#ogmmtvc

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I'm here to simply gush squealingly about the incredible Sammon drama, Triage.]

Happy Monday, y'all! I am taking a quick break from my OGMMTVC sub-series, The Lakorn Corner, to pen, in airing chronology, a very loud, very reverent, very gushy homage to

The Best Thai Medical BL EVER (EVER EVER), Triage.

Like, seriously. No hyperbole here! I absolutely loved the first medical drama on the Old GMMTV Challenge list, Manner of Death -- the mystery of MoD was written tightly, it had almost-great acting all around, and its pace was great. The best thing about Manner of Death, at the time of its airing in 2020? It very much pushed the boundaries of previous Thai BLs, which were set mostly in high school or college environments, to welcome a central story about adults attempting to solve a murder, while making space for a queer romance to bloom in the specter of a haunting mystery.

And, like Triage, Manner of Death was adapted from a novel by the well-known Thai Y novel writer, Sammon, who is a medical doctor herself. Triage is the second in a trilogy of hospital-based BLs that were adapted from her novels, the first being Manner of Death, and the last being 2024's Spare Me Your Mercy.

My good and amazing friend @lurkingshan has actually done a lot of heavy lifting in breaking down why Triage is AMAZING. I want to add on to this gush sesh, especially within the context of the OGMMTVC, to talk a little about what we had seen on these Thai BL streets prior to Triage's airing.

I haven't talked yet in my OGMMTVC pieces, collectively as a whole, about shows that aired in 2022 (like Bad Buddy, Secret Crush on You, KinnPorsche, The Eclipse, GAP, and more).

2022 was seriously AN INSANE YEAR for Thai BLs/Series Y shows. Like, INSANE.

2023 was also a mostly great year -- Moonlight Chicken, La Pluie, My School President, and I Feel You Linger in the Air all aired. But the narrative collapse of GMMTV's Only Friends in 2023 seemed to serve as a warning alarm for at least most of GMMTV's shows giving up on consistently striving for excellent scriptwriting since then, for the sake of its current decision to prioritize branded paired actors.

2022, however -- not just with "traditional" genre Thai BLs like the ones I listed above, but also with the entrée of queer storylines in mainstream lakorns like The Miracle of Teddy Bear and Khun Chai (To Sir, With Love) -- captured a moment of really broad, experimental, and successful screenwriting across many shows. Y'all know what I think about how remarkable Bad Buddy was. KinnPorsche was referential, risk-taking, hot, and just FUN, without the show asking its audience to dumb themselves down for the sake of the story. Secret Crush On You asked its audience to question its assumptions about rich and popular people, for the sake of exploring a story about finding happiness and mutual love as opposites attract. Khun Chai, which I'm watching now (I LOVE IT I LOVE IT I LOVE IT), takes the traditional, soapy, usually-very-heteronormative lakorn format, and uses every one of its improbably wild genre tropes to lift and support a storyline of a closeted young man finding love in a homophobic environment. And, GAP, the first genre-abiding QL starring two women, airs during this year as well.

So, Triage comes into 2022's pack with a wonderful association with the genre- and groundbreaking Manner of Death, and starts off with a wild premise: this guy, Dr. Tin, is living in his own Groundhog Day. We're not in college -- we're in a hospital, and Tin keeps repeating an evening of work where a specific young man keeps dying on Tin's looping shift.

When Triage kicked off its premise in the first episode and got me immediately hooked, I was reminded of '80s movies like Groundhog Day or Back To The Future -- movies that started immediately with absurd premises, but with no apologies to their audiences for their absurdity, because their actual central stories were so tight (and the comedy was so good). I'd posit, very generally, that global art nowadays doesn't take as many of these absurdist premise risks, and/or if pieces do so, there are either a lot of explanations of the absurdity that takes away the fun and comedy of the art; or the risks are presented in such a high-art way so as to feel somewhat disconnected to an audience that might want a more direct and less-explained experience.

Triage kicks off the way the Philadelphia Eagles handed the Kansas City Chiefs their asses in the last Super Bowl -- it gets right into the story, with Tin living out the same night, over and over again. The explanations that occur happen firmly in the context of the story, without delaying the action. Tin increasingly seethes in disbelief that he'll have to save the life of this young man, who repeatedly comes into his emergency room smelling of alcohol, which reminds Tin of his deceased sister, who was killed by a drunk driver.

[By the way, two big SHOUT-OUTS are in order to @gabrielokun and @dragonsareawesome123, whose gifs are peppering this post. Dragons has put together a graphic of all the television tropes that Triage used to fantastic effect, which, when combined, contributed to this classically excellent medical mystery/romance. Thank you, Dragons and Gabriel, for your fandom and all your gifs!]

@lurkingshan, in her Triage tribute post, celebrates the angel Jinta, who hips Tin into his destiny that the only way he'll get out of his Groundhog Day loop is to save the life of the young man, a college student named Tol. Tin figures out over the course of the series the ways in which he'll have to save Tol -- which will eventually include Tin's quest to get Tol to fall in love with him. In the process, Tin must also, indirectly, save the lives of two other people. And to rush to the end of the series -- Tol is then thrown into time loops after he loses Tin, and Tin and Tol must meet together, in one final loop, to remember each other, and to remind each other that they need to survive for each other, in order to move forward in their lives.

There's a ton of themes in the framework I outline above that need to be celebrated. Like Manner of Death, Triage breaks Thai BL boundaries by centering a character that's not in school, while also pairing him with a partner that is in college, a confluence that I just love. Shan notes in her post that Tol is not necessarily the most honorable character; he's a sharp, snobby student, starting off the series wary of getting to know Tin. It's only through the subsequent loops of time in which he spends with Tin that he begins to have an effervescent sense of attraction to Tin.

And Tin doesn't start off perfect, either. He's scolded by his superior for potentially not taking the initial death of Tol seriously, as Tol was assumed to have been a drunk driver, which Tin is biased against. But Tin quickly learns that in his first loops with Tol -- Tin would not have been able to save Tol anyway, as Tol had an underlying health condition that Tin needs to solve for.

I love that this show centers two very imperfect characters at the start, calls them out immediately on their imperfections, and structures the show completely around how they need to change themselves to save each other's life.

As well, this show shows that Tin needs healing, even saving -- but the show makes Tin WORK for that healing and saving, as it needs to come from within him, making changes to himself to become more giving and empathic to the people around him. The brilliant episode six of this series encapsulates this, as Tin meditates on his time-traveling journeys while contemplating Tol's death one countless time more; and the equally brilliant episode 11, when Tol begins his own time travels to save Tin's life, also emphasizes this, as Tol addresses, through his love for Tin, how Tin needs a little help to find happiness as much as Tol does.

While my writing of this plot may sound a touch confusing, please rest assured: the show does NOT leave you confused about where the time travels are taking the characters.

This is not the case in a future Sammon-affiliated show, 2024's 4 Minutes, for which Sammon was a screenwriter. 4 Minutes also told a story about multiple existences and timelines between its main characters. But the timelines within 4 Minutes were murky, unclear, and undefined, and at the end of the series, it seemed like those perspectives weren't really supposed to be taken seriously or followed anyway -- which is kind of frustrating for an audience that might have been tracking character perspectives from the start of the show.

Triage is the total opposite of this. Before Tin takes his final journey back in time, he literally looks at a calendar and decides to give himself a week to change his and Tol's life. And the show helps the audience keep track of how time passes in order for Tin and Tol to get out of their respective loops. And in the process, we see love grow between Tin and Tol, as they vaguely remember each other each time that time jumps. It all comes together to create this lovely and INNOVATIVE sense of growth between these two characters that becomes just ADDICTIVE storytelling.

(And I haven't even fucking celebrated SingGap yet! SINGGAP! The way these two guys are at each other's throats, and then.... tee-hee, flirting and in bed together by the end of the series, and also needing to save their own lives. So well done!)

There's so much more to say about the STORY of this show -- it is so intricate and layered. (Shout-out to any of my homies who came into my Triage comments demanding the airing of Sammon's Transplant as the original expected ending of this trilogy of Sammon's medical BLs. WE NEED MAXTUL AND TAETEE BACK IN TRANSPLANT!!!!) But this mash note has gotten long, and I need to wrap this up on a few shout-outs.

Triage is stacked with BL stars. Besides being adapted from Sammon's original story, Triage was screenwritten and directed by Ma-Deaw Chookiat, a total Series Y legend, the original director and writer of the seminal movies The Love of Siam and Dew, director for Manner of Death and Dead Friend Forever, and much, much more. If a producer has ground to break in Thai BL territory, that producer would do VERY WELL by having Ma-Deaw Chookiat at the project's helm. Triage also shares a few actors from the incredible The Miracle of Teddy Bear, including the WONDERFUL Tee Thanapon as Tol. And Triage's lead actor, Tae Darvid, plays a deeply complicated grown-up, going through so much, from a queer revelation to an internal grappling with grief, that he just acted beautifully.

I have a shortlist of BLs from my OGMMTVC project that I consider automatic rewatches, shows I can have on in the background while I'm folding laundry, because I can check into an episode and know not only what's happening, but how I should feel about that moment when I glance up. This list includes Bad Buddy, Until We Meet Again, and now Triage. I may have watched it twice, HUNGRILY, before writing this piece. And I HIGHLY recommend that you do so as well. This show flows from its first minute, and you'll have consumed it before you know what hit you. It's simply the best Sammon show, and the best medical BL drama, on the OGMMTVC list by a mile, and it's a must-watch if you consider yourself an expert in this genre.

(@benkaben, this one’s for you!)

[Alright, next up! I'm SCREAMING ABOUT KHUN CHAI RIGHT NOW. Feels soooo good to be watching a top-notch drama again, even though Khun Chai is. INSANE. But I'm having a great time with it, and the Khun Chai community is screaming with me in my liveblogs -- so much fun!

So because I have gotten TOOOOTALLY obsessed with JamFilm and Khun Chai, I'll be watching Laws of Attraction after that, and will be filing part three of the Lakorn Corner sub-series in considering that Khun Chai is probably the most popular queer drama to have ever aired in Thailand -- for very good reason, as I'll talk about in my upcoming post.

After that, as previously promised, I'll do a quick overview of the history of Thai GLs, with thoughts on Love Songs Love Stories: Pai Jai, the movie Yes or No, and the premiere of the first genre-abiding GL in GAP the Series.

And then. Finally. My School President. And I'll fuck it up immediately with a fast-watch of My Love Mix-Up Thailand. Third-generation BL idols, let's boogie!

Here's the status of the OGMMTVC list for yer pleasure!

1) The Love of Siam (2007) (movie) (review here) 2) Yes or No (2010) (movie) (to be reviewed with GAP the Series) 3) My Bromance (2014) (movie) (review here) 4) Love Sick and Love Sick 2 (2014 and 2015) (review here) 5) Love Songs Love Stories: Pae Jai (2015) (Thailand’s first serialized GL) (to be reviewed with GAP the Series) 6) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 7) Make It Right (2016) (review here) 8) SOTUS (2016-2017) (review here) 9) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 10) Make It Right 2 (2017) (review here) 11) Together With Me (2017) (review here)

12) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 13) Love By Chance (2018) (review here) 14) Kiss Me Again: PeteKao cuts (2018) (no review) 15) He’s Coming To Me (2019) (review here) 16) The Fallen Leaf (2019) (not a BL; adjacent to the project as Thailand’s first lakorn featuring a queer/transgender main character) (review here) 17) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 18) TharnType (2019-2020) (review here) 19) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 20) Theory of Love (2019) (review here) 21) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content at GMMTV) (review here)

22) Dew the Movie (2019) (review here) 23) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 24) 2gether (2020) and Still 2gether (2020) (review here) 25) I Told Sunset About You (2020) (review here) 26) YYY (2020, out of chronological order) (review here) 27) Manner of Death (2020-2021) (review here) 28) A Tale of Thousand Stars (2021) (review here) 29) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 30) Lovely Writer (2021) (review here) 31) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here)

32) I Promised You the Moon (2021) (review here) 33) Not Me (2021-2022) (review here) 34) Bad Buddy (2021-2022) (thesis here) 35) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 36) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 37) Secret Crush On You (2022) (review here) 38) The Miracle of Teddy Bear (2022) (review here) 39) KinnPorsche (2022) (tag here)  40) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist (part 1 and part 2) 41) Triage (2022)

42) Honorable Mention: War of Y (2022) (for the sake of an attempt to provide meta BL commentary within a BL in the modern BL era), with a complementary watch of Aam Anusorn’s documentary, BL: Broken Fantasy (2020) (thoughts here) 43) The Eclipse (2022) (tag here) 44) The Eclipse OGMMTVC Rewatch to Reexamine "Genre BLs," Along With a Critical Take on Branded Ships (review here) 45) Khun Chai/To Sir, With Love (2022) (watching) 46) Love of Secret (2022) (a GL that preceded GAP) (I will not be watching this, but it's on the list to precede GAP) 47) GAP (2022-2023) (Thailand’s first GL with a branded pair and ship) (review coming) 48) My School President (2022-2023) and Our Skyy 2 x My School President (2023), Coupled with a Speed-Watch of My Love Mix-Up Thailand (2024) to Comment on GMMTV Trying to Make Magic Happen Twice  49) Moonlight Chicken (2023) (tag here) 50) Bed Friend (2023) (tag here) 51) La Pluie (2023) (review coming)

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I'm starting a three-part sub-series on queer primetime lakorns in Thailand, starting first with 2019's The Fallen Leaf.]

TW: major spoilers, suicide attempt

WELL. I don't know if anyone's around anymore whose been tracking this project! I haven't written an entry for this project since (scary!) August of 2024. But I have good reasons (!!!), and I attribute this, in part, to Thailand's predilection of broadcasting very, very long primetime dramas. (Besides, of course, the usual craziness of life that happens in-between my watching of shows.)

The last time I updated my Old GMMTV Challenge project, I was just about to tune into (for the first timmmmeeeee omg), My School President, after offering a rewatch analysis of The Eclipse, along with commentary on my perspective of the current impact of branded paired actors in the dramas of GMMTV and other studios. I was really enjoying ploughing through 2022's slate of Thailand's BL and GL dramas, and during the fall of 2024, I watched The Miracle of Teddy Bear, which was ridiculously amazing, and for which I will pen my next review in this series.

The Miracle of Teddy Bear is often cited as Thailand's first queer lakorn, or primetime drama, and is thus on the OGMMTVC list as an important milestone of the extensions of queer media's reach within Thailand's mainstream media. However, the comment that Miracle is Thailand's first queer lakorn is not accurate.

More accurately, The Miracle of Teddy Bear is Thailand's first lakorn to center a male queer character in a same-sex relationship.

In conversation with the FABULOUS @flowerbeasblog (who helms an incomparable blog about ratings and social media performance of our fave shows and actors in Thailand!), I learned that Thailand had an earlier primetime lakorn that featured a queer main character -- a transgender woman who suffered an abusive childhood.

This lakorn, 2019's The Fallen Leaf (aka The Leaves), stars a cisgender female actress, the hugely popular Baifern Pimchanok. The Fallen Leaf was one of Baifern's first shows that put her on Thailand's and Asia's maps as a huge continental star, particularly in China.

I was on the fence as to whether or not I was going to watch this show and list it. The idea of watching a show about a transgender female character, acted by a cisgender actress, gave me the jibbles, as was highlighted during a recent controversy involved a cisgender male actor playing a transgender female in the second season of Squid Game.

However, through some lucky connections, I got word from a Thai screenwriter that I should watch The Fallen Leaf if I was interested in the short history of queer lakorns. Later on in this sub-series about lakorns for the OGMMTVC, I'll discuss 2022's Khun Chai (To Sir With Love), which smashed QL ratings records. Comparing The Fallen Leaf to The Miracle of Teddy Bear and Khun Chai, therefore, is an accurate way to tell the story of the primetime centering of queer stories in Thailand's mainstream mediascape, aside from the continued growth of the specific Series Y genre.

And so. When The Fallen Leaf aired in 2019 on the One31 channel, it was massively popular. I want to talk about why I think that's the case.

Firstly, I want to note the importance of the year in which The Fallen Leaf aired. The inimitable @bengiyo has noted that 2019 was the year in which the Thai BL fanbase bifurcated. Thai BLs, also known as Series Y in Thailand, is a far smaller genre than that of the Thai primetime lakorn. However, the BL genre, by 2019, was growing exponentially, offering fans a wide array of content, from the heaty-hot drama TharnType, to the contemplative miniseries He's Coming To Me, to the complicated and rewarding romance of Dark Blue Kiss.

I thought a lot about TharnType while I was watching The Fallen Leaf. Not too many people in the global QL fanbase know about The Fallen Leaf, save for the incredible @so-much-yet-to-learn, who flagged for me that what he knew about it was that the show was rumored to have contained many problematic stereotypes about transgender individuals.

TharnType was notable not just for being one of the steamiest Series Y shows of its time, but for also centering enough problematic stereotypes about queer sexuality that I felt compelled to forever flag it. I noted in my OGMMTVC review of TharnType that I felt, as an Asian myself, that the show's basic framework relied on Asian stereotypes of bigotry against the queer community, a foundational approach that really made me queasy.

However: that approach (along with the heat), I think, allowed a broader Asian audience to tune into the show and relate to it -- a coincidence that's unfortunate, but one that the show's creator, MAME, likely knew would resonate with a growing fanbase that wanted to see men kiss, but that wasn't potentially fully up to speed on advocating for the queer community and for LGBTQ+ causes. (I posit a similar corollary in theorizing about the popularity of 2020's 2gether.)

I'm not fully sure what led to the creation of The Fallen Leaf, as a 2019 primetime, mainstream drama on one of Thailand's biggest channels. But I will posit, twofold, that the growing popularity of Series Y in Thailand -- not a mainstream genre by way of viewership, but a genre that carried tremendous social media clout, even in 2019 -- along with the resulting increase in social conversations and commentary about queer sexuality and queer life, may have made executives at One31 nod their heads in approving a novel script for the lakorn genre, one that very often centers not just romance, but deeply heterosexual and misogynistic approaches to romance (an issue discussed in the Series Y documentary, BL: Broken Fantasy).

And with The Fallen Leaf, in part, centering often controversial commentary about transgender individuals, the show was sure to achieve notoriety, as it certainly did by way of its resulting popularity in Thailand, and particularly in China.

So...

Now that I've said all of that -- that The Fallen Leaf was a hugely popular show, with a cisgender female actress playing a transgender woman, and that the show contains a hell of a lot of problematic takes on the queer and transgender communities -- what exactly is this show about, and was it a successful narrative?

The Fallen Leaf, as with other lakorns (like The Miracle of Teddy Bear), benefits from being a REALLY LONG SHOW. In a REALLY LONG SHOW, 21 episodes-worth (27 if you find them on YouTube), problematic takes can actually be addressed and countered with delicacy. Of course, problematic takes can also create scripted drama, but I'll get to that in a second.

Nira, our main character, is a transgender Thai woman who underwent gender-affirming surgery in London. She is in England with her mother after her mother's divorce from her abusive and cheating husband. Nira's supportive mother dies in a car accident while Nira is recovering from her surgery. Nira is left devastated -- and hellbent on exacting revenge against her abusive father (Chom) and her equally abusive paternal aunt (Rungrong).

Chom rejected his former son from an early age, noting his former son's feminine tendencies, and abusing his wife and son to a great extent out of his frustration of this reality. (Nira's formerly male identity is recollected in flashbacks, and notably, Saint Suppapong plays Nira's teenage male self.) It is indicated to Chom early in the series that his son died along with his ex-wife in the car accident, allowing Nira to come back to Thailand unidentified as related to Chom's family.

Rungrong is married to Chat, an unhappy husband caught in an almost-unconsummated marriage after Rungrong faked a pregnancy to get Chat to marry her. As a young boy, Nira was close with Chat, the only relative besides Nira's mother who was willing to wholly accept the young boy. Upon Nira's arrival in Thailand as a transitioned adult woman, she insinuates herself in the lives of Chom and Rungrong, ostensibly to upend their lives and exact revenge. During that insinuation, she gains the attraction of both her unhappy uncle-in-law, Chat.....and.... her father, Chom.

Yeah, sooooo, let me stop there for a second. Yes, this show is predicated on the premise that TWO of Nira's relatives -- a non-blood-related relative in her uncle, and her very blood-related relative in her father -- are into her. This tension is not ignored, it's very much addressed, and if you have familiarity with American soap operas or (worse), Indian Zee TV dramas, that a primetime Thai lakorn would choose this approach is actually not so surprising.

(That's Uncle Chat down there, played by the incredible Push Puttichai, who NEEDS TO BE IN AN OLDER MAN BL ABSOLUTELY STAT, THIS MAN IS BEAUTIFUL, JUST BEAUTIFUL. PAIR HIM UP WITH PRAN'S DAD!)

In order to exact revenge against the HUGELY bigoted and abusive Rungrong, as well as a new rival in some dumb influencer named Manow, Nira situates herself to become a famous make-up artist, model, and actress, which she actually achieves to an extent.

However, her abusive past, and the traumatic loss of her mother, haunt her throughout the drama. A huge part of the show is centered on her struggles with her mental health and her psychological care with her doctor, Benjang, who.... yeah, falls in love with her too, at some point. (Codes of ethics don't mean a thang in lakorns, I guess!) BUT BESIDES THAT, her needing anxiety medication, along with her regular hormonal therapy, are depicted clearly as a part of her everyday routine.

I'll stop there for now. Much of the show is centered on Nira's power plays with Rungrong and Manow, especially as these two fucking bigots pry into Nira's past, particularly as Rungrong seethes in jealousy while Nira becomes ever closer to Rungrong's husband.

The drama is a lot. It's a lot, and it's crazy and insane, and it's perfect for a primetime drama meant to draw in a mainstream audience accustomed to catfights and inordinate amounts of scripted tension.

However: let me also compliment this complicated show on a couple of fronts regarding depictions of LGBTQ+ themes.

As I said before, 21 hourlong episodes gives a script a lot of time to unwind. The macro-level, core premise of the show is indeed insane -- two of Nira's older relatives falling in love with her. It's a bombastic premise designed for attention and ratings.

But the show, surprisingly, treats almost all of its LGBTQ+ topics with sensitivity. Transgender women abound in the show, including Nira's steadfast and headstrong manager, and a sympathetic club owner who owns the bigoted Rungrong at one point. The FABULOUS James Rusameekae plays an over-the-top make-up artist. While I was afraid that his character, Baitong, would be treated with disrespect by the script (like Green in the original 2gether), the opposite happened: his feminine traits and never-ending support of Nira were celebrated in the show. Rungrong's own make-up artist, a gay man himself who initially helps Rungrong uncover Nira's secret, ends up lashing out at his boss after Rungrong makes bigoted comments about him and his community.

All of these characters, at some point in the series, face discrimination. Notably, Nira leaves an event where she is asked to be a model, when it is revealed to her that the LGBTQ+ community is not welcome at the site where the event takes place. While the resulting public conversations she engages in about her stance are a touch precious, they're also important to note, considering that these frank conversations about discrimination were happening during a primetime hour to a mainstream audience.

Perhaps even more notable as presented to a mainstream audience: there are many instances in which Nira's transition care are depicted and sometimes explained. At the end of the series, pictures of Nira's post-surgical transition are shown. At the start of the series, Nira is shown in the hospital, bandaged. The transition of her feminine hairline is depicted and explained. She is shown using hormonal gels and vaginal dilators, and carries her bag of dilators with her as she moves apartments during the series.

Thailand is certainly known globally for the quality of its gender-affirming care. However, regarding the transitional experience, I myself have never seen a fictional show delve into so much detail about the process, and I found myself learning and researching parts of the process that I wasn't aware of.

I want to also note, with thanks again to the amazing @flowerbeasblog, that the creators of The Fallen Leaf actually addressed the earlier controversy I noted earlier, about the casting of a cisgender woman in the lead role. As what might have been expected in 2019 -- the creators of the show felt that if a transgender person had been cast, that the show might have been categorized within a more specific genre, like Series Y, for instance. In order to widen the show's appeal to a larger audience, the decision was made to cast a cisgender woman (you can use Google Translate to read this Thai wiki entry about the show). With LGBTQ+ actors and actresses gaining more attention and accolades in mainstream Thai media -- James Rusameekae recently winning a major award, and Jennie Panhan gaining the spotlight for playing a mother in another mainstream lakorn -- I hope that soon enough, a transgender actor or actress will indeed lead a primetime lakorn.

[NOTE: SKIP THE NEXT THREE PARAGRAPHS IF YOU DON'T WANT TO KNOW THE ENDING!]

...

...

I found the ending of The Fallen Leaf to be a sensible one, but a tough one. Nira's secret is revealed publicly, and she suffers tremendously for it. The accurate psychological connection is made regarding her mental health and the previous abuse she suffered at the hands of her father. None of the villains are redeemed -- an ending that I'm thankful for, because the show didn't need to jump through any other extraneous and insensible ethical hoops.

The show ended on a reasonable note of hope. Nira admits she is ill, and leaves behind Thailand, and Chat, to recover. She comments on the possibility of being able to go back to Thailand to the community that loves and supports her -- her doctor, her manager, her friend in Baitong.

The show was already too long to establish a narrative that she could triumph, within 21 episodes, over the lifetime of pain and abuse she had suffered. While I found that tough, I also found it a realistic and reasonable approach in a discussion about a lifetime of mental health issues. I think the fictional Nira indeed deserves love, and I hope that another lakorn that centers a transgender character will take up that mantle.

While The Fallen Leaf does not technically fall within the spectrum of the Series Y genre -- which The Old GMMTV Challenge project specifically focuses on -- I am ultimately so thankful that I watched it, because it is a clear precursor to 2022's Khun Chai/To Sir, With Love. Khun Chai, a fellow One31 queer primetime lakorn, turns up the volume on the conversation of discrimination against the gay community from the JUMP of episode one, with (similar to The Fallen Leaf) a suicide attempt after an unintended outing. I'm watching Khun Chai right now, so I can't make full comment at this moment, but I very much feel that with 2019's The Fallen Leaf having aired prior to Khun Chai -- and with the INCREDIBLE growth of Series Y shows from 2019 to 2022 -- that the Thai mainstream audience was really ready for some blunt conversation about gay men, bigotry, and true love, in a Very Big Soapy Show by the time Khun Chai aired. I see the similarities between The Fallen Leaf and Khun Chai already. While tropes abound in shows about young boys finding their feminine tendencies early in their lives, the fact that The Fallen Leaf and Khun Chai (as well as The Miracle of Teddy Bear) all start with young boys receiving physical abuse for their tendencies would not have been lost on the Thai lakorn audience who watched all of these shows.

With that, I close out my thoughts on The Fallen Leaf. Part two of the OGMMTVC's Lakorn Corner will focus on the absolutely OUTSTANDING The Miracle of Teddy Bear -- a Channel 3 lakorn that performed notably worse than The Fallen Leaf and Khun Chai, but that still carried incredibly important messaging about queer sexuality and childhood abuse and discrimination. I cannot wait to start writing about it, and I'll see y'all for part two of this sub-series!

[I wanna note that I am way behind on reviews for a lot of shows I watched last fall and winter. I'll write about Miracle next, then I'll pen a brief tribute to the FUCKING INCREDIBLE Triage, then onto Khun Chai, and then a quick deep-dive into the history of Thai GLs with Love Songs Love Stories: Pae Jai from 2015, Love of Secret from 2022, and then the biggie, GAP.

And then. I will finally watch My School President. Once I'm done with Khun Chai and the quick Love Songs Love Stories. (Yes, I am finally adding a show to the list that I myself am not watching, in Love of Secret. I'll explain more when I get to the GLs era.)

ANYWAY. Here's the current list as you see fit!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Love Songs Love Stories: Pae Jai (2015) (Thailand’s first serialized GL) (to be reviewed with GAP the Series) 5) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 6) Make It Right (2016) (review here) 7) SOTUS (2016-2017) (review here) 8) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 9) Make It Right 2 (2017) (review here) 10) Together With Me (2017) (review here)

11) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 12) Love By Chance (2018) (review here) 13) Kiss Me Again: PeteKao cuts (2018) (no review) 14) He’s Coming To Me (2019) (review here) 15) The Fallen Leaf (2019) (not a BL; adjacent to the project as Thailand’s first lakorn featuring a queer/transgender main character) (review coming) 16) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 17) TharnType (2019-2020) (review here) 18) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 19) Theory of Love (2019) (review here) 20) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content at GMMTV) (review here)

21) Dew the Movie (2019) (review here) 22) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 23) 2gether (2020) and Still 2gether (2020) (review here) 24) I Told Sunset About You (2020) (review here) 25) YYY (2020, out of chronological order) (review here) 26) Manner of Death (2020-2021) (review here) 27) A Tale of Thousand Stars (2021) (review here) 28) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 29) Lovely Writer (2021) (review here) 30) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here)

31) I Promised You the Moon (2021) (review here) 32) Not Me (2021-2022) (review here) 33) Bad Buddy (2021-2022) (thesis here) 34) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 35) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 36) Secret Crush On You (2022) (review here) 37) The Miracle of Teddy Bear (2022) (review coming) 38) KinnPorsche (2022) (tag here)  39) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist (part 1 and part 2) 40) Triage (2022) (review coming)

41) Honorable Mention: War of Y (2022) (for the sake of an attempt to provide meta BL commentary within a BL in the modern BL era), with a complementary watch of Aam Anusorn’s documentary, BL: Broken Fantasy (2020) (thoughts here) 42) The Eclipse (2022) (tag here) 43) The Eclipse OGMMTVC Rewatch to Reexamine "Genre BLs," Along With a Critical Take on Branded Ships (review here) 44) Khun Chai/To Sir, With Love (2022) (watching) 45) Love of Secret (2022) (a GL that preceded GAP) (I will not be watching this, but it's on the list to precede GAP) 46) GAP (2022-2023) (Thailand’s first GL with a branded pair and ship) (review coming) 47) My School President (2022-2023) and Our Skyy 2 x My School President (2023), Coupled with a Speed-Watch of My Love Mix-Up Thailand (2024) to Comment on GMMTV Trying to Make Magic Happen Twice  48) Moonlight Chicken (2023) (tag here) 49) Bed Friend (2023) (tag here) 50) La Pluie (2023) (review coming)

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I take a look at my very first GMMTV series that I ever watched, The Eclipse, to examine its prowess as a "genre" BL, and to take a critical stab at the branded ship model vis à vis a successful narrative.]

HELLO. Due to BIG SUMMER LIFE (!!!) (WOW -- work trips, work changes, new projects, the regular family stuff, so much travel!), I've been a couple months delayed on getting some words down on my recent rewatch of The Eclipse for my Old GMMTV Challenge project, but I'm glad to take some time now to talk about this show.

I'm at a point in the project where my syllabus (pasted at the bottom of this post) will take me into the territory of many shows that I've already watched since starting my Thai BL journey in the fall of 2022, shows that I watched while they were airing, such as Moonlight Chicken, Bed Friend, Be My Favorite, and others. (I will be offering short, non-rewatch notes on some of these shows as I go along in the chronology.) The Eclipse is one of these.

I wanted to specifically give The Eclipse a full rewatch for a couple of reasons, the biggest one being very personal, in that The Eclipse was my very first ever-EVER GMMTV series (!!!). And, the only Thai BL I had watched, in the late summer and fall of 2022, prior to The Eclipse was KinnPorsche.

So! At the time of my watching The Eclipse in 2022, I had nooooo idea who First Kanaphan or Khaotung Thanawat were; I didn't know about the existence of branded ships in Thai BLs yet; I didn't know about the prevalence and regularity of side couples in Thai BLs, as VegasPete had been my first exposure to that; I didn't effing know about the fabulousity that is Neo Trai, none of it.

I simply just watched the show on the recommendation of a dear mutual. And, fuck, man, I totally had expected WAY more salacious material in The Eclipse coming off of KinnPorsche! At first, I was like, Thailand is WILDIN', and then it was just the GMMTV-PG FirstKhao smooches, which was fine, they were great, ha! I wasn't disappointed, but lmao, that was my mindset and understanding of my very brief introduction to Thai BLs at that very moment -- I thought it was all guns and butts and mafiosos and pool sex.

Besides rewatching The Eclipse with my now-very-experienced Thai BL glasses on to fix ALL of those past assumptions, I also wanted to rewatch the show in the understanding that filmmaker and former politician, Golf Tanwarin (the first transgender member of parliament in Thailand's House of Representatives) was addressing homophobia and leveraging their screenplay to talk about themes of stifling conformation in Thai society vis à vis the fictional environment of the Suppalo boys school. I want to demarcate this moment as an important one: at this point of my syllabus, the late summer and fall of 2022, the Thai BL landscape exists still mostly within the no-homophobia bubble, with only a handful of shows (He's Coming To Me, Secret Crush On You, etc.) stepping out of that bubble to grab the theme of homophobia and really wrangle with it frontally by way of familial and social acceptance.

However, I have to admit something as I write this review. During this recent rewatch, I had the benefit not just of my past historical chronological viewing of old shows behind me to judge The Eclipse's success as a show and as a messenger of deeper themes past straightforward romance; but I also had the benefit of foresight into the future, seeing how First and Khao served as a branded couple again in Only Friends, a series that, I believe, flopped in its narrative end due to the show prioritizing happy endings for its branded couples, rather than taking the time and the risks to break the branded ships up (or, at least, rock their foundations) to offer sophisticated social commentary on casual sex, as the initial marketing for Only Friends had initially promised.

In other words, I had critical glasses on for FirstKhao's performance, not necessarily for the actors themselves (well, kinda, lemme be for real), but I also wanted to understand better how The Eclipse centered THEM as an IT, a tangible IT, the branded ship, either against and/or vis à vis Golf's underlying critical messaging on social conformity and homophobia.

Unfortunately, through that critical lens, what I gained out of this rewatch of The Eclipse is a confirmed judgement that the common Thai BL structure of very much CENTERING a branded ship, especially emanating out of GMMTV, the central home for branded ships in Thailand, will almost CERTAINLY render a show attempting to make higher messages a weaker one in the end.

I found myself FULLY enjoying The Eclipse out of the FirstKhao sequences. When I first watched The Eclipse in 2022, I was a Thua hater, and I engaged for the very first time with @respectthepetty and others on subsequent defenses of Thua's outing of Akk and Ayan in the context of Akk and Ayan acting like loose-cannon-dillholes themselves. (This was a fabulous intro to my engaging with others on Tumblr, by the way, and I remember this discourse fondly!)

This time around, with the blessing of hindsight, I fully appreciated Louis Thanawin's FANTASTIC performance at the end of the series, as an overly frustrated and overwhelmed student wrangling with his sexuality, his attraction to Kan, and watching Kan's own struggles with his own sexuality, along with dealing with an overbearing stepfather -- and all of that happening while he was watching the hypocrisy of Akk slowly warming to Ayan, while Akk simultaneously punished The World Remembers gang. Louis, as Thua, fucking nailed it, and was an utter cutie at the end with Kan (including in Our Skyy 2, swoon). And forget about Neo Trai: Neo as Kan was one of the best performances I've seen of Neo's, as a student struggling literally to the second to manage his outward displays of automatic attraction to Thua for the sake of maintaining a façade of "order" for the Suppalo environment.

How does all of this impact my thoughts on FirstKhao as a branded ship, and AkkAyan as a fictional couple in The Eclipse?

There was so much great commentary on mental health, on social pressures and conformity, and on the reliance of history to contextualize and engage in suppression, in this show. The show hit hard and impactfully on these themes. As I just mentioned, the story of Thua was a welcome inclusion of the various ways in which homophobia impacted the Suppalo environment on micro- and macro-levels. The story of Dika is also gutting, and I appreciated The Eclipse for never turning an eye away from Ayan's continued suffering at losing his uncle so traumatically. (I also understand that there was quite a lot of conservative protest against The Eclipse in Thailand, and that the show being shortened by two episodes may have been related to this, along with the show airing during ongoing student protests.)

Unfortunately, I believe The Eclipse tripped on itself when it stepped away from these themes to move to more lighthearted moments with AkkAyan. I think the centering of this ship led to a number of key unfulfilled narrative moments, including a key factual skip later in the series, when Ayan indicates to Akk that Akk had made a promise to reveal his work against The World Remembers, a promise that did not have prior reference in earlier episodes.

This isn't to say that a budding couple can't have sweet moments. And we saw a tremendous amount of trauma coming from both Akk and Ayan, with Ayan's ongoing anger at Suppalo, and Akk's fear of rejection for his and his family's financial state, leading him to embody Suppalo's culture of suppression for the sake of his own survival at the school. These very-deeply messed-up fictional boys absolutely deserved and needed love.

But I found myself taking the most notes on this show when I felt the tones of previous scenes of protest, trauma, or attack were juxtaposed against getting Akk and Ayan together for a subsequent scene, especially later in the series, when their flirtation continued to grow. I felt this particularly during the outdoor Twitter scene in the bleachers, when Akk and Ayan were using tweets as a means of finding out who was running the counterprotest Twitter account, which was placed right after a particularly brutal attack against The World Remembers. I needed to flip my emotional attention back to a practiced GMMTV routine of watching a ship continue to warm up to each other for memorable and meme-able moments, and I found that juxtaposition jarring.

As opposed to Not Me, GMMTV's first "genre" BL that played with a sandbox outside of romance, The Eclipse was on steadier feet. While Not Me really tried to play around de-centering a shipped pair in OffGun, it truly stumbled in rushing back to inject romance throughout the storyline, particularly with DanYok taking up unexpected and discordant room (ACAB, YOK). And outside of GMMTV, we've seen many "genre" BLs actually work really well, most notably to that point in 2022, the crime-driven Manner of Death (MaxTul, my beloved), which balanced a developing romance with a legitimately interesting and unwinding mystery, all with a sharp and solid screenplay that didn't stray from its intended purpose. (Maybe I'm getting my hopes up too soon, but we're seeing "genre" BL doing well right now with 4 Minutes, and GMMTV has another, riskier, "genre" BL coming up in its crime-driven series, Kidnap.)

GMMTV, however, demands something economically from its shows, a sellable final product that can be transmogrified into fan meetings, branded items, and most of all, enduring and memorable legacies for the branded ships that center most of its BLs. At the time of The Eclipse's airing, both First and Khao had been previously paired with others (First with Gawin Caskey in Not Me; Khao with Podd Suphakorn in Tonhon Chonlotee), and the sao wais had been eagerly awaiting the debut of FirstKhao, and were fed nicely.

I can't say, quantifiably, if the majority of the global Thai BL fandom, or even the majority of the GMMTV fandom, are sao wais who only watch GMMTV shows for branded ships and guaranteed happy endings between shipped actors that only partner with the same person over and over again. I also believe that at this moment in time (in 2024), that we may be seeing differences in preferences emanating from fandoms based in Thailand, China, elsewhere in Asia, and globally, particularly in Europe and North and South America, between fans that will willingly support branded ships through very bad narrative shows, versus fans that prefer well-scripted shows above all else.

I think, after the economic earthquake that was the airing of 2gether in 2020, that GMMTV made a hard-turn decision to prioritize series that centered repeating branded ships above all other kinds of investment in other shows, including excellent screenplays.

I say this not to bemoan the opportunity for Thai filmmakers to have economic success. If these shows are making coin for Thai creatives -- maybe even the kind of coin that will allow these creatives to have more artistic freedom in their futures -- then I cannot begrudge that at all, and I wish these artists economic success.

But from a critical viewpoint of artistically narrative success, I'd argue that the last truly great narrative show of GMMTV's portfolio is 2021-22's Bad Buddy, featuring a branded ship in OhmNanon that I'm sure the network wanted to use again, one that both Nanon Korapat and Ohm Pawat knew they didn't want to repeat. Since then, while we've had a small amount of storytelling gems out of GMMTV like Moonlight Chicken, Cherry Magic Thailand, and Cooking Crush, most of what's come out of that studio has been mediocre for the past few years, with some aching stumbles having been had in shows like 23.5, Wandee Goodday, and My Love Mix-Up Thailand, which is airing now.

A major complaint across social media right now about My Love Mix-Up Thailand, centering Gemini Norawit and Fourth Nattawat, is that the show rushes to create meme-able moments between them, which is more in line with GMMTV's bottom line of engagement first. My Love Mix-Up/Kieta Hatsukoi is an utterly beloved Japanese manga and dorama. While G4 fans are drumming up the level of social media engagement that GMMTV judges "success" on, many other general BL fans have been left disappointed by the show's pulling back from honoring certain moments of hilarity and connection with the original Japanese source material (how could Fourth NOT go into the trash can?!).

I posit that it was 2gether's 2020 airing that encouraged GMMTV to make the pivot from investing in well-crafted screenplays, and taking risks to split ships up -- as the network did with Tay Tawan in 2019's 3 Will Be Free -- to center the branded ships.

And I think 2022's The Eclipse is an excellent example of the result of this decision-making: that while The Eclipse's core ideas within its screenplay were admirable, and much of the acting and romance outside of the branded ship were great to watch, that the show's needing to leave the central path of the narrative central story to spotlight the FirstKhao ship to create engagement-worthy moments ultimately took power away from the show and its message.

Only Friends -- a late-2023 show that initially marketed itself on breaking up ships and celebrating casual sex -- came back around in the end to scold any of us fans that wanted to see the ships sink. The dynamic between First and Khao in Only Friends was incredibly similar to their dynamic in The Eclipse: First acting as a tough-guy character who couldn't help being simp-ly swept away by an overpowering character played by Khao. I'm afraid the same will be repeated again in Jojo Tichakorn's next show, The Heart Killers, and I'd like to be proven wrong there, but.

It's incredible for me to reflect on what I know now about The Eclipse, and how this otherwise-excellent show was, in my eyes, economically impacted by the casting decision to prioritize a branded ship over the narrative cohesiveness of a screenplay. GMMTV has only committed even more to this path since The Eclipse's airing.

For the sake of excellent actors like First, and especially Khao: I hope they can have the future opportunity to spread their wings and act with other actors (as the very extreme majority of actors in entertainment get to enjoy), to shake off the economic prioritizing of branded ships in order to access better screenplays and stories. They deserve it, as hard-working creatives, and I'll certainly support them outside of the branded ship model, one that I believe is showing artistic wear and tear as more branded ship shows keep narratively sinking.

[Alright! So, where am I on the OGMMTV list? I've actually already finished the next show on my list, GAP The Series, this summer, and I hope I can pen that review in short order to get this series back on some kind of timely track.

HOWEVER, HEH HEH, that's actually going to be a bit difficult for me as, per the recommendation of a couple of BL elders, I am backtracking chronologically and tackling 2022's The Miracle of Teddy Bear, Thailand's first queer primetime, broadcast channel-level lakorn, which consists of 16 90-minute episodes, which, woof. Despite its hefty length, I am terribly excited to watch a show (a lakorn, EEEE!) out of the usual Thai BL bubble, one that I understand has been potentially misunderstood and/or mis-marketed to BL fandoms over the years. For the sake of its primetime airing alone, it holds an important place on the OGMMTVC syllabus. And I can't wait to take a crack at a Thai major channel's first attempt to make queer content and BL-genre-influenced content a primetime offering.

This means that, once again, My School President has been held at a delay, but I will get to MSP soon, I SWEAR! (And....oops. I'm thiiiiiinking that I might watch My Love Mix-Up after MSP at literal warp speed, literally 1.5x, to do another piece on branded ships vis à vis G4 and Au Kornprom in 2022 vs. 2024. We'll see. I may not wanna do that to myself, but... but! For science?!?! Maybe.)

Here's the updated OGMMTVC syllabus for your perusal. ONWARDS!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here)

21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here)

31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 34) Secret Crush On You (2022) (review here) 35) The Miracle of Teddy Bear (2022) (watching) 36) KinnPorsche (2022) (tag here)  37) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist (part 1 and part 2) 38) Honorable Mention: War of Y (2022) (for the sake of an attempt to provide meta BL commentary within a BL in the modern BL era), with a complementary watch of Aam Anusorn’s documentary, BL: Broken Fantasy (2020) (thoughts here) 39) The Eclipse (2022) (tag here) 40) The Eclipse OGMMTVC Rewatch to Reexamine "Genre BLs," Along With a Critical Take on Branded Ships

41) GAP (2022-2023) (Thailand’s first GL) (review coming) 42) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 43) Moonlight Chicken (2023) (tag here) 44) Bed Friend (2023) (tag here) 45) La Pluie (2023) (review coming) 46) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 47) Wedding Plan (2023) (Recommended as an important trajectory in the course of MAME’s work and influence from TharnType) 48) Only Friends (2023) (tag here) (not technically a BL, but it certainly became one in the end) 49) Last Twilight (2023-24) (tag here) (on the list as Thailand’s first major BL to center disability, successfully or otherwise) 50) Cherry Magic Thailand (2023-24) (tag here) (on the list as the first major Japanese-to-Thai drama adaptation, featuring the comeback of TayNew)

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I'm continuing a three-part sub-series on queer primetime lakorns in Thailand, this time highlighting 2022's magnificent The Miracle of Teddy Bear.]

TW: child abuse and a few major spoilers. I absolutely urge you to watch this show, and I really don't want to spoil anything, but please know that this show is one of my new favorite Thai queer dramas, so if that means anything to you, maybe watch it first before getting to this piece!

Hello again! Welcome to part two of the OGMMTVC's sub-series, The Lakorn Corner, where I'm examining important moments in television when Thai queer media and themes, concentrated mostly in the niche Series Y/Thai BL genre, crossed over into mainstream spaces -- namely the lakorn, or primetime drama, space.

Last week, I wrote about 2019's The Fallen Leaf, Thailand's first-ever queer primetime lakorn, which focused on the life story of a transgender woman. I posited in that piece that The Fallen Leaf made a number of significant breakthroughs for broadcast primetime Thai television, especially in centering very specific ideas and themes of LGBTQ+ equality that reached a much bigger audience than the shows of the smaller Series Y genre had ever had previously. Important to note is that The Fallen Leaf aired on the One31 channel (which belongs to GMM, an entertainment conglomerate that also owns GMMTV).

Since the airing of The Fallen Leaf, One31 has subsequently aired two more very important (and VERY huge) queer primetime dramas, 2022's Khun Chai/To Sir With Love, and 2024's Spare Me Your Mercy. The wonderful @clairedaring posited in the tags of my post on The Fallen Leaf that the immense popularity of TFL on One31 allowed One31 to widely broaden its scope of experimentation beyond the traditional heterosexual romances that usually dominate the lakorn genre.

This is important for me to note because, a few years later, Thailand's biggest broadcast channel, Channel 3, decided to broadcast a queer lakorn of its own: The Miracle of Teddy Bear. I want to posit right away that one theory I have about Miracle being able to occupy arguably the biggest primetime airing spot on Thailand's broadcast television was due to both the massive success of The Fallen Leaf in the same time slot on a different channel, as well as the explosive and exponential growth of the smaller Series Y/Thai BL genre between 2019 and 2022, which likely led Channel 3 executives to believe that its own broad and mainstream audience was ready for queer content in primetime. I'll get more into this in a moment.

(The Miracle of Teddy Bear is actually -- HA -- the third queer lakorn to have aired in a primetime slot, as the flopped comedy Rak Diao aired earlier in the year of 2022 on One31. However, Rak Diao did not make a large cultural impression on queer media in Thailand as did The Fallen Leaf, Miracle, or Khun Chai, so I'm leaving it off of this list.)

As opposed to The Fallen Leaf (which centers a single transgender female character), I've seen The Miracle of Teddy Bear categorized as either a BL and/or a lakorn. This discussion on Reddit regarding "lakorn BLs" describes the confluence of "new" queer storylines within the long-existent soap opera/Thai lakorn structure, especially with the subsequent airing of Khun Chai (To Sir With Love) later in the 2022 autumn season.

It's important for me to note here Miracle wasn't a typical lakorn OR a typical BL. It was not a soap opera, it was not a historical drama, and it was not a typical romance. It was very much an exploratory and penetrating drama, but it happens to be labeled as either BL and/or lakorn due to its airing time and its themes.

I emphasize these mundane points because I want to highlight, as I said in my review of The Fallen Leaf, that

as opposed to The Fallen Leaf, which centered one queer main character,

The Miracle of Teddy Bear was the first queer drama to air in a primetime slot on a major Thai broadcast channel *that centered same-sex relationships*.

Considering that Miracle focuses a huge part of its dialogue on love and acceptance, rather than a lifespan-focused psuedo-bildungsroman format like The Fallen Leaf, we MUST therefore juxtapose Miracle against the airing of GMMTV Series Y dramas, which air on GMM25 in Thailand, a channel akin (to us in the States) to, say, the WB or MTV, meaning -- a channel that is not as popular and culturally widespread or significant as the broadcast-level ABC/CBS/NBC channels of the States.

AS WELL, Channel 3 was already showing BLs by the time of Miracle's airing, particularly Secret Crush On You, earlier in 2022 and produced by Idol Factory. But Idol Factory's BLs on Channel 3 air in later timeslots, often at 10 pm or 10:30 pm -- certainly not targeted to a much wider primetime audience.

In other words: in every hotel room I stayed in during my trip to Thailand last year, I had Channel 3, but I never had GMM25. International fans that watch GMMTV dramas on YouTube must understand that while *we* have easy access to most GMMTV dramas, thus making GMMTV dramas plentiful fodder for online fandom -- that GMMTV dramas WITHIN Thailand face tremendous competition from het and queer shows airing on more culturally prominent channels, if they're not web-exclusive shows.

As I noted in my review of The Fallen Leaf, I pondered the reasons why One31 executives approved that show's script. One31 is known for being a bolder channel than the more staid Channel 3. But I also wonder -- it may have helped the One31 executives to approve The Fallen Leaf precisely because its transgender main character was NOT centered in a romance (in fact, she was centered in a notorious love tangle involving her uncle-in-law, her father, and her aunt) (I know, I know).

When I think about this, to jump three years later into 2022 and to see that Channel 3 approved of The Miracle of Teddy Bear's script -- I do think, circuitously, that the airing and popularity of BLs previous to The Miracle of Teddy Bear certainly helped Channel 3 to consider airing holistically queer content, partially centered within a same-sex relationship, in a primetime slot. The amazing @bengiyo and @shortpplfedup of @the-conversation-pod, along with the utterly inimitable and dearest @happypotato48, posited recently that the creators of Miracle may have gotten AWAY with getting this show to air, because the premise of the show -- an inanimate teddy bear is alived to become a human -- itself was so absurd as to perhaps be interpreted as comedy.

According to this EXCELLENT reporting and analysis post by @flowerbeasblog, Miracle's ratings were unimpressive, maybe even dismal, as compared against mainstream het dramas airing in the same timeslot. (Here's another Reddit post about Miracle's low ratings as well.) In conversation with @happypotato48, he shared with me one social media post by a Thai fan that read, "i saw the rating and feel so hopeless about this country."

In the podcast linked above, @happypotato48 further clarifies,

For people who didn’t know this show aired on the time slot called ละครหลังข่าว, or after news lakorn, on the most popular channel in Thailand, channel 3, and the rating was not good. It was bad, like really really bad, a lot of the BL girlies didn’t show up for it and the lakorn aunties just think it was too weird and was not ready for any gay leads lakorn. And it’s pissing me the fuck off because this show depicted the queer truth unapologetically and because of that reason that’s why there haven’t been a BL show [on Channel 3] in that time slot since.  

For us international QL fans, however, we should note, again through @flowerbeasblog's excellent work, that Miracle happened to outperform the much-more-niche, Series Y GMMTV dramas by multiple points.

In other words: as compared to GMMTV QLs, Miracle bested them easily. But Miracle vastly *underperformed* when put up against other primetime dramas on bigger channels.

(I will have more to say on QL vs. lakorn ratings in part three of this sub-series, when I review Khun Chai.)

Moving on to the actual show itself, @happypotato48 also shared with me that Miracle had a vocal base of passionate fans who were excited about real exploratory LGBTQ+ content airing in such an accessible time slot and channel for a wider Thai audience.

My amazing writing friends @bengiyo (here) and @lurkingshan and @twig-tea (here) have written fabulous essays about this INCREDIBLE show, both of which dive well into important plot points and the surrounding history of the show's airing.

I was so blown away by this incredible 2022 queer drama, so impressed by the show's ability, as @bengiyo wrote, to leave not a single thread of a storyline behind for the sake of rushing towards a conclusion. Each episode did not contain a minute of wasted time. Each minute of this show was rich in its themes and plots, describing the incredibly difficult lives of queer children growing into adults, and managing the trauma cards they were dealt with by the imperfect, often biased, and sometimes evil adults that raised these children.

I can take a couple guesses myself, as an Asian child of Asian parents, as to why Miracle didn't perform well during its airing. For a much wider Thai audience than the typical girlies that watch BLs -- an audience that certainly included parents and grandparents -- Miracle was a HELL of an exercise of accountability towards underperforming adults who are involved in the raising of queer children.

The Miracle of Teddy Bear took a goddamn SCALPEL to the biases, the trauma, and even the violence that adults commit unto children and other adults, in the name of demanding that children conform to their demands and to societal expectations. If parents were watching this live -- parents who could have either been raising, or had raised, queer children -- and raised them in the context of bias and conformity, than I can only imagine that this show made them squirm in shame. But besides this point about shame, Miracle, as I mentioned before, was also not a typical primetime romance drama. It was heavy, emotional, penetrating material, and a primetime audience may not have been primed to deal with such heavy content at that airing time.

I urge you to read @bengiyo's and @lurkingshan and @twig-tea's in-depth essays on Miracle's plot, but I'll run quickly through it now to get to some important points that I want to highlight.

Our main protagonist, Nut, lives with his mentally impacted mother, Na. She hallucinates regularly, speaking to a man that she calls her husband. One day, Tofu, a teddy bear that Nut owns, comes to life. While Na accepts Tofu immediately, Nut is extremely concerned by the sudden appearance of a strange man in his house (who wouldn't be). The connection between human Tofu and Nut's suddenly-missing teddy bear is not made, and Tofu is eventually accepted by Nut to live in his house and take care of Na.

Over the course of the series, it is revealed that the man that Na hallucinates (Saen) is not actually her husband -- but is the twin brother of her deceased actual husband (Sibmeun), a husband that was devastatingly homophobic and abusive to both Na and Nut while he was alive. Na and Saen had previously been in love, but due to a confluence of events, Na ended up marrying Saen's twin brother, Sib.

This single decision, in all of its intergenerational traumatic glory, is the kingpin to a cascade of horrifying trauma for Nut as he grows up.

Nut knows he is gay throughout his life and is punished brutally by his father, time and time again, for it. Na is blamed and punished separately by Sib for her fault of not "correcting" Nut of his sexuality. Nut is brutally separated by his high school boyfriend, Tatarn, by Sib, who originally learns of Nut's relationship through a homophobic teacher who narcs on Nut and Tatarn after seeing them together.

Tatarn himself is an injured protagonist in a separate storyline, as this generation of children become adults, of how his effort to fight the government against taking over his family's land leads him to a series-length coma. With Tatarn in a suspended state, Tofu is able to come to life through Tatarn's life force, and Nut and Tofu eventually fall in love. I want to emphasize that there's SO MUCH MORE to this series that you must catch up with in Ben's and Shan's/Twig's essays, or, ideally, in stopping everything and watching this show.

The utter BRILLIANCE of this series emanates first with Tofu -- a grown man borne out of a teddy bear, who knows nothing about how the human world functions, thus establishing Tofu as a brilliant and objective narrator commenting on the fallacies of human behavior that he observes around him, Nut, and Na.

Tofu is able to ask the most simple questions about why people act the way they do. He poses these questions like a child.

Where does homophobia come from? Why does it exist?

Nut himself asks, in the BRILLIANT episode nine of this series -- why do people have to disturb our love?

And with Tofu's existence, Nut is able to begin exploring his repressed and traumatic memories, to finally be able to tell the story of his brutal childhood to an objective listener.

He says to Tofu, in episode 10 (I paraphrase here),

"[my parents] ruined it for me. They ruined my self-esteem. They never explained [their homophobia] to me."

Nut goes on to tell Tofu that his high school boyfriend, Tatarn, was the first person in his life that didn't make him feel like an intruder.

This theme (there were so, so many themes in this show, from traumatic patriarchy, to embedded and generational misogyny, omg so much) of internalized homophobia and intergenerational trauma reminded me of an Instagram post I once saw from an older gay man, who wrote about missing his young adulthood due to the trauma of his upbringing. He wrote that it wasn't until his 40s that he could actually LIVE as a gay man, because he spent his 20s and 30s in fear of prejudice, and processing the trauma that he had grown up with. He wrote that his is the case for most queer people -- that one's 40s are the equivalent of a heterosexual's 20s.

We catch Nut fully processing this, after a lifetime of internal and external struggles, with Tofu, to the point of Nut seeking therapy at the end of the series.

There are many more storylines dealing with homophobia (including that evil fucker Jan, FUCK YOU JAN), as well as unfettered support for queer children, as we see through Gen and his lovely family. We see parents changing their views on same-sex relationships, through Song and his father, Anik.

I want to note something for the sake of the OGMMTC syllabus and the history of Thai BL, as this show aired starting in March of 2022. What remarkable show had ended just two months prior?

That's right, GMMTV's inimitable Bad Buddy. (BBS GIRLIES CAN'T LEAVE 'EM ALONE.) As I made comparisons between GMMTV and Channel 3 earlier, I also want to compare what Bad Buddy represents vis à vis homophobia versus how Miracle dealt with it.

We all know that Bad Buddy exists in GMMTV's common No Homophobia Bubble. We all know that Bad Buddy leverages other themes, including intergenerational trauma, school infighting and bullying, and personal and family rivalries, to represent conflicts that commonly arise in situations of homophobia. We all know that the resolutions that Pat and Pran come to at the end of the show are oftentimes compromises that queer couples must make to survive in love and the world.

I believe that one of the reasons why The Miracle of Teddy Bear underperformed in ratings at the time of its airing is because, unlike Bad Buddy, Miracle surgically dissected just about every emanation of homophobia that one could possibly imagine. (TW: child abuse, spoiler) At one point during a flashback to Nut's childhood, we see Na saving Nut's life by slapping him in front of his homophobic father, as a means of distracting the father from potentially killing his gay son.

As I keep repeating, The Miracle of Teddy Bear is not a BL. In the context of the show's conversation about homophobia, the series ACTUALLY COMMENTS ON SERIES Y, brilliantly so, as Nut himself is a Series Y screenwriter, and Miracle demonstrates that Thai BLs are actually GOOD for reaching audiences that may otherwise question same-sex relations.

And Miracle is also not a romance. Except for the re-animated teddy bear, Miracle strikes about as realistic a vision of the difficulties of love and acceptance as I've seen in a fictional drama.

And I drank every minute of it up. It was incredibly refreshing to me to watch a truly queer piece of art just absolutely dissect almost every experience of the trauma of a queer child growing up in a difficult environment, and processing those difficulties in his adult life.

There are a few other pieces on the OGMMTVC syllabus that touch upon this brutal angst. From The Love of Siam, to Gay OK Bangkok, to Dew, to The Eclipse, there is a world of Thai queer cinema and shows, some of which include BLs, that don't shy away from wrangling with the oft-present brutality of growing up and living queer.

As I think about how Miracle performed in primetime broadcast ratings in 2022, I'm thinking about what some of us in critical circles have been discussing regarding the last year and a half of GMMTV shows -- GMMTV being the biggest producer of Thai BLs at the moment. GMMTV shows, since Bad Buddy, have not been as critically incisive into worlds of bias, and shows like We Are or My Love Mix-Up Thailand have actually generated criticism for being too out of touch from the oft-difficult realities of being queer.

I think it's extremely important for us, as a small fandom in the huge world of Asian dramas, to think about what we want to see out of the shows we prefer. I had no prior expectation before I tuned into The Miracle of Teddy Bear, not at all expecting such a thorough and rich commentary into the realities of being a queer Thai man.

I feel that The Miracle of Teddy Bear has given me such a broader insight into the kind of parenting that many young queer Thais likely experienced in their childhood. It's given me a larger holistic view of the issues I need to be aware of when I interact with any of my queer friends. And I think this holistic education into a queer experience should, frankly, be on the list of anyone who considers themselves a fan of queer media, so as to be better educated about the realities of bias that our friends and family may face.

In other words, what I'm trying to say is, The Miracle of Teddy Bear is so brilliant, that we as a fandom need to work on giving it the broader reputation it deserves. It deserves an important spot on the OGMMTVC syllabus as a must-watch, critical exploration of society vis à vis sexuality. For me, it's in my top three with He's Coming To Me and Bad Buddy as my favorite Thai queer dramas, if I'm broadening my criteria out of BLs, and also lands up in non-BL-land for me with the movies The Love of Siam and Dew.

If any of us out there think that we understand the culture of Thai queerness, or even of the trauma that being queer could cause to a child -- check yourself (as I did), watch The Miracle of Teddy Bear, and prepare for a rich and artful education into issues and themes that you may not have even thought of.

[Aaaahhh, I have been waiting for MONTHS to pen this tribute to Miracle, and I'm glad it's out of my system! It's long, but it's absolutely a must-watch.

Speaking of must-watches! My next post in this series is not a part of The Lakorn Corner sub-series, we'll take a quick break from that. I have been waiting, also, for MONTHS to revere over Triage (TRIIIIAAAAGGGEEEE!), the best medical BL ever, ever, ever. I'm just gonna gush in my piece, I hope that's okay with y'all.

I'm watching 2022's Khun Chai at the moment, and I'll review that after Triage, and then I'll take a look at the start of the GL era in Series Y territory with GAP and some preceding shows. My School President is on the horizon!

Here's the latest OGMMTVC playlist for yer pleasure!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Love Songs Love Stories: Pae Jai (2015) (Thailand’s first serialized GL) (to be reviewed with GAP the Series) 5) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 6) Make It Right (2016) (review here) 7) SOTUS (2016-2017) (review here) 8) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 9) Make It Right 2 (2017) (review here) 10) Together With Me (2017) (review here)

11) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 12) Love By Chance (2018) (review here) 13) Kiss Me Again: PeteKao cuts (2018) (no review) 14) He’s Coming To Me (2019) (review here) 15) The Fallen Leaf (2019) (not a BL; adjacent to the project as Thailand’s first lakorn featuring a queer/transgender main character) (review here) 16) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 17) TharnType (2019-2020) (review here) 18) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 19) Theory of Love (2019) (review here) 20) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content at GMMTV) (review here)

21) Dew the Movie (2019) (review here) 22) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 23) 2gether (2020) and Still 2gether (2020) (review here) 24) I Told Sunset About You (2020) (review here) 25) YYY (2020, out of chronological order) (review here) 26) Manner of Death (2020-2021) (review here) 27) A Tale of Thousand Stars (2021) (review here) 28) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 29) Lovely Writer (2021) (review here) 30) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here)

31) I Promised You the Moon (2021) (review here) 32) Not Me (2021-2022) (review here) 33) Bad Buddy (2021-2022) (thesis here) 34) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 35) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 36) Secret Crush On You (2022) (review here) 37) The Miracle of Teddy Bear (2022) 38) KinnPorsche (2022) (tag here)  39) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist (part 1 and part 2) 40) Triage (2022) (review coming)

41) Honorable Mention: War of Y (2022) (for the sake of an attempt to provide meta BL commentary within a BL in the modern BL era), with a complementary watch of Aam Anusorn’s documentary, BL: Broken Fantasy (2020) (thoughts here) 42) The Eclipse (2022) (tag here) 43) The Eclipse OGMMTVC Rewatch to Reexamine "Genre BLs," Along With a Critical Take on Branded Ships (review here) 44) Khun Chai/To Sir, With Love (2022) (watching) 45) Love of Secret (2022) (a GL that preceded GAP) (I will not be watching this, but it's on the list to precede GAP) 46) GAP (2022-2023) (Thailand’s first GL with a branded pair and ship) (review coming) 47) My School President (2022-2023) and Our Skyy 2 x My School President (2023), Coupled with a Speed-Watch of My Love Mix-Up Thailand (2024) to Comment on GMMTV Trying to Make Magic Happen Twice  48) Moonlight Chicken (2023) (tag here) 49) Bed Friend (2023) (tag here) 50) La Pluie (2023) (review coming)

1) I paused Miracle for a couple of weeks to catch up on 2022's Triage, the second in a trilogy of shows by the Y novel writer, Sammon (most recently known for 4 Minutes, and better known for premiering with 2019's Manner of Death). I wanted to catch up on Triage before Spare Me Your Mercy airs, the third show in the MoD/Triage series trilogy. (Sammon has been posting on Twitter recently in anticipation for SMYM, thus my urgency in watching Triage.)

I wasn't intending on including Triage on the OGMMTVC syllabus, but I am, not even indulgently, but because I think if someone's going to situate themselves as a student of Thai BL, then this show should be watched as simply a TOTALLY REMARKABLE queer drama that plays not just with some BL tropes, but with a ton of other television tropes as well (as so wonderfully listed by @dragonsareawesome123!) TRIAGE IS SO FUCKING, FUCKING, FUCKING AWESOME, and I screamed in my liveblogs about it, so fuck yeah, I'm gonna review it soon (after I finish and review Miracle for the sake of chronology).

2) After I get reviews of Miracle and Triage out, I'll finally review GAP, which I watched this summer, and I'm glad I've given myself a lot of breathing room to think about GAP and its longterm impact, because I was gently unhappy with the show as it ended and how its script worked. I know some Idol Factory shows, like The Sign, are known for being bloooated, and I don't think GAP was bloated per se, but it was messy enough for me to think about it more critically than I expected in regards to celebrating Thailand's first GL. (It seems like The Loyal Pin is faring better by way of being a better script? But I haven't conversed with anyone about this yet.)

In any case, this breathing room, along with watching more shows from 2022, allows me to take the full step back I need to to celebrate GAP in its historical glory, notwithstanding the weak script, so that I'll do after I write up on Miracle and Triage.

(By the way. 2022 was a HELL OF A YEAR for Thai BLs. Bad Buddy ends, we got KinnPorsche, Triage, The Miracle of Teddy Bear as Thailand's first queer primetime drama, Secret Crush On You, The Eclipse, Moonlight Chicken is filmed but not aired, My School President premieres. 2023 and 2024 can only weep in jealousy, unfortunately.)

3) Finally, the real reason why I was going to put pen to paper today is that I am not done with The Miracle of Teddy Bear, and it's truly a HEFTY COMMITMENT to watch it, 16 hour-and-a-half-long episodes (meaning, 32 normal episodes) (New Siwaj drools in envy) but part of my thinking, as I start episode 12 tonight, is that I might need to compel my fellow Bad Buddy girlies to give Miracle a try.

If Bad Buddy was remarkable for existing in the no-homophobia-bubble, and using family rivalry and intergenerational trauma as sophisticated stand-ins for homophobia --

Miracle follows in BBS's footsteps as

1) not at all a BL, but a queer drama, Thailand's first major primetime queer drama,

2) a show that absolutely grabs all kinds of homophobia -- internal, external, social, familial homophobia -- by the neck, and reckons and analyzes each kind of homophobia through brilliant writing and character development,

3) a show that STILL, like BBS, grapples with intergenerational trauma, the trauma of adults coming from broken families and committing future harm on their children; as well as reckoning with the impacts of misogyny; as well as reckoning with the impacts of individuals standing up AGAINST social biases, including social homophobia, corporate demands against the environment, interactions with the police, so so much, and

4) a show that STILL commits to realistic development of romantic bonds among multiple couples, using flashbacks intelligently and sensibly, and leveraging romance often to sensibly lighten heavy moments.

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, in a two-part series, I offer my thoughts on KinnPorsche, my very first Thai BL, and the impact that I think KP has had on the Thai BL industry since 2022.]

Hot damn! It has been a MINUTE since my last OGMMTVC review, so I'm glad to be back. I've been very much looking forward to writing my thoughts about my recent KinnPorsche rewatch: I enjoyed this ENTIRE process, especially in regards to watching KinnPorsche in the context and chronology of past Thai BLs, and man, did I ever see KP WAYYYYY differently than the first time I watched it.

Why's that? Welp -- *KinnPorsche was my first-ever Thai BL*. (Not my first BL drama ever; that award goes to the GOAT, Kinou Nani Tabeta?/What Did You Eat Yesterday?)

But when I joined Tumblr officially in July 2022, just about a year and a half ago (in the heat of passionately obsessing over Old Fashion Cupcake), my dash was awash, AWASH, in KP posts. AWASH.

I had no idea what the fuck the algorithm was telling me.

I went into KinnPorsche knowing absolutely NOTHING about Thai BL tropes, the history of the genre, the actors in the roles, what made KP so innovative by way of its storyline, NADA. Dudes -- I'm half-Malaysian, and I had never even watched a show from the Southeast Asian region, let alone Thailand, and I was unaware of how prolific the Thai drama industry was (at least compared to the Korean drama machine).

When I first watched KinnPorsche, my perspective was that I had watched a pretty good show, and I was left surprised back then in particular by the No Homophobia Bubble (well, almost no homophobia, Big) that I now know is so much more common in Thai BLs than I realized.

It was through KinnPorsche that I discovered Thai BLs, and it was subsequently through Bad Buddy that I realized that I NEEDED to understand the development of this national genre -- so back to the history annals I went, through my OGMMTVC project, starting from 2014's Love Sick, and here we are at this moment of the timeline, the hot hot late spring and summer of 2022, enjoying the ✨vibbbeeezz✨ between Mile Phakphum and Apo Nattawin, and leaving me wondering why there was a national shirt button shortage in the midst of a Thai mafia crime drama. I'm glad I have history on my side now as I think about KinnPorsche as a standalone drama, and as I also think about the impact it has had on the Thai BL genre and fandoms prior to its premiere, up to today's moment in time.

I took my time to draft this piece partly because I was busy watching Be On Cloud's second and latest serial drama in Dead Friend Forever. I think BOC is doing something very interesting by way of their acting and contracted scripting choices, which I want to ponder by way of the context and aftermath of KP's airing. As such, while I had intended to write just one post about KP, I have a bunch of thoughts that'll spill over to tomorrow. So here we go, a quick overall outline for the lovers for today and tomorrow on my ruminating thoughts:

1) My critical thoughts on KinnPorsche as a standalone drama in the context of the history of previous Thai BLs, 2) My thoughts on how new arrivals to the wider Thai BL fandom shaped the perception of KP vis à vis older Thai BLs, 3) How I think KP has impacted how other studios approach, market, and write Thai BLs now, and 4) A quick passing thought on BOC's own continued influence on the Thai BL genre and industry since 2022, particularly by way of Dead Friend Forever.

I'm going to concentrate on numbers 1 and 2 in this piece, and they're actually going to be a touch conflated, because I want to lean into a now-obvious fact that the BL Elder community knew all along about KP when it first aired in 2022: there was not much that was new about what KinnPorsche was doing. (This is not necessarily a bad thing, as I’ll get into below.)

When I was a newbie on Tumblr, and the algorithm was feeding my dash, I remember seeing posts about how Be On Cloud, the studio behind KP, was doing things differently than the rest of the Thai BL field -- I recall posts about the studio hiring the best acting coaches, how the cinematography was nothing like what we had seen in other shows, and how Be On Cloud was committed to creating safe environments for its actors, particularly Apo Nattawin, who had reportedly faced discrimination in his past acting career, reportedly leading him to leave the Thai drama industry for a number of years.

While some very early Thai BL studios were known to not have the safest or friendliest environments (the filming of What The Duck comes to mind by way of this lore), by the time of KP's airing, GMMTV had strongly established itself as the leader of Thai BL productions, and other players, including New Siwaj and Cheewin Thanamin, had produced quite the number of dramas under each of their respective studio outfits. The industry, by 2020 and 2021, when KP was in its development origins, wasn't new anymore. Acting coaches, such as Aof Noppharnach, were now also regularly writing, directing, and producing original shows, and major BL studios had introduced workshopping as a regular step to production. On the artistic end, studios and writers had established expected artistic tropes -- 2018's Love By Chance is the first example that comes to my mind of when the Thai BL genre crystallized in a structurally derivative piece of art by way of containing and using prior trope references and dynamics.

Be On Cloud, in picking up the KinnPorsche script from Filmania during the pandemic (I use these posts here and here for my non-primary sources of KP lore) clearly knew it had something innovative on its hands by way of producing the genre's first mafia-based BL romance.

But 2020's Manner of Death had already introduced crime and mystery to BL, and 2021's Not Me continued a multi-genre perspective somewhat successfully around romance. And regarding sex and heat: KinnPorsche didn't do that first, either. MaxTul brought it first in 2017's Together With Me, and MAME has owned this corner since 2018's Love By Chance and 2019's TharnType. (Props to MaxTul for being in both Together With Me and Manner of Death; MileApo owe those dudes some beers.) By way of cinematography, which KP does extremely well: we had already begun seeing prestige cinematography in 2020's I Told Sunset About You, and 2021's I Promised You The Moon and A Tale of Thousand Stars.

It was natural, I think, for much of the KP fandom to think that KP was innovative in a lot of these categories, because, like me -- KP was our first-ever Thai BL. By way of money clearly spent on the show, the directorial purview of the show, the utterly gorgeous cinematography (man, that nighttime pull-away shot when the guys are in the roof pool, oof, why couldn't I find a gif), a new fan might think, geez, this has never been done before! But it had, and not just in Thailand, but for years prior in Japan, and more recently in Korea.

This is ALL not to say that KinnPorsche “suffered” because of what I'm uncovering by way of KP's misunderstood innovation. I think a perception of KP being entirely “new” in the BL field has contributed to its lore and enduring influential status. On this rewatch, I appreciated the mafia-based storyline as a support system to the central KinnPorsche romance. Yok being centered as an important mentor to Porsche, played by the inimitable Sprite Patteerat, was refreshing to see. Porsche accepting his bisexuality, especially with Yok's support, without the typical BL head-spinning queer revelation, was a welcome element to the show. And, frankly -- I had, on my first watch, missed, of course, the clear references to Thai BLs of the past in this show, references that I really loved seeing this time around.

From the old school, we got Kob Songsit, the OG BL dad, no longer Tong's dad in the seminal movie, The Love of Siam, nor Dean's dad in Until We Meet Again. This BL veteran is now a damn dad don, weapons and all.

We've also got Na Naphat, who played important side characters in IPYTM and UWMA. We have former BL lead guys in Jeff Satur and Perth Nakhun. We've got guitars and singing, we have underwater smooching, we have a cute-cute first date. We arguably have questionable kabedon in Kinn's and Porsche's first intimate moments. We have cooking for your lover, we have feeding your lover, we have the towel-drying of the hair. KP, by 2022, keeps up with Idol Factory's Secret Crush On You in prominently featuring a femme-presenting side character in Tankhun, PHENOMENALLY ACTED by Tong Thanayut, who we had seen previously in TharnType.

KP was, in part, directed by Pepzi Banchorn, who served as an assistant director on 2019's Dark Blue Kiss and 2021-22's Bad Buddy, and had a quick guest spot in 2022's The Warp Effect. KP was also, in part, directed by Khom Kongkiat, who played Uncle Tong in Bad Buddy, and subsequently directed The Promise in 2023. AND, finally, one of the KP screenwriters is Bee Pongsate, who has co-written so much flippin' BL: Last Twilight, Bad Buddy, Dangerous Romance (😬), Vice Versa, My School President, A Tale of Thousand Stars, 2gether and Still 2gether, and that's not even scratching the list -- you get it.

KP's supporting cast and crew was simply stacked with BL vets, who clearly knew the scene, and who helped to support Mile Phakphum's rookie acting and Apo Nattawin's return to the screen. I'd posit that this group of people knew EXACTLY what references they were putting into KinnPorsche, from actors to tropes, and also knew when, where, and how to innovate around those references to still make this show unique.

Certainly, KP's approach to sex and heat -- by way of Kinn's and Porsche's first drunken encounters (hi again, MaxTul), the uncut intimate scenes between them, and Vegas's and Pete's union by way of, well, semi-torture and/or kink -- was bold enough to be overall quite notable. But again: Thai BLs had been pushing that envelope for years past, and it has continued to do so in shows like MAME's Love In the Air and GMMTV's Only Friends.

In other words: after this rewatch, with the history of the older Thai BLs I've watched under my belt, I don't see KinnPorsche as firstly innovative. But I appreciate the show differently now, in particular for how very obvious it worked to include past Thai BL references in its production, and I actually gained a different appreciation for it.

I also want to made a quick tangential note about Apo and Tong specifically by way of innovation. Dr. Thomas Baudinette, a long-time BL fan and academic researcher on Thai and Japanese queer media, notes in his book, Boys Love Media in Thailand, that an ideal trajectory for a Thai BL actor is to debut in BLs in order to transition to more popular primetime het Thai dramas, as Gulf Kanuwat of TharnType, and Ohm Thitiwat and Kao Noppakao of UWMA and Lovely Writer, respectively, are notably doing at the moment. Apo Nattawin did this the other way around: he had established his career in het lakorns, most notably in 2015’s major hit drama, Sut Khaen Saen Rak, and subsequently left the Thai drama industry after reportedly being discriminated against for his skin tone and fashion choices. And his way back to the industry was through BLs. Taking the lore of Mile Phakphum recruiting Apo for KP out of the picture for a moment: I think this indicates a shift in how BLs are increasingly perceived in Thailand, and even globally, as being a career-worthy genre of content on its own for actors. (Apo's exploding fashion career is proof of this.) And BOC has now recruited another lakorn vet in Jes Jespipat for its third upcoming drama, 4 Minutes.

As well, Tong Thanayut’s very public coming out after the conclusion of KP’s airing is notable for how Be On Cloud has continued to center Tong in its productions after that fact, most notably in 2023’s film, Man Suang, while other out BL actors are not as lucky by way of guaranteeing and attracting future work.

I have a lot more to say about KinnPorsche's and Be On Cloud's impact on the current Thai BL industry, and how I think that impact has affected the marketing and creation of more recent shows like 2023's Only Friends, and 2023-24's Playboyy. But this first post has gotten long, and I actually haven't written much about the actual show itself, HA. So let me say this:

I think it's notable that the first shows that played around with themes outside of romance, like 2020's Manner of Death, and 2021's Not Me, were not perfect shows. We see now how multi-genre BLs are just exploding, what with Dead Friend Forever and the upcoming slew of vampire BLs that are going to drop (and let's not forget the first omegaverse BL drama in Pit Babe -- or should we forget it, I dunno). Not all of these shows are perfect, but the genre has only been around for a decade. There's a lot of time, and a tremendous amount of interest and funding, that upcoming shows can leverage to become better, especially these multi-genre shows that we're seeing more of.

KinnPorsche as well, was not a perfect show. I have some thoughts particularly on VegasPete to offer tomorrow, and I think, overall, that KP could have easily been a shorter series with more impact.

But I'll still give the show some of its flowers, because I think, unlike MoD and Not Me, that KinnPorsche did a better job of centering the Kinn and Porsche romance for dramatic effect, particularly by leveraging comedy. Were there many moments of hibbly-jibblies? Oh, totally. Dudes, also, Kinn fucking forgot about Pete! Pete coming back to the house and reminiscing about Vegas while holding his neck? Eeeeyikes, no thanx. There were a number of these weird bumps that I think could be explained by way of intentional camp (which I think KP did pretty well), but I do believe the show could have been tighter with more editing.

But, I gotta admit: I had a great time re-watching KP. That says something. Was it the heat that tiddled my dopamine cycles? Probably, somewhat. (No shame in my game.) Or -- a more reasonable theory, ha, is that Apo, as a veteran actor, demonstrated more range than I originally remembered. He can really do comedy well, and he timed his comedy perfectly for the absurdities that peppered KP through the series (the bread crawl, the constant throwing of hands, the jumping-on-Kinn when the ghost of Pete showed up, oh shit we're in the forest now, etc). Apo and Tong, in particular, stayed true to the bit many times during the show, and I think the series benefitted greatly from their collective comedic talent and timing -- which I thought was nicely refreshing for the genre.

With that, I'll have more ruminating tomorrow about the show itself, about how I think the impact that KP and BOC have had on the genre after KP's airing, and other thoughts about the cultural moment that KP demarcated when it aired -- see you tomorrow!

[MORE MORE MORE KP tomorrow! And I'll have more thoughts about the watchlist then. But for now, here's the classic OGMMTVC list for you to chew on!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 34) Secret Crush On You (2022) (review here) 35) KinnPorsche (2022) (tag here)  36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist

...interrupting the OGMMTVC list here to watch War of Y (2022) (watching) in chronology to decide if it gets listed...

For me: it's eclipsed He's Coming To Me and Bad Buddy.

It is THAT GOOD.

My OGMMTVC review of it is coming soon.