting to take him to Shanghai. Almost about to get on it, a scream from Leaf stops him. In silence, the boy forcefully draws towards him the body of his former friend and now lover, and they passionately embrace.
With a beautiful Chinese landscape as a backdrop, the farewell between the character of Xinyi He and Jianan Yang is capable of causing a lump in our throat because of how significant it is that these lovers have had the opportunity to say goodbye and express their love, although it was the same way they communicated it throughout the film: through silence, gestures, emotions and looks.
Qing Chen's parents, a few meters away and who can't even see each other inside the car, will never know what the boys said to each other in that silent hug. Only they will know.
The piece, only 15 minutes long, reminds us that, regardless of aesthetic issues, filmmakers can resort to a powerful tool: our need to understand what we see, regardless of the language or the articulated word.
Throughout the film, which is nothing more than an immense and constant declaration of love, Meicen Meng weaves a visually evocative narrative that captures the internal struggle of the two characters in their struggle to discover and accept themselves, while exploiting our emotions by giving us perhaps one of the most iconic farewells of the seventh art.
With a powerful and healing representation of the community building inherent to the film's creation process, the filmmaker also explores emotions and universal intimate human connections, using characters traditionally little seen in world cinematography, such as two teenagers from a fishing village, who dream of loving and empowering themselves through studies and the realization of their professional and work dreams.
Perhaps much of the charm of this film lies in the fact that despite the palpable romance of the protagonists, at no point do they manage to consummate their love, not even at the moment of farewell, however, it underlies, latent, perceptible, in each scene. .
The internationally renowned Chinese queer cinema knows perfectly well how dramatic the farewell act can mean. That's why Meicen Meng, the award-winning non-binary filmmaker of that nationality, wrote, directed and produced her thesis film 'Beyond The Green Mountain', to address topics such as sexuality, love, self-acceptance and identity.
Due to its ethical and aesthetic values, it was chosen as one of the five finalists of the prestigious 2018 Coppola Short Film Competition by Gus Van Sant, a queer filmmaker of great international fame.
The film also screened at the Museum of the Moving Image as part of the First Look Film Festival and was the winner of the Best Indie Short award at the Indie Short Fest in July 2019, among many other awards.
In this captivating cinematographic journey that explores in such a beautiful way the emotional labyrinths of its protagonists, humanity and human connections, it concludes with a dreamy and hopeful Leaf who directs her sight towards the sea, beyond the mountain that gives it its title. to the movie, as if he were looking into the future, before turning his face when he hears approaching footsteps, and drawing a smile on his lips: everything seems to indicate that his beloved is returning and, finally, they will be able to open themselves fully to love .
We generally associate goodbyes with the outcome of a story, and in most cases this is the case. However, 'Beyond the Green Mountain' goes to the other extreme and in the final scene conveys hope, the idea of ​​a shared future between our heroes. The comforting and tender fact of seeing each other once again contains a message: they both know that they will have a fairy tale ending.
I hope my review serves to motivate the viewer to see a film so recommended for its exquisite narrative and visuality.

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Nam Yi and Jae Min's love and happiness can only be defeated by a single monster

Memorable performances, a perfect script and direction, a beautiful soundtrack, to which are added addictive kisses and a palpable chemistry that transcends the screen, are the main characteristics of the South Korean miniseries 'Blue Boys' (블루보이즈/Beulru Boijeu), also known as 'The Guy Inside Me', a demonstration that you don't need a big budget or long and numerous episodes to tell a moving story.
In just four chapters each lasting about 10 minutes on average, the miniseries, starring Lee Hoo Rim in the role of Kim Nam Yi, and Choi Seung in the role of Choi Jae Min, addresses topics such as the process of finding the true love, communication, understanding through experiences, homophobia, social class differences, friendship, job search, meeting friends, among others.
Lovers of LGBTIQ+ themed stories will feel at ease with the interactions of the two actors, who very well enhance the value of the entire story with their tender and captivating chemistry.
After a one-night stand, the outgoing and self-confident Nam Yi and the shy and insecure Jae Min, two former high school classmates who meet again three years after graduation, have developed feelings for each other and dream with a life together.
More open to demonstrations of affection and love in public, Nam Yi is not afraid to take Jae Min's hand and kiss him in the streets, but the latter boy will resist, as he fears the rejection of a conservative society, like that of Korea from the South, with strong patriarchal and heteronormative traditions, where homosexuals have difficulties fitting in.
After overcoming conflicts and misunderstandings, the love and happiness of Nam Yi and Jae Min can only be defeated by a single monster: the fear that South Koreans experience of being exposed as homosexuals, the fear of being excluded and discriminated against.
So Ri (Lee Soo Ha), a girl jealous of Jae Min for not having been able to conquer Nam Yi, will be in charge of inoculating Jae Min with the poison: "If a man dates another man and there are rumors about it, can you continue working in the company as if nothing had happened?" Nam Yi wouldn't have these problems because he comes from a wealthy family, but..."what would happen to you?", Ri will remind him.
In this way, the happy ending everyone expected does not come. Reality prevails.
And so the viewers will understand the true objective of 'Blue Boys', which is none other than to make a criticism, very intelligent, very subtle, of the discrimination that exists in South Korea against LGBTIQ+ people, since the members of said community face legal challenges and discrimination not experienced by the rest of South Koreans.
Gay sexual activity is legal as long as it takes place indoors, but Gay Marriage or Equal Marriage or other forms of legal partnership are not available to same-sex couples.
I allow myself spoilers to explain my point of view.

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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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Result of the combination of good script, acting and staging (First update from the original review)

In 'Manner of Death', 'Triage', 'Dead Friend Forever - DFF', 'Make a Wish' and 'Bite Me' the famous Thai screenwriter Isaree Siriwankulthon (Sammon), reiterates her interest in witnessing the suspense, the alteration of the time, time loop, medical-forensic work, hospital environment, police investigation, kidnapping, murder, slow-burn romance, friendship, family relationships, school and university ecosystem, unjustly accused characters, action, political, police and business corruption, always having homosexual characters as protagonists.
For her part, director and screenwriter Ning Bhanbhassa Dhubthien has demonstrated, through the series 'KinnPorsche' (2022) and the film 'Man Suang', that both film and television language constitute a tool that she can also use at her own discretion taste, and in which, incidentally, you have the possibility of continuing working with your most recurring motifs or thematic interests.
In '4Minutes', the series in which Sammon and Ning join forces for the first time, the actions of the peculiar creatures that populate the creative universe of the Thai author duo remind us of those of some of the protagonists of the aforementioned works, bringing us closer to their characters in a very sensitive, fluid and ethereal way, recording their most banal movements and glances and turning them into revealing moments by transmitting all the intensity of love through tenderness, melancholy and an enveloping atmosphere.
Great, its central star, is one of the most striking characters to emerge from Sammon's imagination: a university student at the Faculty of Business Administration and son of a rich businessman, blessed with a gift that is also a curse, since he has the supernatural ability to know what is going to happen in the future 4 minutes in advance, always and when it affects him.
This power leads him to alter the results of many events, while the memory of what happened visits him again and again in his imagination. Thus, the story restarts from the beginning, over and over again, so the audience will have to pay attention to discover which is reality and which is not.
He a piece of character, very competently defended by Bible Wichapas Sumettikul ('KinnPorsche'), in which it could very well be the most significant role of his still young and promising artistic career, and thanks to which he unleashes fervor among lovers of the Thai dramas, especially LGBT+ themed fans.
He knows it and devotes himself with devotion to building it, polishing it, making it unique, to providing it with an empathy that overflows the screen and allows him to put himself in the viewer's pocket. His acting counterpoint with Jes Jespipat Tilapornputt ('Sassy Player', 2009), - his counterpart in 'Spaceless', a short film directed by Jatuphong Rungrueangdechaphat, also in 2024, and which serves as a letter of introduction to the acting couple - seduces and fascinates. As do the episodes that make up the drama from its beautiful presentation to the no less admirable farewell.
The friendship that develops between Great and Tyme takes them on a journey of discovery and acceptance that explores male vulnerability. However, it is not a simple story of a couple of friends succumbing to love. That is very seen and would be too predictable.
On the other hand, '4Minutes' is a more rounded, absorbing and sentimental story about two young people who find themselves involved in an exciting intrigue in which there will be no shortage of industrial espionage, murder, kidnapping, betrayal, infidelity, unfulfilled promises, political and police corruption, the proximity of death, revenge, score settlements, martial combats, and explicit sexual scenes (completely removed from the universe of pornography) and that provide absolute meaning to the characters' history .
On the other hand, '4Minutes' is a more rounded, absorbing and sentimental story about two young people who find themselves involved in a passionate intrigue in which there will be no shortage of industrial espionage, murder, kidnapping, martial combats, and explicit sexual scenes ( totally removed from the universe of pornography) and that provide absolute meaning to the characters' story.
With this premise, the director manages to develop a deep character study, investigating the existential motivations and experiences that shape them as individual beings but also as people united by an unbreakable bond. Likewise, it explores complicated relationships, social barriers, and depicts more than one gay romance while challenging social norms and embracing the power of love, acceptance, and understanding. It is much more than a simple love story.
Sammon has created a very intelligent script, in which the dialogues are the basis of the story. Through the conversations that Great and Tyme have, two characters emerge like few we have seen. The screenwriter's prose is almost lyrical and manages to capture the realism and naturalness of their relationship, friendly first, then romantic. The viewer is transported into the story, as if he had the two young people in front of him and was asking permission to jump to the other side of the screen at any moment to join the conversation.
As Great and Tyme connect, their relationship faces numerous complications. Great tries to understand what is causing his abnormality and how to escape it, while dealing with personal and family problems. For his part, Tyme secretly investigates criminal acts in which Great's family may be involved, especially his father, mother and older brother, Korn, played convincingly by Bas Asavapatr Ponpiboon, a character who adds greater complexity to the story.
Likewise, the stories that unite Tonkla, Inspector Win, Dome and Title, characters played by Fuaiz Thanawat Shinawatra, Jay Patiphan Fueangfunuwat, Mio Athens Werapatanakul and Jet Jetsadakorn Bundit, in that order, play an important role in the development of the series.
In this sense, a chance meeting with Great could help Tyme try to get closer to the young university student with the intention of penetrating his family circle to carry out his revenge, since he blames Great's family for the death of his parents. All this, while trying to save his grandmother from reprisals and fulfilling his duties as a doctor at a large hospital in Bangkok.
What begins as a game of cat and mouse will end up becoming a journey of no return. While Great secretly serves Tyme's interests to get even, the boundaries between sexuality and male friendship are continually compromised, with both characters drawn to each other.
The incredibly talented cast, which in addition to the aforementioned actors, includes JJay Patiphan Fueangfunuwat as Inspector Win, Fuaiz Thanawat Shinawatra as Tonkla, Job Yosatorn Konglikit as Den, Mio Athens Werapatanakul as Dome, and Jet Jetsadakorn Bundit as Title, It adds a touch of depth, elegance and authenticity to the series, and nails each scene and makes it believable.
The plot of the story is woven based on the two axes of coordinates that constitute Great's respective relationships with Tyme, a surgeon whom he knows due to his supernatural ability, and the one he has with his powerful family, businessmen they will not hesitate to commit the most terrible crimes if these help them get away with their crimes in the competitive business world.
The development of dramatic tension will be the result of both vectors, which pull Great in opposite directions, and which will narratively establish the counterweight between two categories of values, which will face each other on the stage table, and to which he must have a clear and lucid choice for one of the two: both at an aesthetic level and in content, which we will see trying to be resolved in the treatment of the psychological level and development of the characters.
In the photography of Pavarisa Tadde and Ittipong Klinchart, the exuberant beauty of colors and light of the luxurious surroundings of the Great mansion, the beautiful city landscapes, contrast with the most gloomy and degraded spaces, such as those of hospitals, also seen as a setting of pain and death, the humble house in which Tyme lives with his grandmother, since his parents died long ago, or those in which a corpse frequently appears.
In the context of Great's environment we also see how, both at the level of photography and staging, there is this significant disparity: the luminosity and brightness in the daytime scenes, with the darkest, warmest tones (from yellowish to almost reddish from inside the house); In both, he participates in the fiery internal love dynamics in which the protagonist begins to anticipate, in the form of a visual fantasy, his passion for Tyme.
The soundtrack by Terdsak Janpan fits perfectly with the moods of the characters and the tone of each moment. The music wonderfully delves into this suffocating, mysterious and at some points almost depressive character, in which we see Great's tortured spirit immersed, until he decides to free himself and surrender to his love and resolve the conflicts that surround him.
As I've probably already said in some way, the main charm of the series comes from the relationship between the two young people, who build a very special bond. The chemistry between Great and Tyme is palpable: the two transmit tenderness, camaraderie and a lot of passion. This helps a lot at a certain point in which the protagonists meet like two chess players with a board in between.
At the level of content, the struggle of opposite poles is manifested in this clash between the protagonists' will for healthy fulfillment and the suffocating reality that surrounds them.
Once again, Sammon demonstrates his good eye when it comes to finding unexpected narrative angles, building a solid network of emotions, designing fascinating characters and plots, and telling an attractive story while weaving its edges, taking his time, pampering and caring for the story, to give rise to a series that is summarized as one of the best in recent years.
'4Minutes is an emotional and heartfelt proposal that makes us forget that it is not Jespipat Tilapornputtde the actor who was supposed to play Tyme.

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When homophobia wins the game

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

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The end of the trilogy: reasons for debate and controversy

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

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

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

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

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

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

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

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

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

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

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

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

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