#nuengdiao

#🛁🛁🛁

Both characters cling to their decided roles and social classes. They don't want to admit to it—admit that they are the weaver and the cowherd—but they are painfully aware of it. So when things get intense, they retort back to these roles; as excuses and as explanations. Their social and economic roles are something to fall back onto when they are scared. In the first half (before the island) we see how both characters play with their role in a way that very much also fits their place in society (Nueng being rich and powerful and Palm, well, not being those).

Palm doesn't think Nueng likes him, so he focuses on his role as a servant. Because it is an answer to why Nueng might not like him, but also because it is an excuse to stay close despite the fact that Nueng might not like him. He kissed him on the rooftop because it was his ‘duty’ and used this as an empty excuse to cover his true feelings. Nueng focuses on his role as master because he feels he is losing grip on life due to his fathers death and the bullying at school. He falls back on his role in an attempt to gain control again. Everybody seems to be undermining his power, but he doesn't want that, doesn't want to feel powerless. His orders to Palm are rarely mean (when he's drunk he gets a little petty); rather, he uses them to give them both an out. A reason to give into their desire of being close without having to worry about how it is wrong (both being gay and the wealth gap). They play around with and subvert their roles by conforming to them in a way that is playful and engages with the absurdity of their situation.

When they get to the island they get the physical ability to let go of their roles and social classes, since they no longer need to put up a show of conformity, but this goes about as well as you'd expect. They are both still too used to their roles and although Nueng makes the biggest effort for them to ‘start anew’ he is only able to do so because he is accustomed to getting what he wants, and what he wants is a normal life. For Palm, it is a lot more difficult since he never saw a future where he wasn't below Nueng (or people like him); it is easier to become poor than it is to become rich.

So Nueng helps by falling back on his role of master again (this time out of desire rather than fear of losing control) and giving Palm the ‘order’ to be his boyfriend (it wasn't an exact order but the phrasing made it seem like having a boyfriend was important to Neung's well being and since Palm’s task is to assure Neung's wellbeing he felt like he ‘had to’). But this ‘order’ wasn't a case of Nueng using his servant to get a boyfriend (where the wish for a boyfriend would be the main motivation). Rather, he used the title of boyfriend to finally get his servant to admit his feelings to him (the desire for Palm was the motivation). He assigned him a new role, and since that (roles and jobs) are the only stability Palm has had since arriving in Bangkok, it is almost comforting for him. Before Palm even arrives in Bangkok, he expresses the fact that he can't imagine a future where he doesn't do the same manual labor as he does at that moment. He can't imagine change since this is often a rich man's dream. Then his dad drags him to Bangkok, and he is once again tasked with a job that seems to last until Palm dies. Had things not gone as they did in the show Palm would have likely filled a similar role as Mok did in Me and Thee. He would have had to work and grow alongside Nueng only ever committing himself to Nueng's wellbeing. For Palm, roles are something to lean on, to guide his actions, and give him a place in the world where he is unfamiliar. This unfamiliarity he felt in Bangkok is especially visible when we look at how his behavior changes on the island. He isn't just protecting Nueng anymore; he becomes a provider because that was his role in the South. He worked, earned money, and made a living. His acts of service for Nueng were disguised as fulfilling his role as a providing boyfriend.

Nueng ‘ordering’ Palm to be his boyfriend is another way to play around with their status and jobs. Their place in the Kiattrakulmethee house had been oppressive to each of them, and when it still clings to them on the island, the only way out seems to be engaging and indulging. Claiming these titles of master and servant and the dynamics that come with it and changing it to fit them and help their relationship rather than tear it apart. The differences between them that would seemingly be the reason they can't be together now becomes the very explanation for why they ARE together. This is all because Nueng leans into his role of master despite his claims that he wished to be seen as an equal. He can see that Palm does need direction and gives him that (not out of dominance, but rather out of submission to Palms needs). Nueng leading their relationship requires him to understand and read Palm in a way that Palm doesn't have to make any demands that he fears might be overstepping. One can only lead if others are willing to follow. It's a delicate balance and one that they manage extremely well because they are soulmates

Palm's mother dies and again Nueng returns to his role as master in times of intense emotion and/or confusion. He blames himself for her death and fears Palm will get hurt too if they stay together. Instead of expressing that, he lies, knowing that fear and concern will not—and have never before—stop Palm. Nueng tells him at the beach that it was stupid for them to have pretended to be equal and that their love was a lie. Using his position as Palm's master to make Palm his boyfriend was a specific strategy to convince Palm, but has now twisted to also serve as plausible deniability; a reason to give in is also a reason to pull back. Nueng can use the coy way that they play around with their roles and claim that it was never playing, that they really were just always a master and his servant. He lies, saying that the master now no longer wants/needs his servant.

When Nueng pushes Palm away and gives him orders to not go looking for him it seems for a second like that might be it—seems like this will be the reason they split up—but then we are reminded that Palm has tied his soul to Nueng’s about a week after they got to know each other, and that his need to be close to Nueng surpasses his inclination to follow orders. It is why he was willing to give into the order of being his boyfriend and protecting him with his life while staying stubborn and insisting (nagging) he wash Nueng's feets or peel his prawns for him, despite Nueng’s protest that he shouldn’t. Even though Palm had been told no, he will keep trying to care for Nueng.

The last time Nueng returns to his role as an act of cowardice is while he is avoiding Palm. Instead of telling him what he thinks and wants, Nueng writes Palm a letter because he can't look him in the eyes. He has to distance himself from Palm as a person or boyfriend; he has to return him back to a servant, push his emotions aside, and let him go like you could an employee. He leaves the bracelet, the reminder that they are both simply children of the sun; split from the same body. If he wants to leave Palm, he can no longer believe in that tale anymore, as they need to let their differences overpower their love. He starts his letter stating it’s an order, yet gives no concrete orders in the text. He explains his action, wishes Palm respects them and hopes the best for Palm. It's phrasing that we don't see in his previous orders. It seems that he wanted to command but couldn't find anything to demand. He only had actions he had to do and could ask no more from Palm than distance. He tries his hardest to keep the act of master up, hoping that by communicating in 'Palm's language,' he will understand. But Nueng was never a cruel master, and he only ever used that role to express their desperate need for connection. He can't bring himself to fully take on the role of master to hurt Palm.

When Palm leaves from the hospital, he doesn't use his role as a servant as a fake excuse; rather, their roles (or lack thereof) are the EXACT reason Palm can't stay. Even through all their efforts, Palm still clings onto his inferiority complex and taks as a protector. Now that he is no longer fully able bodied and needs assistance, he fears that he won't be able to do what he thinks Tanya and Nueng require of him—that he will be a burden. Tanya tells Palm he doesn't have to take care of Nueng anymore and all that Palm hears is that his task—the thing that he had kept close to him as a safety guard, as a reason to be with Nueng—is being stripped from him. Even after all this fucking time he still doesnt value himself beyond what he can do for others. Whereas when Nueng left he tried to emphasise the fact that Palm, as his servant, should listen to him and that their roles were the reason for their separation; Palm leaves because he is no longer Neung's servant. To him their roles were what kept them together, what justified their close relationship. Even though the relationship went beyond master and servant these roles were the thing they fell back on when the their love felt impossible and to Palm, a poor man unable to imagine a world where he stands on equal ground to someone of Nueng’s status, it feels impossible to be with Nueng if he cant serve him.

i started never let me go because... pondphuwin, plus the plot seemed interesting, and let's say they both didn't let me down, the first more than the latter. but i do have a bunch of criticism for it and things i wish they had done differently.

I'll start from my favourite things about Never Let Me Go:

First of all, the freaking OST. so far NLMG has the best OST in any thai bl I've watched. It was so contextual, beautiful, weaving in and out of focus when it needed to, had a big role in setting the mood of so many scenes, in creating tension and resolving it. The songs chosen in many of the romantic scenes were super fitting and all had a similar vibe somehow. The OST helped hold this entire show together so well. I really need to save a bunch of the songs from the OST to my playlists.

Second thing, the cinimatography of the show. From start to finish, NLMG consisted of so many aesthetically pleasing shots. All the visuals were amazing, and served the plot and themes of the show so much. The colour grading of the show gave it a very nostalgic feel. The scenes that showed confidence were so powerful, the scenes with the sweet moments were so soft, the scenes that showed desire were so strong and heartfelt. Honestly the director of the show did such a good job. Also thematically a lot of shots showed the class difference and social hierarchy, as pointed put by @biochemjess in this post, by using levels and the characters positions in the scenes. Or the lighting discussed by @respectthepetty in this post. There are a lot more thematic things that were shown through the cinimatography but im too lazy to analyze them all. All in all, I loved how each and every scene was so put together from visuals to music to acting. Good job jojo.

Third, PondPhuwin's INSANE chemistry, and their amazing acting in general.

I'll start with Phuwin. He did so well portraying Nuengdiao's character. It was so satisfying and awesome to see it from the subtle body language to the big emotions. Phuwin is so good with big emotional scene's ™ it literally gives me goosebumps. He was able to show the softness yet the rage in Nuengdiao, all the pain but all the happiness, all the immaturity and maturity displayed by him throughout the series. The freaking confidence after coming back from the island, and the uncle kit confrontation scene were so powerful, so well acted and vital to Nueng's character arc, and Phuwin did them flawlessly. Some of my favourite scenes that showcase Phuwin's brilliant acting are the rooftop fight/breakdown scene (it was actuallyone of the first scenes i saw a clip of before i watched nlmg and i was like nah i gotta watch it), the fight/break up on the beach scene, the putting-palm-to-sleep-and-running-away scene (might be my favourite scene ever even though it's so sad), the comeback feom the island and taking his rightful place as a heir sequence, the palm getting shot sequence. Like, oh my god, again, goosebumps. Have I mentioned how good Phuwin is in big emotional scenes???

And Pond... that guy, he's probably one of my favourite thai actors ever. Pond has a certain feel, a certain texture and genuineness in his acting that I can't put my hands on, but oh god, do i feel with every role he plays. His acting has a flavour that I really love. He does geniune, sincere, devoted, softly strong like no other. I saw his acting in We Are first, and honestly it was so surprising to me at the beginning how different Palm's personality is from Phum's (they do have their similarities, but in the beginning of nlmg, Palm was so diff). This showed me how much range Pond has. The hesitance, the politeness, the strength yet softness, the sweet confidence, the micro expressions and the not so micro expressions, they were able to paint Palm's personality so well from ep1 directly. His devotion to his work and to Nuengdiao were so prevalent in every look on his face. His conflict of wanting becoming closer to Nueng but also wanting to (more like having to) do what his father wants him to do, was so well acted. And all the confidence Palm gained at the island arc, when they were in the safety of the island, free like the sea, away from expectation, it was so beautiful to watch Pond act that. Some scenes that highlight what im talking about are the scene in the hospital when Palm confronts his dad about not caring about him (then we see Tanya hugging Nueng just after Palm got slapped by his dad and like kahskajmaj), the scene were he sees Nueng kiss Ben, the shooting class scene ("love is much more powerful than hatred" YEAH TAKE IT FROM THE GUY WHO IS FULL OF DEVOTION AND DESIRE), the scene when Nueng humiliated him at the party (i hate the scene but Palm's face, Palm's reaction, Palm's heart breaking... its powerful), Palm coming back to confront Nueng after the first breakup. The list goes on.

Now PondPhuwin together? it's fucking ART okay? it's so beautiful in all its shapes and forms. All the longing looks, every stare, every piece of dialogue shared, every touch, the tension was there, very strongly. It was so there you could feel it through the screen. Then all the romantic scenes, all the sweet ones, they served. The fight scenes were so good. The soft scenes were so good. The angsty scenes were spot on. The comforting scenes, the hugs, the pain, the tattoo kiss (i will never be over that), the way their relationship goes through so many different stages and so many different dynamics and they did each one of them so fucking well. I honestly will stop talking about this because i could write a 100k essay just about how much i love to see them together on the screen. You guys get me, right????

Anyway, another thing this show did right was FEMALE CHARACTERS. I can't stress this enough, but I'm so tired of shows that give the most 2D, weakly written, unlovable female characters only. And here we got three well flesh out, well written important female characters. Starting with Mrs Tanya, Nueng's mother.

If you saw my post after watching ep 1, you saw how much Tanya caught my eye and attention. And that didn't stop as the show went on. She is strong, loving, caring, but flawed, and oh do i love that. I live that she isnt perfect. I love that we see how much she tries to do her best after her husband's death, how confident she is managing the business and stating her terms and boundaries, and how much she tries to protect and care for Nueng. Was her way of doing that right all the time? not really. but that makes her realistic and makes sense for her character. She unconsciously puts pressure on Nueng for being the only hope for the Kiattrakulmethee family, just like his dad did, and unknowns makes Nueng's relationship with Palm more strained with the promise she made Palm make. But over all, we see a genuine caring mother, that fixed her mistakes by the end and tried her hardest to be successful. (Also she is gorgeous??? i can't not mention that. plus her stylist slayed)

Up next is Maggie!! she was such a pleasant and very very needed character. She helped in Palm's development by being a very good friend. Im so grateful they didn't make her flirty with him all the time and the usual not being able to read the room and trying to get in between the mcs. Nope, we got a genuine friend, who had an initial crush on Palm (i mean look at him, who wouldn't??) but then realised the story, recognised so many of Palm's internal problems and gave him much needed advice and support. They were so cute to see together, and i loved the scenes were she was talking to Palm about what she wants to do with her life, and asking him about what he wants to do with his. I think there was something beautiful there because we saw so much of Palm interacting with people from higher class, poeple who dont understand an integral part of his character, and then we see him talking to maggie, who is also working class, who is also trying to navigate her life and live it to it's fullest job after job. Idk why i liked that this much. I love Maggie, she deserves the best.

And finally, the character i thought i was gonna hate but i loved immensely, Palm's mom, mama Mam. We meet her, as a mother who doesn't know her son, a selfish mother that left and loves her family on her own terms. But them once her son comes back to her life, she steps up to take her role as a mother, and boy does she do good. What we saw of her in the few episodes she was in, was so important. She embraced her son's presence fully and read him so well, gave him advice and supoort he very much needed, gave him a safe place and so much love (for him and his boyfriend), and then as a final tribute, sacrificed her life for theirs.

Her character portrayed the complexity of motherhood, of love, of life. The thing she told palm about life not being all about love explained a lot about her character, and is kinda true. So yeah i love how well written she was.

What would happen if a young khun thee (say 25 yo) met nuengdiao just after his father's death (say 20? For the sake of making this idea non creepy) ? I suppose the Lees could be close friends with nuengs father and he's there to help nueng take over the business and settle into things. But nueng is angry and volatile and full of frustration and they crash too hard before they are able to understand each other's very similar weight on their shoulders and bond over it 🤔. I think it would make a very angsty very tasty story which will burn very very slowly.

I think khun thee would be just as protective of nueng as palm was, but in a more experienced more equipped way. The power differential may arise from the age gap i suppose 🤔🤔.

Propaganda

(PT: Propaganda)

Kabru

Initially follows a man down into a dungeon to make sure he’s not going to fuck up the world, but slowly becomes more and more intrigued with him. He wants them to spend all their time together. So points for loyalty right off the bat. Other qualifications include gorgeous curly hair and incredible people-pleasing skills

Nuengdiao

nepo baby turns 18 and then has to experience all of the horrors but at least he gets a boyfriend out of it

Alex Mullner

He is a jock and marriageable NPC

9S

No propaganda submitted

Teruki Hanazawa

You can't have a twink competition without Teru...

Qifrey

[Submitted Reasons Under Cut]