Do you still think I feel pity for you?

Forever staying on this rooftop; Ismay cries over her bl boys; She/Her 🩵

[cherribalm-deactivated20140609]

site that you can type in the definition of a word and get the word

site for when you can only remember part of a word/its definition 

site that gives you words that rhyme with a word

site that gives you synonyms and antonyms

[bumblebeebabie]

THAT FIRST SITE IS EVERY WRITER’S DREAM DO YOU KNOW HOW MANY TIMES I’VE TRIED WRITING SOMETHING AND THOUGHT GOD DAMN IS THERE A SPECIFIC WORD FOR WHAT I’M USING TWO SENTENCES TO DESCRIBE AND JUST GETTING A BUNCH OF SHIT GOOGLE RESULTS

[archivestorystuff006]

OMG

[dduane]

This one’s an always-reblog, because who knows who needs it and hasn’t seen it yet?

[domiia]

this was their reaction to watching the heartbound trailer 😭🥹 you can tell they’re so happy with it 🖤🤍😭😭😭

[enchantedcrane]

when oranges fall (2026) | episode 5

when your parents want you to show them how you would introduce your partner and it just so happens your crush is at the breakfast table

[maybe-boys-do-love]

Many of us who watch QL have personal baggage and historical grievances with Christianity, so I hope we watch Ticket to Heaven with added awareness. My expectation from the trailers and based on the previous work of writers Aof Noppharnach and Best Kittisak is that Ticket to Heaven will not outright condemn Christianity, but will instead attempt to offer nuanced acceptance to Christianity alongside a rejection of dualist thinking often espoused as Christian theology and dualist thinking about the religion itself. If you’re looking for a history of Christianity’s evils or an argument against the faith, I could be wrong, but I don’t think this will be the series for you.

This is also a time to remember that there are many different forms of Christianity based on denomination, region, and even just personal practices. I don’t know much about Thai Catholicism, but Aof Noppharnach was raised by his father within it and began writing the series in the wake of his passing. Because less than 1% of the Thai population is Christian, the people in power are nearly all Buddhist, and the institutions that have influence on politics and people are mainly Buddhist, (Theravada to be specific), P’Aof and other Thais do not have the same relationship to Christianity and the Church as a pervasive, world-shaping belief-system. Buddhists have been the one’s enacting conservative policies for them. In South Korea, for comparison, Christianity actually emerged as a counter-revolutionary religion against their occupiers. It’s quite possible for Thai individuals to see Christianity and its beliefs as a respite or alternative to more conservative approaches to Buddhism that plenty of Thais promote (kathoey or lower class people being reborn in that position as a punishment for their past life, for example). However, criticisms of Christian dogma toward same-sex attraction have also been a persistent part of Thai BL from its inception with Love of Siam, one of the most influential works to Aof Noppharnach. He references it pretty directly for subtextual commentary about Christianity in Bad Buddy.

We’ll see what the series depicts, but be prepared for critiques or conclusions that differ from your own. And if you can’t handle that, consider how much you want to express that online while you watch, or whether you’re really ready to engage with the work and its roots. You don’t have to keep up with everything that comes out. Maybe there will be one day down the road where you can watch with more generosity and sensitivity to the series context.

[misfitwashere]

I wrote a eulogy

"I wrote a eulogy for my best friend last week. Then I read it to him. At the pub. On a Tuesday."

He was alive, holding a pint, looking at me like I'd lost my mind. Maybe I have.

I'm Mick. I'm 70. The man across the table was Barry. Seventy-two. Best mate for 46 years. Met on a building site in 1979. He dropped a plank on my foot. I called him something unrepeatable. He bought me a pint after the shift. Haven't gone a week without talking since.

Three months ago we went to a funeral. Bloke we'd worked with. Cancer. The eulogies were beautiful - people saying what he meant to them, things they'd clearly never said to his face. And all I could think was, he can't hear any of this.

Every beautiful sentence. Every "he changed my life." Said to a room of crying people and a box of wood.

I turned to Barry. Whispered, "What a waste."

Drove home. Couldn't sleep. Because I realised, if Barry died tomorrow, I'd stand up and say extraordinary things about this man. Things I've never said in 46 years. And he'd be in the box, missing all of it.

So I wrote them down. Took a week. Harder than expected - not finding the words, but admitting I had them.

Rang him. "Tuesday. The Crown. Need to read you something."

"Have you joined a book club?"

"Just come."

Same corner table. Pint of bitter. Crisps. I pulled out the paper. He saw my hands shake.

"Mick. What's this?"

"Your eulogy. I'm reading it now because I'm not wasting it on a day you can't hear it."

"Have you gone mad?"

"Probably. Shut up and listen."

I read it. In a pub. To a man very much alive and very much uncomfortable.

I told him about the plank and how it was the best injury of my life. About the night he drove forty minutes in rain to help change a tyre. About how he rang every day for three months after my divorce and never once asked "Are you alright?" - just talked about football and weather, because he knew I didn't need a question. I needed a voice.

I told him he was the funniest man I'd ever known and his jokes were terrible and both things were true. That he'd been a better father than he thinks. That his wife's a saint and he knows it. That I'd have been a worse man without him.

He didn't look at me. Stared at his pint. Jaw tight. Doing that thing men do when the feelings arrive and they'd rather swallow glass than show it.

When I finished, long silence. Then he picked up his pint, took a sip, and said,

"You're paying for the next round. And the one after."

That was his answer. Perfect. Because Barry doesn't say "I love you too." He says "you're buying."

But in the car park, he hugged me. Not the quick back-pat. A real one. Thirty seconds. Neither let go first.

And he said quietly into my shoulder, "Don't read that again at the real one. I want new material."

Who would you write a eulogy for - while they're still here?

Don't wait. The flowers can't hear. The box doesn't laugh. Say it now. At the pub. Over a bad cup of tea. You'll feel ridiculous.

They'll look uncomfortable. It'll be the most important thing you've ever done.

Read them the speech while they can still hug you in the car park.”

.

[froma2zee]

i have no idea WHY duang keeps playing with this man

like he KNOWS who the fuck this is, right?

right!?

we are talking about qin. qin! the man who'd absolutely bring a gun to a pillow fight

so whyyy would duang keep provoking hi...

your heart is beating out of your chest. now you're the one being teased

🫩🫩 you know what? nvm.

[maybe-boys-do-love]

Honestly, I had my own knee jerk reaction to Phuwin’s interview statement about gmmtv’s philosophy to treat these shows as normal love stories instead of a queer or lgbt story. But the bad faith takes I’ve been seeing on multiple platforms are next level. What I think he meant: treating queer people as a separate species of human and queer romance as a different genre than general romance is discriminatory. To go to those discriminatory or separatist mindsets as a writer or creative will limit one’s capability to invest the full humanity into queer characters. That’s not assimilationist—it’s anti-discriminatory. People, though, are so eager to jump onto a declensionist historical narrative of queerness in BL and especially GMMTV. You can be protective of queer narratives without jumping on the paranoia train.

Let’s look at some facts. directors/producers Aof, X, Jojo, Fon, New, Ninew, Waa, Koo, Film, and Ark are all out (and I’m just saying that I’ve never been able to find info about P’Tha’s family life lol). In the past year we’ve had Memoir of Rati depicting resistance to historical homophobia, a bunch of gay theater kids in OFDO trying to put on a BL play, the trials of a pair of gay elementary teachers being affectionate in public on Love You Teacher, a full exploration of every legal right and responsibility involved in marriage equality through My Romance Scammer, multiple series depicting the corporate limits of queer support, and I haven’t even mentioned a Jojo show yet! Then this next year, they’ve got more GLs than ever before to add to all this discourse.

To act like queer experiences and rights are not baked into the very marrow of these shows and that the creatives and executives aren’t working hard to make that happen means you are ignoring so much clear evidence to the contrary. GMMTV is making very queer work, but they are allowing it to go far beyond the queer coming-of-age tragedies that queer narratives had been locked into for years and years, and BL/QL has been the key used to unlock that potential.

My knee-jerk reaction was not about the queerness in the shows or of the people involved. My fears have to do with what kinds of queerness are allowed to be expressed publicly and in performance. And this isn’t gmmtv’s fault but fans and sponsors are often timid to show their love to clockable effeminacy. DMD and CopyA have been the most forceful in pushing back against that, and we saw GMMTV explore possibilities with Diva Deva Mata (GIVE FLUKE A LEAD PART YESTERDAY!) Still, there seems to be a bigger hurdle to building excitement around more overtly effeminate performers.

When I hear actors told to treat BL as typical love stories, I wonder if it doesn’t limit the potential for actors to push into more effeminate places with their characters and performance; not a caricature of effeminacy, mind you, but characters who others might read as gay based on their body language or voice. Instead of the exceptions like PP Krit and Gun Atthaphan, could effeminate boys be a norm? Could we cheer for them, too, or does everyone need to be masc for us to care? On the other side, we could look at how (un)willing the GL industry has been to depict more butch characters so far—thank you 4 elements for giving us wlw who we can clock from a mile away, though! And then there’s the dearth of trans/tom/kathoey love stories in the genre.

If you look closely, you can see the experiments and attempts for in-roads to these depictions of queerness gearing up and taking place. And I have a lot of trust in the people in the industry, too. They figured out a gradualist way to inject such profoundly compelling queer stories into the market that the entire country couldn’t deny its power and made dramatic political changes. Other historical elements and technologies helped with that, but still! That wouldn’t have been possible if they weren’t putting the efforts in already. I don’t think the current moment is the final say on how inclusive QL can be. When we say treat queer stories as normal stories, we’re not saying shrink them to fit into heterosexual models; we’re asking for an expansion of the circle of what one understands to be possible for love and human experience rather than confining them away.

[heretherebedork]

The meaning behind the first hug only being revealed with the second is amazing... To think how long Qin desperately wished to be hugged and how he grabbed onto Duang because he was afraid another person in his life was going to leave him, another person was going to see his pain and leave him behind and he couldn't let Duang go. And Duang didn't go. Duang turned around and hugged him back and now here we are with Qin talking about his childhood and able to turn to Duang for comfort with his whole heart. Perfection.

[cryingoverweiying]

someone should make an edit of all the moments when duang deepens his voice and makes a move on qin with txt's good boy gone bad

[nick-nellson]

ONLY FRIENDS: DREAM ON | 1.01

[look-peach]

Peach learning to trust and lean on Thee

I'm sorry I cried to you. You're probably surprised. I didn't cry because you did something bad, but because you did something good. [...] I actually don't remember the last time I cried. If I had to cry, I'd have to do it alone in secret. With you earlier, I felt like a kid again. I just realized how good being taken care of by someone feels.

ME AND THEE (2025 - 2026)

[maybe-boys-do-love]

GMMTV is not the big bad. It is not the BL monopolizer. It does not make trash tv. It does not have bad writing. It does not have bad acting. It does not have it out for any of its actors. It’s not just trying to get quick cash. It’s just all a bit more complicated than that.

GMMTV compared to many other companies has a business model that is stable—the employees are gonna get their money and typically have plenty of opportunities to work and be promoted, which is not a promise in the industry if you follow the news. It’s big but there are much worse things happening with entertainment companies in Thailand, which is why so many actors seem more than happy to jump on board.

GMMTV is a subsidiary of ONE Enterprise, a media monopoly in Thailand, but gmmtv is not the monopoly itself. (ThamePo incredibly seems to call out the complicated ubiquitous power of ONE.) This distinction doesn’t exclude gmmtv from benefiting from that monopoly, but you’ll also need to include Change and Open Label (which manages DaouOffroad among others) as part of the monopoly when you discuss it, which starts to get in the way of the idea the there’s a specific BL monopoly. Having one company within a conglomerate dominate a genre is just not exactly how a monopoly functions tbh. And P’Tha is just the head of GMMTV, not ONE, so he’s making money moves but not at the very top level.

GMMTV’s demographic is technically teens and young adults, but the team definitely recognizes it has a much broader reach if they’re doing even the slightest market data (which they definitely are). But if you don’t like it, you might just not be the demographic. Media catering to younger viewers and their emotional needs, however, does not make it any worse than adult-oriented media that depicts more grit or explicit moral complexity. They’re just different styles.

Not every show on GMMTV is good because it puts out more shows than other companies. It has a responsibility to air series on specific television channels. This also means its business model is different, and it puts out a mix of shows with different levels of investment—that’s typical for a company that’s operating like a television network. Every year GMMTV has some clunkers, but it also every year has some series with some of the most layered writing in all of BL. There was a controversy over the meager pay (relative to Thai industry standards) offered for a writing contest a couple years ago, the winner of which is now being adapted into Love’s Echoes.

Thai media has an overall history in prioritizing looks over acting. It’s not just GMMTV. However, GMMTV was an early adopter in the industry of acting classes and acting coaches, after Nadao. Many series are filmed at a rapid pace, and so we don’t always get the actors’ most involved performances possible. Partly, that’s the nature of television over film, but some directors and actors at gmmtv as elsewhere do prioritize quality over quantity. Nuchy, Jojo+Ninew, Aof Noppharnach, Mui, and Dome Jarupat are all known for more elaborate rehearsal processes—And the upcoming director for the company jprang (Muteluv: Hello is this Luck, You Maniac) also works as an acting coach. Directors can and often do ask the actors to go through audition processes before agreeing to work on a series with them, too. That’s somewhat hampered by investment ties that travel along with actors based on popularity, but that’s not unique to gmmtv.

At least for the men and kathoey performers and staff, gmmtv has demonstrated itself overall to be a very positive and queer-friendly work environment, especially as of the executive shuffle in the 2020s. There have been female actors who have expressed dissatisfaction with their treatment at the company (Fah and more recently hinted at by Piploy)—and I mean treatment beyond optic issues like the kneeling incident—but the immediate termination of a director in 2025 after rude comments about MilkLove were discovered on his Facebook suggests this might hopefully be shifting.

GMMTV more than any other BL company seems to prioritize financial stability. It tries to diversify its content and streaming relationships as much as possible, and also puts a lot of effort into earnings through means outside of just series. GMMTV does not have a history of taking risks with its series. Another studio will typically need to prove a genre approach is financially feasible before gmmtv will go for something new. That seems to be less out of trend-hopping, though, and more out of fear of failure, because once they see an opportunity they often have writers and actors who have already been expressing a desire to work in that genre jump right on it and put their whole ass into it.

You don’t have to like gmmtv. There are absolutely issues it has as a company, and I’m sure more weaknesses and strengths will emerge or become apparent as the years go on. However, the unfounded demonization of the company just because it’s the largest and most prominent in BL is soooo boring. If you wanna hate and/or celebrate, get detailed and make sure your comparisons hold across industry standards, babes.

[cryingoverweiying]

@firstkanaphans's tags

[nocturnalsoph]

I love the shoe detail in Episode 8. Peach calling out Mim’s four-inch heels tells us so much about his character's baseline. He’s observant, caretaking, and deeply attuned to the people he loves. It’s a subtle nod to their past dynamic: he was the "crutch" she leaned on. It shows that for Peach, loving someone means paying attention to the smallest physical details of their well-being.

Peach as a Lover: Analyzing the Subtext of Episode 8

I. Before Thee

Peach’s archetype is built on restrained attachment and sensory attention. He is a "service lover" in the truest sense. he cares for others to ensure stability. This isn't about submission; it’s a byproduct of parentification. He expresses love by preserving the balance around him. If he seems passive, it’s not for a lack of wanting; it’s because he has been conditioned to shrink his presence so he doesn't disrupt the world of those he loves.

Peach views relationships through the lens of maintenance rather than growth. He expects a partner to fit into his life without disrupting his routines or demanding emotional labor. Because he absorbs intimacy rather than reciprocating its momentum, he remains an enigma. He offers a presence that is attentive but entirely unfazed, making him feel unreachable. His partners are often lulled into a sense of peace, only to realize later that they are actually starving for a deeper connection.

Peach is the ultimate responsive lover. He isn't there to perform or seek self-validation; he’s there to read the room, or rather, the partner. He prioritizes consent and comfort so implicitly that it’s easy to mistake his reserve for awkwardness, but it’s actually quiet competence. He doesn’t "lose himself" in the moment; he finds his footing by being useful to his partner. He may not be emotionally vulnerable in bed, but he is incredibly attuned to the physical experience.

II. After Thee

Thee’s arrival does more than spark attraction; it upends Peach’s entire system of relating. Peach has spent his life managing people, but Thee refuses to be managed. Thee is an intrusive, protective force who demands to be seen. This creates a fundamental rupture in Peach's identity, forcing him to experience being loved for who he is rather than what he does. While Peach hasn't lost his natural reserve, his "containment" has shifted into a form of vulnerable permission. He is still non-exhibitionistic, but the default wall of withholding has come down. He is finally letting someone in.

Intimacy with Thee is a revelation for Peach because it’s grounded and reciprocal. He doesn't have to be the "caretaker" in bed; he just has to be "there." He remains gentle, but he stops the habit of preemptive withdrawal. This is the shift from regulated service to embodied participation. It’s not that he suddenly learned how to be "bold" or "explicit," it’s that he finally feels safe enough to inhabit his own body. His arc isn't about discovering desire; it’s about accepting that wanting something for himself isn't selfish.

[emkini]

I have my issues with the finale (particularly with the adoption plot, because that needed just. so much more screentime), but I'll tell you why the final TheePeach nc scene is not one of them:

This scene is the culmination of their healthy communication across the show, not the collapse of it.

Let's look at the actual progression of this scene, starting from when Thee pushes Peach onto the bed.

Thee crawls up there and looks Peach in the eye.

And Peach gives us this body language that's been very consistent across all of their nc scenes. He softens his eyes and shoulders, tilts his chin up, arches his brows, and gives this tiny little smile. He's doing two things here: first he takes a moment to orient himself and relax, which again— a very Peach thing to do. He tends to have a slight processing delay. Then, he issues the same nonverbal challenge he's been giving Thee since ep 7: now you've got me here, what are you going to do about it?

We now cut to Thee, who has this searching look on his face. Note that he made no move either to speak or continue until Peach finished processing the situation and signaled readiness.

As with the line in episode 9, this sounds dicey on paper. I think because the phrasing implies a false and thoroughly charged societal assumption that all marital sex is consensual, it strikes a bit more of a nerve. And honestly, yeah, it's an icky way to phrase it— but again, context is everything.

Because Thee isn't using their new marital status as a weapon here: He's masking a question as an assertion.

Recall this entire interaction from episode 9:

If we follow this pre-established logic, episode 10's nc scene makes perfect sense. Thee verbally states that he's assuming consent not because he's being pushy, but because Peach a) wants Thee to take the reins here and b) struggles to respond when offered something he wants. But what does Peach not struggle with, ever? Saying no to something he doesn't want.

This episode is actually a huge milestone for Peach, because for the first time he's initiating intimacy!! He's getting there!! But when it comes to sex, he still wants Thee to take the lead without being told what to do. He actually seems to enjoy vying for control a little bit and then having it taken from him, which makes a lot of sense when we think about the trajectory of Peach's character arc.

Thee says "I won't ask" and what he means is "I'm going to assume this is okay until you tell me it isn't, alright?" Again, not because he isn't paying attention to what Peach wants— but because he is paying so much attention that this is something which can work for them.

If we want to talk about a weird moment in which consent definitely should've been discussed more thoroughly regardless of how well it worked out for all parties, let's talk about Thee adopting Marn and Mork behind Peach's back lmao

[kiyosuku]

Can I kiss you?

[befuddledcinnamonroll]

My Pleng is not Pleng theory is getting stronger! Join me in my little clown car, won't you?

Current state of theory - Tanu is a relative of the real person who thinks he's Pleng right now, and has been trying to get him back - hence the protectiveness, but also the "get out" when he's talking to Pleng.

The real person who is our protagonist grew up in a small and poor family, I would guess working for the real Pleng's rich family.

Then there was the accident with the fire and everything, and something happened to the real Pleng. At which point Pleng's family took our protagonist, and fucked with his brain real good, so he would think he was Pleng, just with amnesia.

Not sure why yet, but money is always a possible motive with rich people. There is also the fact that Pleng's mother was incredibly overprotective, in what seemed an unhealthy way, and might have refused to believe Pleng was dead - so the family just gave her what she wanted.

This is why his grandmother hates him - he's not her real grandson, but she feels obligated to keep him around.

Jen thinks it's DID, because there's the real person, and then the hypnosis that forced this version of Pleng on top of him. (And also because it's the tv version of DID, where apparently you don't need any kind of specialist, just a regular doctor).

They used music for part of their hypnosis, which is why the violin made our boy seem robotic and weird - they were trying to reinforce his previous hypnotic suggestions. But it's just not taking like it used to, because he now has his relationship with Tankhun as a lifeline.

As far as where Thunpob fits in, I think he did have a relationship with the real Pleng. He came back for him, discovered he had died and it was being covered up, so the family got rid of him.

This is why our protagonist felt like it was his first time with Tan - it literally was.

As far as the suitcase murders... not sure yet. But since they worked for the family, it's likely they knew things, and could possibly have started blackmailing the family around the truth about Pleng.

[phuwins]

"What you see is just a made-up story that outsiders believe. I'm not like that."

POND NARAVIT as THEERAKIT KIAN LEE (a study on character misconceptions and development.)