PHUWIN, ON BEING COMFORTABLE WITH FAILURE AND AGREEING WITH GEMINI'S "ช่างแม่ง" MINDSET
- Phuwin's KND Studio Interview [WATCH]
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PHUWIN, ON BEING COMFORTABLE WITH FAILURE AND AGREEING WITH GEMINI'S "ช่างแม่ง" MINDSET
- Phuwin's KND Studio Interview [WATCH]
Anyone interested in another angle?
As much as some of the scenes in this episode were deeply upsetting to watch, Payback is doing some very interesting things around morality.
This may not be entirely cohesive, because I have a lot flying around in my head right now, and this is me attempting to process via writing.
(Also I do want to acknowledge I know there is a lot of cultural-specific belief incorporated throughout the series, which I am not qualified to speak to, so this is gonna be a Western white lady's perspective).
1) Intent is not an excuse
Intent is a very popular excuse when it comes to misdeeds; you can't go one week without hearing some angsty person on the internet making an apology about how they didn't intend for people to take what they said in that way, they're a nice person, really. There's a lot of bad things out there people have done, and continue to do, and have attempted to excuse via "I didn't intend this". (This also applies to actions or even inaction that prop up oppressive systems, but we'll keep it at the individual level today).
But, of course, when it comes to harm, intent is for all intents and purposes total bullshit, because the harm has still happened. This is why I appreciate the series not shying away from Sun's actions as a debt collector. Yes, he had reasons, but he still did harm, and the series has never portrayed his reasons as an excuse of good intent. Interestingly, I have seen some viewers use it that way - but Sun himself absolutely never does, and that's an important part of his character, and his ability to transform into a better person.
Compare that to a character like Kongkiat, who up to this point, has been a mostly passive character. He doesn't procure the boys - Sunny does that. He doesn't assault or hurt them - Songpol does that. But there's a reason the camera goes back to Kongkiat so often while these things are happening in the room he is in. Whatever his personal intent may be, he is fully culpable in everything that is happening, and he holds moral responsibility for the harm that has affected all of these people.
Regardless, Sun's intentions are not the path to redemption. He has to do the work.
2) Accountability opens a path
Payback has made a point that you can be capable of some awful stuff, and still be able to work your way back to a good person. This is the entire reason for Pen-neung's arc. Permanently disabling another human being and running from the crime are the kind of thing that a lot of people would say makes him a bad person. But Payback is not interested in that kind of black and white thinking. Pen-neung did a bad thing, and he continued to do bad things as long as he tried to run from his actions.
What brings him back to a place of worthiness is accountability. He walks towards his actions, acknowledges he will need to start from scratch with his career, and accepts the consequences. He is the model of what is possible when you acknowledge the harm you've done, and openly take accountability to do and be better.
For Sun, true accountability would be going back and connecting with the people he harmed in the past, but realistically that's incredibly hard to do - not just emotionally, also logistically. He also can't do that for his brother and mother. But he can do that through taking on responsibility for other people who are being harmed by those in power - the representations of the people he used to harm himself.
3) Choice reveals who we really are
I would argue that up to this point, Sunny still had a path to walk back. It would have been an incredibly hard one with the level of harm that he had done. His accountability would have to involve some pretty serious consequences. But at the same time, Sun hurt and assaulted many people, and was ultimately responsible for his brother's death, and he has been fighting his way back. A hard path is still a path.
But today's episode really shows just how deeply Sun and Sunny diverge as characters. And it comes down to choice.
Songpol gave the order, Kongkiat gave the nod, but Sunny made the choice to murder a young man with his own hands.
Sun made the choice to save Sky or die trying.
Sunny may have been a victim himself previously, there may have been harsh consequences for him disobeying, but he wasn't willing to put himself on the line, even with an act so horrific that it cost the last remnants of his humanity.
For Sun, there wasn't ever any other possible option. He made the choice long before he entered that room. I've seen some people complaining that he could have planned better, could have told Suchat, and yes, but that's exactly the point. He has to take accountability, he has to make the choice, he has to sacrifice everything to save his brother, to finish his walk on the path in service of all of those he harmed in the past.
I'm going to leave it here for now, and I'm sure I'm leaving out a million things, but wow do I appreciate getting a show that is so rich and nuanced, even though I need to go snuggle some bunnies or something after today's episode.
if i had a nickel for every time I saw the end episodes of a series and watched sexy shower times followed by a stabbing, i'd have two nickels this week
which isn't a lot, but it's weird that it happened twice
Twitter is currently debating whether Phob and Tin's 11-year devotion is "unrealistic" because "eleven years is too long to hold a torch."
They didn't hold a torch; they buried a live bomb under the floorboards and pretended it wasn't there. Eleven years later, someone dropped a match.
Let me explain why their inability to move on makes complete sense, even if you’ve never led a coup or fallen for a prince. This whole dynamic explains why Tin is practically hyperventilating in next week’s teaser, and why Tyler Joseph was so real for that one line in Stressed Out.
"I would never wait 11 years for a guy!"
I think most people's skepticism comes from the modern assumption that time automatically heals a broken heart. Reality check: time doesn't erase love; closure does! What I love about the show's writing is that it doesn't try to hide behind the cheesy "they stayed in love for 11 years because they're soulmates" trope. It makes a much more realistic case: Phob and Tin didn't pine for a decade out of choice, but because their story was forcibly cut short. Their relationship was frozen mid-sentence, and time can't heal what was never allowed to finish.
Here’s the secret: the eleven years is a red herring.
People hear "11 years of love" and assume Phob and Tin were staring dramatically out of windows every day since 1921. Highly unlikely! To understand what's actually going on, look at Twenty One Pilots' Stressed Out (or just your own life). Think about moving away at eighteen. You live a whole decade elsewhere, make friends, and build a routine. Yet the moment you step foot inside your childhood house, that familiar scent and hallway hit you like a freight train. It doesn't feel like ten years passed; it feels like stepping right back into the past. Our brains don't erase emotional memories, they just archive them until the right key turns the lock.
Tin’s life between 1921 and 1932 works exactly like that, both from what we’ve seen on screen and what he confesses in the preview. He didn't spend eleven years wearing black and weeping into his pillow every night over Phob. He shoved those feelings into a mental drawer because he had a whole royal duty to perform. Those feelings didn't disappear, they were just neatly filed away under "Do Not Touch." Then Phob walks back into the room, and the entire filing cabinet bursts open. It’s not an unrealistic fairytale trope; it’s what happens when you substitute time for actual closure.
There's a reason psychologists talk so much about ambiguous loss.
Death brings tragedy, but it also brings certainty. Missing information, on the other hand, breaks the brain. When a relationship ends over a massive misunderstanding, your brain short-circuits because there’s no clean resolution. Tin walks away thinking he’s taking the bullet for Phob, while Phob walks away thinking Tin abandoned him. Zero truth, zero closure, 100% emotional stasis. Their brains never stamped "CASE CLOSED" on their love story. It was left in the "pending" tray for over a decade, so of course it exploded the moment they crossed paths again!
Plus, there's another reason this hits so hard: Phob isn't just "an ex." He’s the first person who saw Tin as a human being instead of a royal title, and the first time Tin actually chose his own heart over his duty. The reverse is just as powerful. Tin isn't merely Phob's first boyfriend; he’s the man who completely shattered Phob’s lifelong complex that he was beneath everyone else. When a romance literally rewrites your understanding of your own worth, it becomes a foundational piece of your identity. You don't hold onto a profound attachment like that for over a decade just because you haven't dated anyone else; you hold onto it because that person permanently changed who you are.
The eleven-year gap is what actually makes it believable. If they had reunited after two months and instantly fallen back into bed, I’d be side-eying the script! Eleven years means they've both grown up. Tin is a poised royal official; Phob is a hardened artillery captain. Externally, they're completely different men. Internally, though? They’re suddenly face-to-face with the only person on earth who holds the key to a buried side of themselves. That’s why they don’t just casually jump back into a relationship. Instead, every single interaction systematically demolishes eleven years of carefully built defenses.
Now, what would be unrealistic? If the show tried to convince us that neither of them laughed for eleven straight years, or that they spent every waking second gazing dramatically into the distance. I’d be rolling my eyes right along with the critics. That’s pure melodrama! But that isn't what we were shown. The story gives us two adults who compartmentalized and moved on with their lives. There's a massive difference. You can easily go years without consciously thinking about someone, only to run into them and realize the bond was never broken, it was just sitting in cold storage.
Another detail Twitter loves to overlook: this isn't your average modern dating story!
Look at the source material: they grew up side-by-side, crossed a massive class divide, and were torn apart not by fading feelings, but by pure external hierarchy (even Inn himself pointed this out in their reaction video!). The relationship didn't die out because someone realized, "Eh, we’re just incompatible." It ended because they literally had zero choice. Ordinary breakups give you time to get annoyed by your ex; forced separations make an untouchable idol out of them.
Honestly, the best part of the writing isn't the eleven-year love story. It's the sheer level of mutual self-deception! Both men fully convinced themselves that the other moved on. Tin coped by picturing Phob living happily ever after somewhere else. Phob gaslit himself into believing he’d just imagined their connection. Neither was sitting around waiting for a fairytale reunion; they simply put their heads down and kept living. So when reality violently shattered those assumptions? Absolute devastation. That's real human psychology, not a romance novel cliché.
Time changes us, sure, but it doesn't hit "delete" on unresolved chapters. People asking "Can love survive eleven years?" are asking the wrong question. The real question is: "Can unresolved emotional business sit quietly in standby mode for eleven years, only to explode when the catalyst reappears?" 100% yes. It doesn't guarantee a fairy-tale ending, but psychologically? It tracks completely.
Infinite morning kisses <3
Meet-cute (first time):
Boy 1: my mum just died
Boy 2: my mum and lil bro just died
Boy 2: I’m a bunny
Boy 2: wanna fuck about it?
Boy 2: I will cry while bouncing on it
Boy 1: the giant mascot head stays on?
Boy 2: the mascot head stays on
Boy 1: I will fantasise about this for years
Meet-cute (second time):
Boy 2: just found out I didn’t kill my mum and bro, my ex did
Boy 2: giz a cig?
Boy 1: pick it up from the floor wretched peasant
Boy 2: thanks. Here’s such an incredibly small amount of money that you can buy literally nothing with it
Boy 1: I will obsess over this for months
Meet-cute (third time, part one):
Boy 1: I have heard your voice basically every other day for months, but now that it is muffled by the stuffing of a mascot head I finally recognise it
Boy 2: you’re a dick
Boy 1: you are my one true bunny love
Meet-cute (third time, part two):
Boy 1: I just fucked you rough and senseless. Also I believe in Karma.
Boy 2: that dick… and my tears… it’s all so familiar
Boy 2: …
Boy 2: OH MY GOD
Boy 2: Kajorn! clear my schedule! I have a full evening of bounce-bounce-cry-cry ahead of me.
Show vs Novel
Thanks to @talistheintrovert for sharing the link ╰(*°▽°*)╯
I am adding the novel source for Prosecutor's Proposal in this spreadsheet😄
I was struck by this footnote in Thak Chaloemtiarana's essay, "The First Thai Novels and the Thai Literary Canon," in relation to criticisms about Thai QLs writing and production style. He writes,
"Mae Wan [the author of the first novel translated into Thai] marvelled over the fact that it took less than a month for Khru Liam to finish his novel [the first original Thai novel, over 700 pages], compared to European authors who might take a year to finish one. Many Thai authors pride themselves for being prolific and fast writers. To many writing is like exercising--the more you practise, the faster you get. Such a production schedule meant that the writer had to finish writing the novel in one long continuous process to make the story flow smoothly. This production process and timetable ensured that a book could be finished and marketed in a very short time. It [was] also a concession to the still limited technology where typesetting [was] done by hand...This sort of literary production, that is, fresh and instantaneous, has its roots in writing and singing competitions such as writing klon not (fresh verses). Many Thais are trained to produce poetry or poetic songs at the drop of a hat."
Grain of salt about how truly relevant this is to the film and television writing traditions in Thailand, especially given that this Thai scholar mostly worked in the US following the political violence in the 1970s. However, it's interesting to consider that what interfans (including myself!) have referred to as a "rushed" production process in Thai media is, in fact, an accepted tradition in the arts in Thailand, quite distinct from the focus on deep reflection and drawn-out editorial procedures that permeates other regional aesthetics. Perhaps, we could go as far as to say its even a preferred aesthetic approach (and by aesthetic I mean both the perspective on what ends up in the final product and the process for how it gets there).
I think about how valued "hosting" abilities are in Thai media (a realm where kathoey entertainers were able to carve a welcome public place for themselves), making stars of people with strong, attentive presence-of-mind and quick wits. Like the mentioned quick write-ups of novels, Thais seem to appreciate hosting as an art that feels spontaneous and intuitive. It fails if it feels belabored. It might be interesting to try looking at Thai QL series and trying to bring that aesthetic value to the forefront of your evaluation. Does it feel unstudied, instinctive, maybe even impulsive? Those might be things to praise it for.
I'd add that, no matter how you feel about the quality of the series and this style, the pace and prolific nature that it encourages certainly has something to do with how Thailand has been able to dominate BL output, causing major ripple effects on the rest of the industry. It might have produced a lot of what people would consider "pulp" series, both in its BL novels and QL dramas, but it revealed through numbers how successful BL could be to other regions, not pausing and waiting for the perfect scripts and representation, a fault which among other things (like goddamned evangelical christianity) has been one of the causes for the West's struggle to capitalize on its hits. Thailand's model quickly showed that audience disappointment with one QL series need not slow the market, because a completely different take is already underway. Its through speed that it made the case for diverse queer stories rather than perfect ones.
I might be overextending the role aesthetic sensibilities and process traditions impact all of this (as I am want to do), but I think there's a cool connection to be made.
BL Review: The Prosecutor’s Proposal 🇰🇷
A Korean comeback in style.
The South Korean BL industry is in a funk, and while most of us wonder where things derailed for them after reaching a high in 2023, a little studio noticed the void and started to climb it’s way to the top of the hill. It is mighty impressive the leap in quality for Oak Studio since it’s debut with the insipid Heart Stain just one year ago. And looking at their portfolio we can see how they learned all the right lessons from their previous work until the reaching their apex with The Prosecutor’s Proposal.
The somber atmosphere of Heart Stain, a magnetic lead character such as Choi Jae Hyeok in Ballboy Tactics, and the dangerous chemistry seen Thundercloud Rainstorm – while stripping away all the shortcomings that made these aforementioned shows crumble.
Unlike it’s predecessors, this one has a solid direction – a courtesy of Yang Kyung Hee from The Time of Fever, Love Tractor, Secret Relationships and The Director Who Buys Me Dinner. All of which are echoed here at one point or another
Unfaltering rhythm lacing two very popular genres in Korean media could only result in a must watch show. It’s somewhat surprising to note how long it took for a Korean thriller to incorporate BL as it’s second tag. Sure, others have tried before (recent The Lie We Lived In comes to mind), but never quite managed to strike the fine balance between the genres as seen here.
What helps here is the solid source material, that while not wholly inventive still delivers a tight and well-rounded experience – the twists and mysteries can be seen a mile away for the more perceptive watchers, but the impact of the revelations still hits thanks to the great acting – a on a novel reader note: the show does manage to compact everything integral to the novel. The essentials are all here, and while some finer details and minor characters and situations were left out, what really matters to tell the story is present in a nice full-package.
Another trump from Oak Studio was the opportunity to work with familiar faces: lead actor Park Si Woo (who despite the smaller resume gets top billing) had previously worked with them in Thundercloud Rainstorm, whereas Kim Yoon Sik has been a somewhat rising star. I say ‘somewhat’ because he himself has avoided picking leading roles – not only has been documented that he had passed on big roles in the past but the actor has outright stated that he only works with what he wants and speaks to him, which has garnered attention from viewers.
The duo has a very good rapport, either during the antagonistic or the romantic moments; the tsundere levels were off the charts here. From the start both feel familiar with their characters, making it easier to follow them and buy their motivations. The supporting cast is a little bit more trope-y in the sense that the show assigns one characteristic to them and runs with it, the live action unfortunately doesn’t have the luxury to explore them more as the novel does, so most of them feel one dimensional. They still deliver good performances though, Seo Han Gyeol in particular is having a field day with deranged Oh Jahyeon, sadly the show ends up wasting her in the end with just an expository newsflash tying up her character’s fate.
Which brings me to the one moment where I could hear a record scratch: the very end of the show.
It’s hard to say exactly what happened here, but it’s clear that the very last scene was done in re-shots – meaning, filmed after principal photography was done.
How do I know? Nerd moment; one look and I could tell all the technical settings were completely different from the rest of the show. And I mean everything: them in behind a green screen, the lighting, the costume, hair and make-up, even the editing and post-processing were different. Which leads me to believe they scrambled to cook a new final scene after the very positive reaction to the show. It skirted that dangerous Standard Korean Drama territory that Thundercloud Rainstorm ended up being victim to, but since it was just one scene it wasn’t as grating.
Oak Studio has seemingly found key to success – The Prosecutor’s Proposal is the first K-BL since Semantic Error to reach Top 10 in viewership at the home country – and who would’ve though that a good script, great acting, and solid directing were the ingredients for a good show?
Ju Taeseon, a freak to the end.
Asks a guy out and immediately handcuffs himself to him while waiting for the answer!
Never Change.
Good luck with that one Lee Chaeha
This guy is emoting everything he didn't emote for the last 15 years
The prosecutor's proposal ft. textposts (1)
Welcome to the finale of The Prosecutors Proposal.
I’m so excited!!! I did read the novel and after rewatching the show I’m pretty sure they will keep the solution of the case.
100% psychic damage incoming, I can’t wait!
I hope Thai BLs never stop sending the gayest men back in time
Payback ft. textposts (3)
Lost & Found