#be on cloud

(credit/source)

In 1969, Thailand was under a military government led by Field Marshal Thanom Kittikachorn, who was Prime Minister from 1963–1973. He is the successor of another dictator (Marshal Sarit). His regime was authoritarian, with no democratic elections, heavy censorship, royalist, conservative, and suppression of dissent.

His government has a strong alignment with the US, especially in the context of the Cold War+ the Vietnam War. Thailand allowed the US army to use Thai bases, making it a key anti-communist ally in Southeast Asia.

The political background at that time in my opinion, it's quite intense as the country was ruled by Military for decades (Marshal Plaek Phibunsongkhram 1938-1957, Sarit Thanarat 1959-1963, Thanom 1963-1973) and there's come a worldwide trend and a new waive in country - the scholars, university students and other left wing who're not happy about it. This's led to the big protest in Thai history led by university students called 14 October 1973 Uprising and 6 October 1976 Massacre to exile Marshal Thanom.

Thailand's art and music scenes were at a cultural crossroads — blending tradition with increasing Western influence due to political alliances and the Thai oversea students (like Dr. Trin) who came back home with the western education background.

Nowadays, we still pay homage to the historic events of the 14 October 1973 Uprising and the 6 October 1976 Massacre — especially at Thammasat University, where both took place. (Mile is an alumnus of the university.)* Thammasat served as the cradle of democracy during the 1973 uprising and became the site of brutal repression in 1976 — two defining moments in Thailand’s modern political history.

(*Kyuu separate note: you are an alum of an institution even if you don't graduate. Only Mile graduated but both he and Apo attended where they first met. Apo later transfered to another university where he graduated from.)

The founder of Thammasat University, Dr. Pridi Banomyong, was a professor, activist, politician, and senior statesman. He was one of the key leaders of the 1932 Siamese Revolution, which transformed Thailand from an absolute to a constitutional monarchy. A recipient of a government scholarship, he studied in France, earning a master’s degree from the University of Caen and later a doctorate in law from the University of Paris in 1927.

Another imp historic figure is Dr. Puey Ungphakorn (1916–1999), a highly respected economist and technocrat who played a significant role in supporting democracy and the student movement in modern Thai history. He earned his PhD in Economics from the London School of Economics and served as Dean of the Faculty of Economics at Thammasat University (1964 - 1972), later becoming its Rector (1975-1976). Dr. Puey firmly opposed the use of violence against student protesters leading up to the 6 October 1976 Massacre. Following the tragic event, he resigned, was falsely accused of communist sympathies, and spent the rest of his life in exile in the UK. In 2015, UNESCO recognized him for his unwavering ethical leadership and moral integrity.

((I think these two, esp. Dr. Puay might be an inspiration of Dr. Trin character))

*sorry, folks, this is a long one, based on one humble inter fan's desire to understand

As we eagerly await the release of Shine, one intriguing detail stands out: its setting in Bangkok, 1969. 

Thailand in the late 1960s was not exactly a beacon of visible queer liberation. So why choose this year, this precise moment, to set this series? The answer may lie not in what was happening in the open, but what was burning just beneath the surface in Thailand and across the globe. That "light that lingers just beneath the shadows" that would turn a spark into the flames of social unrest.

1969 was a year of rupture and revolution. Across the world, young people were taking to the streets—angry, idealistic, determined to wrest power from corrupt systems. From the anti-war protests in the United States to student-led revolts in France, Japan, and Mexico, the air was electric with resistance. Music, fashion, and film reflected these seismic shifts, capturing the spirit of rebellion in psychedelic color.

In Southeast Asia, the Vietnam War raged just across the border. American troops passed through Thailand on their way to and from the front lines, and the Thai government, under military rule, maintained close ties with the United States. The social tensions of this geopolitical alignment were palpable between the rising tide of youth culture and a government suspicious of dissent. This tension was felt as well between imported modernity and deep-rooted tradition, agrarian poverty and Bangkok's concentration of wealth. All of these serve as a pressure cooker of tensions that was ready to explode.

In Thailand, student activism was gaining momentum. The seeds that would later blossom into the mass protests of the 1970s were already being planted in 1969. University campuses, especially Thammasat and Chulalongkorn, were becoming incubators for radical thought, as young intellectuals began to question military rule, wealth inequality, and the suppression of free speech.

Though the mass protests that would shake the monarchy and the junta had not yet occurred, the sense of unease was growing. Student publications, underground gatherings, and whispered debates signaled a generation preparing to stand up. It is into this world—a world tense with possibility—that Shine may drop its characters.

Half a world away, in June of 1969, a police raid on the Stonewall Inn in New York sparked several nights of defiant resistance led by trans women, drag queens, and queer people of color. It became a watershed moment in LGBTQ+ history, a symbolic ignition point for the modern gay rights movement. News of Stonewall may not have reached every queer person globally in that moment, but the reverberations would be felt by an entire generation.

For closeted individuals in Thailand, especially students and intellectuals already questioning other forms of repression, Stonewall represented something radical: the refusal to hide. Even if unspoken, it stirred something. It suggested that queerness and protest were not incompatible. That the same voices raised against political injustice would teach a future generation of queer people to fight for the right to love freely.

Thailand decriminalized homosexuality in 1956, over a decade before Stonewall. On paper, it was a progressive move. But legal tolerance did not equal cultural acceptance. The 1960s remained a deeply conservative era for queer Thais, especially in professional or public life. While kathoey ("ladyboys") had long been part of Thai cultural visibility, their presence did not signify broader acceptance of queer identities—particularly not of men who loved men or women who loved women outside of comedic or marginalized roles.

There were no pride marches. No activist networks. No formal advocacy groups pushing for LGBTQ+ rights in the way that began to unfold in the West. In fact, Thailand’s first gay rights organization, Anjaree, would not be founded until 1986—seventeen years after Stonewall, and almost two decades after the year Shine is set.

So why choose 1969 for a queer Thai story?

Because it is a liminal moment. 

A time before everything cracked open, when truth still had to live in shadows, but shined just as bright. A time when love, especially queer love, had to be coded through through music, poetry, unspoken gestures and looks. It’s a rich emotional landscape for drama, for longing and repression, desire and danger, all set against the backdrop of political awakening.

If Shine follows queer characters navigating this moment, their love story is not just personal, it’s political. Their very existence becomes resistance, not through protest signs or riots, but through every act of tenderness they dare to share in a world that tells them to stay invisible.

By choosing 1969, Be On Cloud may be offering a tribute to all the queer people in Thai history whose stories were never told. The ones who danced and sang behind closed doors. Who whispered their truths in journals and poems. Who watched the world begin to burn and wondered if there would ever be space for them in its new order, until they came into the awareness that they would have to build the world they wanted themselves. One love, one protest at a time.

So that future lives could Shine in the open as well.

Also, last month, SoS and Jeff released this statement that seemed to heavily imply that the Korean production company they worked with was attempting to yoink the rights to the show and cut out everyone else: