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I guess you already saw the news but tell me, as a 9x9 specialist and a Nadao aficionados, what do you think is the plan for him in GMMTV? I loved him in Great Men Academy and In Family We Trust! I hope he will join the cast of High and Low : Born to be High with Sky. Thank youuu
Hiiiiiii spoon (βΏβ‘βΏβ‘)
I saw! I keep telling myself I won't be surprised by any new additions to GMMTV but I have to admit this one shooked me a little. Not because it's unexpected but I am admittingly afraid of what it means for the future of annual TRINITY reunion at Superfluid Songkran singing ΰΈΰΈΉΰΉΰΉΰΈΰΈΰΈΰΈ΅ (The Lucky One)Β aka Great Men Academy OST (mind you TRINITY have been doing this every year since before and after 4NOLOGUE dissolved and TRINITY members are all under separate management).
Jackie already made a long farewell/explanation post on the starting of his new journey at GMMTV.
The past two years have been some of the most challenging in my life.
First, I want to tell everyone that my decision to join a new home under GMMTV was my own. I believe this will be another important opportunity for me to grow, both as an artist and as an actor.
Looking back to the day I decided to start my own company, I had almost no knowledge of management. Everything was new and much harder than I imagined. But within that difficulty, it was also fun and full of valuable lessons.
Over the past two years, I've tried and failed, learned about business, behind-the-scenes work, and understood how much dedication from so many people is required to create a single piece of work.
Today, I want to thank my past self for daring to do something I'd never done before and giving it my all. I also want to sincerely
thank everyone at OTH Entertainment, both those who have been with me on this journey and those who are still here today. Thank you for believing in Jackie, and thank you for your continuous support, help, and dedication.
We started as a small team with many different roles, some days barely sleeping, and some days solving problems on set minute by minute, but everyone persevered. This has resulted in something we can all be proud of. The memories, experiences, and friendships that have developed over the past two years will always be cherished and something I'll be proud of.
For me, everyone was truly a Dream Team.
From the very first day, I always intended that we wanted to be a part of creating good work and bringing happiness to everyone who followed and supported us.
Even though OTH is no longer managing me, the intention and purpose from the beginning remain the same, and I will continue to uphold this in every role I take on in the future. OTH will also continue on its own path, and I hope everyone will continue to follow and support the company on its future journeys as well.
Finally, thank you to all the fans, partners, clients, and everyone who has supported me and OTH Entertainment throughout the years. Thank you for being with me through every moment, and thank you for believing in us.
From now on, I will do my best in my role in the next step of my life.
This chapter may be ending, but the horizon is still ahead.
See you on the horizon π€
Jackie Jakarin Kangwankiatichai,
CEO - OTH Entertainment
But if you ask me WHY? Jackie is joining GMMTV of all place. The very simplified version is that GMMTV made him a good offer in this lakorn/thai ent recession period - one which we can only speculate on. It's probably important to note that Jackie has been on the press record the past few months talking about both about how he's considered leaving the industry and the lukewarm reception to his music despite his efforts and also his dreams of winning the lottery and quitting the industry once he's won the biggest lotto prize.
My personal thoughts from what I've seen as someone who's been following mostly Jackie's acting works is that GMMTV seems like a comfortable place for Jackie to grow a stable fanbase for his acting works while having full behind the scenes support for his music endeavors. I think the past two years of Jackie trying to do everything himself have shown him that perhaps it's better to have team that can better support the behind the scenes for his musical endeavors than him having to do everything himself from scratch (but it's indeed very endearing and admirable watching Jackie and his OTH team doing things like hosting online google meets with fans to survey what they want for his concert)
This is just my instinct but I feel like Jackie want to act more and GMMTV is a great backing should he wants to take on more acting gigs at the moment in this lakorn recession period. Two of his SWU best friends (Nanon and Perth) are also at GMMTV so why not? (GMMTV probably would have snatched Gelboys' New Chayapak from this friend squad as well had he not been with LOOKE)
So honestly I'm cheering for Jackie and whatever he wants to be doing next at GMMTV. My biggest fear is that Jackie will have to decline annual TRINITY Songkran reunions and Olympop but for that we'll have to wait and see next year if his move to GMMTV has changed the freedom he had as an independent artist.
side note: I think it's really ironic how both of Meen's "BL" partners (Ping and Jackie [who is starring in Ban Son Sop ΰΈΰΉΰΈ²ΰΈΰΈΰΉΰΈΰΈΰΈ¨ΰΈ - TrueVisions Now bromance/male friendship series adaptation of a BL horror novel]) are ending up at GMMTV. If P'Gong isn't holding onto Meen so tightly, I bet GMMTV has their eyes on Meen as well.
Kept sending those tickets to that bitch Mala but she never came. How delightful! In the end, my curse at you two really came true. Not only can't you dance with her anymore, that bitch Mala won't even come to watch you dance anymore.
THE BANGKOK RED OPERA ΰΈͺΰΈΰΈΰΈͺΰΈ£ΰΉΰΈΰΈ’ΰΈ‘ΰΈ²ΰΈ₯ΰΈ²
β 2026, dir. Sant Srikaewlaw
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Sorry to bother you with this. Are new episodes of bangkok red opera not going to be uploaded to youtube? Ep 8 hasn't been uploaded yet. Is there any other way to watch the show with english subtitles?
Hi π
One31 is probably testing out whether they could get people to subscribe to OneD by not publishing the episodes. KissKH is probably the best option for Machine Translated English subtitles until the show finishes airing and international fans might see this show licensed on Viki.
The story is soooooo goood. Man oh man I wish everyone could watch this show with me and Quan.
ΰΉΰΈΰΈ΅ΰΈ’ΰΈΰΈΰΈ΄ΰΈΰΈ²ΰΈ (Starlight) by Violette Wautier, ClaireBell (One31)
ΰΉΰΈΰΈ₯ΰΈ΅ΰΈ’ΰΈΰΉΰΈΰΈΰΉΰΈ‘ΰΉΰΈ₯ΰΈ by Ton Thanasit, Game of Succession (CH3)
ΰΈ’ΰΈ΄ΰΉΰΈ‘ΰΈΰΉΰΈ²ΰΈ’ (Better Together) by Fellow Fellow, 9 Years Of You (One31)
ΰΉΰΈ₯ΰΈ΄ΰΈΰΈΰΈ±ΰΉΰΈΰΉΰΈ₯ΰΉΰΈ§ΰΈ£ΰΈ±ΰΈΰΈΰΉΰΈΰΈ (RED FLAG) by New Chayak, Gelboys (One31) π
Best Costume
Gelboys (One31)
Khemjira (One31)
The Next PrinceΒ (One31)
Good Heavens! I'm a Goose Not a SwanΒ (CH3) π
The Succesor (One31)
Best Editing
Clairebell (One31)
Khemjira (One31)
Gelboys (One31)
Mad UnicornΒ (Netflix) π
The Believers 2 (Netflix)
Best Cinematography
Shine (CH7)
Khemjira (One31)
Decalcomania (One31)
Mad UnicornΒ (Netflix) π
Goddess Bless You from Death (One31)
Best Art Direction
Shine (CH7)
Khemjira (One31)
Gelboys (One31)
Mad UnicornΒ (Netflix) π
Goddess Bless You from Death (One31)
Best Visual Effects (Computer Graphic)
Good Heavens! I'm a Goose Not a SwanΒ (CH3)
Khemjira (One31)
Decalcomania (One31)
The Believers 2Β (Netflix) π
Echoes of the Lost City (One31)
Long Form Series (13 and more episodes) Category
Best Drama
The Summer We Met (Thai PBS) π
Goddess Bless You from Death (One31)
The SuccessorΒ (One31)
Echoes of the Lost CityΒ (One31)
My (Im)perfect Family (CH3)
Best Director
Peter Nopachai Jayanama, Goddess Bless You from Death (One31)
Paajaew Yuthana Lorphanpaibul, Good Heavens! I'm a Goose not a Swan (CH3) π
Kao Wirada Khuhavanta, How to Suffer 101 (Thai PBS)
Sant Srikaewlaw, The Successor (One31)
Nun Lakkate Wasikachart, Echoes of the Lost City (One31)
Best Leading Actress
Pimma Pimmada Chaisaksoen, The Summer We Met (Thai PBS)
Bow Maylada Susri, Good Heavens! I'm a Goose not a Swan (CH3) π
Chanya McClory, How to Suffer 101 (Thai PBS)
Jessie Natsiya Prommart, Eyes of Heaven (One31)
Best Leading Actor
Kongthap Peak, My (Im)perfect Family (CH3)
Nonkul Chanon Santinatornkul, Mouse (TrueID) π
Nont Sadanont Durongkavarojana, How to Suffer 101 (Thai PBS)
Toomtam Yuttana Puangklang, Echoes of the Lost City (One31)
Phai Phongsathon, In Search of the Missing Heart (One31)
Best Supporting Actress
Praew Chermawee Suwanpanuchoke, Reclaim (MONOMAX)
Emi Thasorn Klinnium, Mouse (TrueID)
Natty Natthamon Jantraviphart, How to Suffer 101 (Thai PBS)
Tai Penpak Sirikul, My (Im)perfect Family (CH3)
Nok Sinjai Plengpanich, The Successor (One31) π
Best Supporting Actor
Oak Keerati Sivakua, Reclaim (MONOMAX)
Nhing Nirut Sirijanya, The Next Prince (One31)
Mos Patipan Khoonangeun, How to Suffer 101 (Thai PBS)
Am Amarin Nitibhon, Game Of Succession (CH3) π
Duu Sanya Kunakorn, The Successor (One31)
Best Screenplay
The Summer We Met (Thai PBS) π
Goddess Bless You from Death (One31)
Good Heavens! I'm a Goose Not a SwanΒ (CH3)
Echoes of the Lost CityΒ (One31)
My (Im)perfect Family (CH3)
A roundup of wins for QL and LGBTQIA+ series
GelboysΒ (iQIYI, One31) hasΒ 1 winΒ (Best OST) out of itsΒ 6Β nominationsΒ (Best Drama, Best Director, Best OST, Best Costume, Best Editing, and Best Art Direction).
The Summer We MetΒ (Thai PBS), which features a canonically sapphic protagonist, hasΒ 2 winsΒ (Best Drama and Best Screenplay) out of itsΒ 3Β nominationsΒ (Best Drama, Best Screenplay and Best Actress [for the sapphic protagonist]).
Some Superlatives
Most wins goes toΒ Mad UnicornΒ (Netflix), winningΒ ALL 9Β award categories it was nominated in, out of the 10 nominations it received (Dr Palang and Ek Thaneth were both competing in Best Supporting Actor).
The 17th Nataraja Awards had a lot ofΒ first time winners in the acting categories. Notable first acting wins are:
Bow Maylada SusriΒ (Good Heavens! I'm a Goose not a Swan) forΒ Best Leading Actress. This is her first Nataraja nomination.
Nonkul Chanon SantinatornkulΒ (Mouse) forΒ Best Leading Actor. This is his 3rd Nataraja nomination.
Nok Sinjai PlengpanichΒ (The Successor) forΒ Best Supporting Actress. This is her 3rd Nataraja nomination.
Am Amarin NitibhonΒ (Game Of Succession) forΒ Best SupportingΒ Actor. This is his first Nataraja nomination.
Janeyeh JiranorraphatΒ (Mad Unicorn) forΒ Best Leading Actress. This is her second Nataraja nomination.
Donut Manatsanun PanlertwongskulΒ (The Believers 2) forΒ Best Supporting Actress. This is her 3rd Nataraja nomination.
Ek Thaneth WarakulnukrohΒ (Mad Unicorn) forΒ Best SupportingΒ Actor.Β This is his first Nataraja nomination. He was also nominated (and competing with himself) in the same category for his performance in Decalcomania.
This would mean that 7 out of 8 acting awards this year went to first time Nataraja winners, 3 of which are also first time nominations.
personal miscellaneous thoughts under the cut β
I noted then that competition was TIGHT after Nataraja Awards axed two categories - 7PM evening lakorns and online categories in my previous post on the 17th Nataraja Nominations. I felt like my instinct was validated when the results of the 17th Nataraja Awards came out. For me, it seems inevitable that future BL/GL series (which tend to be under 12 eps and less) and short-form 'premium' series from One31 (OneD originals) are/will be predominantly competing with Netflix Thai originals for voters' consideration. Meanwhile, 7PM evening lakorns (which have always had lower budget, more repetitive predictable plot) are also directly competing with primetime dramas or any dramas longer than 12 eps (see: Goddess Bless You To Death and The Next Prince).
I've read somewhere that this was done for better organization and more tightened award criteria and I guess it makes sense because last few year for the Online category you have 8-12-episode dramas competing with 16-20 episode dramas and then there's the issue of some shows airing on platform first but TV later (MONOMAX series airing on MONO29 usually a few months after online release). The point on the "number of episodes" is kinda moot now that a seven-episode series β Mad Unicorn, has swept Nataraja in this short-form category.
What does feel relevant to me is a somewhat emerging Nataraja voting/winning pattern for works that have strong social themes and issues, or at the very least a clear conveying message. If not to say that for me, it seems like romantic-centric works are not what Nataraja voters tend to go for. In other words, there seems to be a voting preference for works that use romantic subplots as plot device to advance the story or deliver clear messages on social issues than works that use social issues to advance the romantic main plot. Although I doubt this will have any major effects on how series are produced, I do believe that this continuing trend will be crucial to the strategic marketing and positioning of QL and LGBTQ+ series on the market.
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Do you think it was possible at any points in The Last Duel to save both characters Mingyi Swa and Nares from fighting until the end, and what could have been the diplomatic actions taken between the two kingdoms to avoid the war from escalating to the final elephant duel?
Could they have been saved? On the drama's structural argument and the counterfactual diplomacy
The short answer, I think, is yes, at least theoretically, but the drama is constructed precisely to show us why, at every potential turning point, the conditions for a different outcome were never quite in place simultaneously. It is a tragedy in the classical sense, which means it does not hinge on one catastrophic mistake but on a long chain of structural forces that gradually close off every exit.
The earliest and most decisive missed opportunity?
The moment that haunts the entire series is, in my view, not in the military chapters at all but during Nares' time as a hostage in Hongsawadi. Nares understands the fundamentality of losing freedom and what it means to be a citizen of a vassal state, whilst Mingyi Swa's journey runs parallel to his, going from a carefree child to becoming a prisoner of his own circumstances, unable to make any moves or decisions of his own free will. What is notable is that both men, from very early on, understood each other's position with unusual clarity. Mingyi Swa grasped that Ayutthaya's desire for independence was legitimate; Nares grasped that Mingyi Swa was not his enemy by disposition. The tragedy is that this mutual understanding was never translated into any institutional form during the years it could have been.
Had Bayinnaung been willing, during his own reign, to convert the vassal relationship into something more like a formal alliance on negotiated terms, there might have been a foundation for later peace talks. There is a scene between Mingyi Swa and Bayinnaung where they discuss how trade and diplomacy will one day outweigh military power, and this is where the drama's most poignant counterfactual lives. Bayinnaung understood it intellectually yet continued to govern through conquest and hostage diplomacy. Had he formalised that intellectual position into treaty commitments before his death, Nanda Bayin would have inherited binding precedents rather than purely military ones.
The independence crisis of 1584
The Ava rebellion proved to be the opportunity Siamese leadership were willing to exploit. Naresuan's army, rather than marching to Ava as ordered, hovered around Pegu, and declared independence on 3 May 1584. This is the hinge event of the whole conflict, and within the drama's logic, it represents a second window that was permanently shut by Nanda Bayin's temperament. A ruler less driven by wounded pride might have negotiated Ayutthaya's independence in exchange for a defined tributary relationship, continued trade access through Tenasserim, and a mutual non-aggression commitment. Ayutthaya's independence was, by this point, probably inevitable; the question was whether it could be achieved through negotiation rather than a decade of bloody war.
The drama makes clear that Mingyi Swa, given any meaningful authority, would likely have favoured exactly this course. The series' central premise is that Mingyi Swa does not actually want to fight Nares but is torn between his duty as crown prince and his bond as a sworn blood brother. The structural problem is that Nanda Bayin was the one who held the authority, and though he could never raise more than a third of his father's troop levels, Nanda could not come to terms with a smaller empire. Between 1584 and 1593, he launched five disastrous invasions of Siam, which increasingly weakened his hold everywhere else. Every failed invasion made diplomatic settlement harder, because each one added grievances, casualties, and mutual humiliation to the ledger.
The post-1586 stalemate as a diplomatic opening
By 1587, after the catastrophic failure of the two-pronged siege of Ayutthaya, both sides had demonstrated to each other something important. The armies were not ready for a long-term siege of the heavily fortified capital. The troops began dying in thousands from want and exposure by February 1587, and by March, the siege began to falter. This is the clearest moment in the military record where exhaustion on both sides created the objective conditions for a mediated settlement. A negotiated recognition of Ayutthayan independence in exchange for assurances on trade routes and the Tenasserim ports would have been achievable at this point, because Hongsawadi's military credibility was already visibly declining. The political obstacle, again, was Nanda Bayin's refusal to accept a reduced empire as the legitimate inheritance of his father's conquests.
In the drama's terms, this is also the period when Mingyi Swa's strategic credibility was being damaged by failed campaigns, and his ability to argue for restraint at court was therefore at its weakest. Mingyi Swa faces humiliation after military setbacks, while internal chaos grows around the throne. This is one of the drama's more devastating ironies: the man most inclined towards peace was being systematically discredited by the failures of a war he had never fully believed in.
Could Mingyi Swa and Nares themselves have acted differently?
Within the drama's own logic, both men were operating under structural constraints so severe that individual agency was largely confined to the manner of their choices rather than the choices themselves. Nares could not have accepted a continued vassal status; his people's freedom demanded independence. Mingyi Swa could not have publicly defied his father and sued for a unilateral peace without being read as treasonous. There is, however, one narrow possibility the drama gestures towards but does not fully resolve: a direct, back-channel communication between the two of them, at some point after 1586, in which they agreed on terms they would each then advocate to their respective courts from a position of strength. This would have required extraordinary trust, secrecy, and timing. It is the kind of thing the drama implies they both wanted and neither could quite bring themselves to make concrete before the military logic overtook them entirely.
-> What the drama ultimately argues, and what the historical record corroborates, is that the conflict was not driven primarily by the enmity between Nares and Mingyi Swa but by the imperial logic Nanda Bayin had inherited and could not relinquish. Political pressure, wounded pride and royal expectations drove both kingdoms toward conflict, with dreams of coexistence long buried under politics and bloodshed. Saving both men would have required, at minimum, a Hongsawadi court willing to accept Ayutthayan independence as permanent, a Nanda Bayin willing to govern what he actually had rather than mourn what he had lost, and a diplomatic framework robust enough to survive the pressure of court factions on both sides. None of those conditions obtained simultaneously at any point in the series. That is not a flaw in the storytelling. That is precisely the point.
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