#daowadee

Let me start by saying that I love Shine the Series. I’m so invested in it that I write fanfic for the show, which, for someone who doesn’t have a lot of free time, should tell you just how much it means to me.

That said, one thing that stands out while watching Shine is how the female characters often seem to exist primarily to support the emotional journeys of the male leads. Take Claire, Trin’s first love, for example. Her tragic death after joining the 1968 Paris student protests leaves a deep scar on him. Her final words, urging him to stand up for his own country, stay with him as a moral compass. But we never really get to know Claire beyond the role she plays in shaping Trin’s development.

Then there is Tanwa’s mother, whose suicide adds another layer of trauma that defines him. We also see women like Dhevi, Trin’s aunt, who is trapped in a loveless and childless marriage, or Dao, Naran’s fiancée, who struggles with her parents’ disapproval while unknowingly participating in a relationship overshadowed by a secret affair. Even Moira, who initially stands out as a strong presence, ultimately seems defined more by her series of lucrative marriages than by a personal arc of her own.

One might argue that, in a show with only eight episodes, there simply isn’t time to explore side characters in any real depth. And to be fair, many supporting characters, regardless of gender, remain somewhat sketched in rather than fully developed. But what stands out is that the women are not just underwritten; they are sacrificed. Claire dies to catalyze Trin’s political awakening. Tanwa’s mother dies to deepen his emotional wounds. Dhevi and Dao serve as cautionary examples of what happens when women are trapped by social expectation or left in the dark. Even Moira’s arc is shaped more by the men she has married than by any interior growth we’re shown.

This is not a fate shared by the male supporting characters. While they may not all receive detailed arcs, they are not reduced to emotional stepping stones or narrative casualties. The imbalance lies not in screen time, but in how pain is assigned, and whose pain is allowed to exist for its own sake.

In the end, it is hard not to feel that Shine uses these women more as narrative tools than as full characters. And while the show gets so many things right, this is an area where it still has room to grow. The hope is that future episodes or future series from BOC will meet that challenge by treating their female characters as more than just collateral damage, and giving them stories that can stand on their own.

(Post written as of episode 4)

(I mean, obviously - but objectively too!)

When I first watched episode 2, Padoem's dismissive attitude toward Tanwa obviously bothered me - but it's infuriating to rewatch, given what we know now!

Tanwa never 'dropped out of school' - he just changed his major and has delayed graduating:

He doesn't have 'nothing to [his] name' - he's the lead singer of a famous band!

And he doesn't just 'burn through [Padoem's] money' - he earns a living, both as a singer and at the record store:

We know Padoem isn't ignorant of the last two points (at least) - after all, he was at the moon landing party and he went to the record store when he wanted to kidnap talk to Tanwa. The issue isn't that Padoem doesn't know his son, it's that he looks down on Tanwa's choices.

Not graduating on time (or with a major his dad could respect) is just as shameful as dropping out. Getting famous in a flashy band is worse than having no public reputation at all. Spending any of his inheritance while going to school for ten years and working a low-class job is a complete waste of Padoem's money.

In hindsight, it's interesting that Tanwa only fought back against the last point -