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Characters who either state it themselves or for whom the narrative makes it blatantly clear (by depicting the character date multiple genders - in real time or flashbacks). 

Explicitly bisexual & pansexual characters in BL

• Alex in Until We Meet Again - Thailand 2019 
• Seryou & Yuzuru in Seven Days - Japan 2015  
• Phun in Love Sick - Thailand 2016 
• Gu Hai in Addicted Heroin - China 2016 
• Pete in the Kiss series - Thailand 2016+ 
  
• Mai Ying Xiong in HIStory My Hero - Taiwan 2017 
• Ming in 2 Moons & 2 Moons 2 - Thailand 2017 & 2019 
• Shi Yi Jie in HIStory 2: Right or Wrong - Taiwan 2018 
  
• Qiu Zi Xuan in HIStory 2: Crossing the Line - Taiwan 2018 
  
• Xiang Hao Ting in HIStory 3: Make Our Days Count - Taiwan 2019
• Tang Yi in HIStory 3: Trapped - Taiwan 2019 
• Vee in Love Mechanics - Thailand 2020 
• Mu Ren in HIStory 4: Close to You - Taiwan 2021 
• Both boys in Hay Rival, I LOVE YOU! - Vietnam 2021 
  
• Jin in Nitman - Thailand 2021 
• Boss Man in My Lascivious Boss - Vietnam 2021 
  
• Tiffy in Lovely Writer - Thailand 2021
• Porsche in KinnPorsche
• Pat in Bad Buddy - Thailand 2021 
• Nhai in Ai Long Nhai - Thailand 2022 
• Domme friend in Big Dragon - Thailand 2022 

Our Bi Kings 

Neo in 3 Will Be Free

Na in Tonhon Chonlatee 

Pure in My Gear and Your Gown

Gavreel in Gameboys 

Not Pictured 

• General Hong Rim in A Frozen Flower - Korea 2008 
• Wu Suo Wei in Falling in Love with a Rival - China 2015 
• Fame in Make it Right - Thailand 2016 
  
• Method - Korea 2017 
• Knock in Together with Me et al - Thailand 2017 
• K in Ossan’s Love - Japan 2018 
• Shiro Kido in Mood Indigo - Japan 2019 
  
• Ying Jia Ming in Capture Lover - China 2020 
  
• Otomo Kyoichi in The Cornered Mouse Dreams of Cheese - Japan 2020 
  
• Sky in My Day the series - The Philippines 2020 
• Pearl in Gameboys - The Philippines 2020 
• ½ of the lesbian couple in Stupid Boys Stupid Love (sorry I forgot her name) - Vietnam 2021
• Eak in Top Secret Together - Thailand 2021 
  
• Leon in Don’t Say No - Thailand 2021 (first explicitly pan character)

A Case Could be Made 

* I did not include characters stated explicitly by the narrative as gay-for-you because that choice by the writers is explicitly anti-bi. So SOTUS is out. 

I didn’t include side couples from het dramas, sorry Mark. 

I also didn’t include characters whose source material is bi but whose depiction in the BL was not. So Kaji Akihiko from Given and Win from Until We Meet Again don’t count… yet. 

Hit me up with a comment if I’ve forgotten some. 

Originally posted by redbeardace

HAPPY BISEXUAL VISIBILITY TO ALL MY FELLOW BI & PAN FOLKS OUT THERE! 

And if you can’t be visible, all my support and hopes and good wishes. Fingers crossed it becomes safe and enjoyable for you some day. 

Su su na! 

Hwaiting! 

(source)

La Pluie Episode 2

Compartmentalizing

So I was re-watching Step By Step Episode 10 yesterday when I started to notice something. I was planning on writing about it today, but @chicademartinica beat me to the punch line. 

HOWEVER! There is more I can build off of here and so I am gonna!

I was talking with @shortpplfedup today and she started a fabulous analysis of Jeng that I hope she will post…

When she mentioned that Jeng was trying to compartmentalize Pat from the rest of his life, and both of these things (chica’s post and Nini’s brilliance) spoke to an observation I had also had, and that I touched on in my post the other day. 

Boxes. 

Last week @respectthepettymade a wonderful post about how Jeng has always been boxed in, separate from Pat and the rest, and how the preview for Episode 10 had Jeng stepping past that barrier line 

and well, you would think that after crossing that barrier, that Jeng and Pat would no longer be confined. You’d think that they’d have eliminated everything that was holding them back…

But instead, every single scene with Jeng and Pat together boxes them in. EVERY. SINGLE. ONE.

And I AM TEARING AT THE CURTAINS BECAUSE OF IT

Scene 1

Pat has his third eye opened thanks to everyone’s favorite Gay Fairy Godmother, Chot and has decided it is time to get over the hang ups he has and be honest with Jeng about his feelings. It is Jeng’s birthday, so on the way to confess his mutual interest, he stops to get a cake (#anticarrotcake for those of you on tumblr following the carrot cake wars)

Pat is boxed in by the display case looking at a cake he is going to get for Jeng.

Scene 2

Pat arrives at the kitchen, and calls after Jeng, who at first remains with his back fully turned, unable to look in Pat’s direction. Until he gets the courage to turn around and 

Here Jeng is, in his little box, all alone, but here Pat comes, approaching the edge of the barrier, stepping right up to the line

And collapsing over it, entering Jeng’s space, entering Jeng’s world, barreling right into it face first.

And that is where he and Jeng will stay for the entire episode, inside their own box, inside their own little world. 

Scene 3

They finish eating each other and eat cake instead and are immediately trapped together here, walls on either side as they start navigating being openly affection with each other (and perform a phone screen ad) they don’t know it yet, but they’ve already sealed the fate on, and created an inevitable downfall for themselves…at this point though, they’ve merely missed the “turn back, unstable ground ahead” sign. 

Scene 4 

X amount of time passes and we see Pat and Jeng trying (and failing) to be discreet at the office, going so far as to hold hands, touch arms and legs, and play footsie under the desk

This is a little less obvious of a box but the arms of their office chairs and the side of the desk create a box inside of which their physical affection for one another can exist. 

Scene 5 

Work ends, Pat and Jeng get in Jeng’s car and the entire day’s worth of unrestrained sexual tension comes crashing together.

Here we actually end up getting a double box, with Pat and Jeng enclosed by the car window, and Jeng’s car, existing as a current space for intimacy with Pat is also sitting in between two barriers (the window support structures in the background). They have had to spend the entire day being aware of the people around them, and while they have ultimately failed to be completely separate in the office, the second they are alone, they re-enter their own little world. Closed off from everything around them.

Scene 6

Jeng is openly flirting with Pat during office badminton, and being so obvious about it that his assistant notices and Chot has to bail him out by asking Jeng for water too so it won’t look like he is favoring Pat. Notably, the three queer men in the office are closed in, closed off from the rest of the group, in their own world. Keep the fact that Chot can enter their box in mind as we continue.

(Chot's hair in this scene is one of the best parts of the episode)

This moment, these barriers are where Jeng and Pat have no longer accidentally missed the “turn back now, unstable ground” sign on their path of doom, but have found caution tape and ducked underneath it to press on. 

Scene 7

We cut to Jeng’s condo, and the first image we see is of Pat standing alone inside the double barrier, admiring the view in front of him, we’re about to start heading towards Pat’s office homophobia journey and we’re getting a little foreshadowing here that Jeng is going to end up leaving Pat to his own devices.

But for now, Jeng enters the scene, enters the box where he and Pat can exist together, can share space together, can be open and affectionate and attracted to each other.

Jeng asks Pat to come with him to give some leftover food from the bakery to the homeless. 

Scene 8

Jeng and Pat give away the food and go and sit together under the bridge, where they are immediately boxed in by concrete pillars and discussing cruelty. This is where Jeng and Pat are at their peak. At their strongest, and you can see that because they are literally sandwiched between two concrete pillars rather than thin metal lines of window panes. 

They are at their strongest as a couple here, because this is the truest and most honest part of Jeng that he has shown to Pat since they started fucking. (And I will be referring to what they have now as fucking, they are in lust, they are in like, but they are not in love). This is where Pat has his first opportunity to get to know Jeng a bit better, what his mindset away from work is, how he is trying to solve the world’s problems. Pat gets to see the Jeng that Jeng has often had to tuck away, here in their own little world. 

And then this person enters, the artist of the stick figure drawing that sits above Pat and Jeng’s head. 

Remember Chot? Chot, gay man, one of three in the office? Remember how he was able to enter Pat and Jeng’s barriers at badminton? Alright, well, here again we have someone who doesn’t quite…enter the boundary, but does cross in to it, stands in front of Jeng and Pat in a way that does not place them all the way outside of it especially because his drawing is inside their boundary. 

Why is this important? 

Well, I wrote about this the other night but that person only says two lines to Jeng and Pat: 

“That picture was drawn by me, you look the same,” 

“It looks like us” 

Which means I have decided to interpret this character confirming his own queerness. So a second queer person is able to join Pat and Jeng in their little bubble. Jeng and Pat have hiked the trail, they have missed one sign, ignored the other, and have found their pristine view. 

But, remember, the ground is unstable and the earth is starting to quake (and not just from them...nevermind)

Scene 9

Jeng enters a work meeting with Pat, Chot, and his busybody of an assistant. Again, Jeng is boxed in, but this time he is alone. He is compartmentalizing, trying to compartmentalize his life, here he is trying to put himself back into the box of Boss, and on the surface he appears that way, but in reality Pat is sitting before him. So while Jeng may be trapped here, in the expectations of his family to run this part of the business, he is looking forward, looking forward to Pat. 

And where Jeng’s box in this scene is made of glass (we’ve been talking a lot about glass closets recently with this show….anyway) the assistant is also boxed in…around wood. Something you can’t see through. Boxed in, however, by a door. Something that can be opened, something that can be opened and reveal something beyond. Pat has entered Jeng’s world and they have spent all their time together inside that world, inside that barrier, unable to look out, and unwilling to see what is happening around them.

Scene 10

One of the least obvious visible barriers and one of the most obvious emotional barriers

Jeng sandwiched between Pat and Pat’s Dad. But he’s still boxed in here, with the top of that window wall running just barely above his head. Visually, he is still caged in here. But this barrier is made up of potential family, and Pat is out to his father, in a way that I don’t think Jeng is to his. (By that I mean I think, no I am sure, that Jeng’s Dad knows he’s gay, but it’s not exactly like Jeng can take Pat around to meet his pops. Especially not after their first encounter….). Jeng is undeterred, refers to Pat’s father as “Dad” does not try to defend himself against his angry ranting or attempts at instigating a fight cause of how many nights Jeng left Pat crying. 

Scene 11

Unsurprisingly I have many additional thoughts about this scene and the way they utilize the boundaries here, but I’m going to save the additional thoughts for a different post. 

There are many many many many instances in this scene where Pat and Jeng are trapped in a frame, but I’m using this one for the Dutch angle, because Dutch angles make things seems off-kilter. And unfortunately for Pat and Jeng that’s the way this is going, their foundation has not been built up the way it needs to be for them to be strong and stable. But they are too wrapped up in each other to see the ways things are beginning to turn. 

Scene 12

Boxed in yet again, this time with Ae and Kanon pushing themselves between them. But this barrier, this box wasn’t of their own making, this is one that Jeng and Pat were invited in to, (like literally invited to) and it is a box they can not stand together in, they must stand apart. 

Scene 13

Jeng is riding the high of unlimited access to young, talented, and enthusiastic dick and starts imagining a wedding between him and Pat. Once again they are boxed in by the archway, and personally I think it is worth noting that the most intricate, decorated, and beautiful barrier Pat and Jeng are placed inside of this entire episode…is in a fantasy. 

Scene 14

Jeng calls Pat into his office to talk about the Forge Project and a promotion to manager!

Now, obviously all visual media is up to the interpretation of the viewer. So if you will allow me to be absolutely ridiculous in my interpretation of this shot. The barrier around them here is a little less obvious (similarly to the barrier from Scene 2 when Jeng has Pat pressed up against the glass). The barrier here is made up by two separate walls, one at an angle, and one side of the barrier is hidden by Jeng’s shelves. 

Personally, I think Pat and Jeng feel like they are being careful at work, they are certainly not maintaining healthy distances, and they are by far pushing their luck, but the affection we have seen them directing towards each other in the moments in the office are 90% eye contact, 10% everything else so I’m certain in their minds, they are like ‘yeah, no one knows’ and that’s reflected in way this barrier is framed. At first glance the scene looks open, like they have freedom to move around, the windows show the city beyond and so you have all this…space. But the barrier is there, because they aren’t capable of staying in the world outside. 

Scene 15

Pat is left to his own devices, Jeng nowhere to be seen, and suddenly the real world is knocking at his door. Pat is left to view homophobic comments about him from the other side of a wall. From the inside, looking out, Pat is suddenly enlightened to the real world consequences of his relationship with Jeng, and those consequences are pressing right up against him. He is trapped here, he has no room to move around, he has no space to breathe in, he cannot fit anyone else in this space with him. He is alone and being crushed.

Scene 16

More homophobia, more vitriol thrown in Pat’s direction, and another box Pat’s found himself in. One he can’t leave, one that makes him a spectacle to others. Pat is on display. Not only does the window trap Pat inside it, but the way the whiteboard and the perpendicular dividers for the cubicles are placed fully makes it feel like Pat’s in an enclosure. Like he’s at the zoo, like he’s putting on a show. Ying and the woman in blue are on the edges of this barrier, the woman in blue peers at Pat in his enclosure, Ying reaches through the bars to keep Pat there. The only person who is fully inside that barrier with him?

Chot. 

Once again, the other gay in the office is able to exist inside the boundaries. In this case the boundaries seem more sinister. These boundaries weren’t built by Jeng or Pat, they were created by the other people in the office. 

Scene 17 

Meanwhile, Jeng is being alerted to the fact there are rumors circulating about him and Pat. But Jeng doesn’t care. Because Jeng has money, has power, and has a second job should all of this go South.

It is as Nini said, Jeng is compartmentalizing hard. Here Jeng is initially standing outside the barrier. Refusing to enter the business side of things. He’s blending in with his surroundings here almost, like if he stood still enough people might not notice him. He doesn’t want to hear anything about the rumors, so he refuses to leave the barriers he has created around himself. But just like Pat in Scene 15, the walls around Jeng are closing in, that space Jeng has around him that is supposed to be for him and Pat is no longer big enough for both of them.

Jeng is told that Pat needs to be taken off the Forge project. Jeng is told the Board is going after Pat.

Reluctantly Jeng steps back into the corporate world.

Scene 18 

A long, hard, emotionally taxing day at work for Pat and we get the next box

Okay, I lied, it’s not a box. Pat is standing at the end of a walking path and is no longer able to move forward. And though logically we know that there is legitimately space on either side of Pat that would allow him to walk around or exit, the way the cubicles line up make it look like they are trapping Pat in. 

Pat cannot move forward, his next move can only be walking back. 

Scene 19

Pat and Jeng are cuddling in the evening and the events around the office are clearly weighing heavy on Pat’s mind, but as we know by now, Jeng is compartmentalizing, Jeng is ignoring the world around him, he doesn’t want to acknowledge it. At the beginning of the episode Pat entered in to Jeng’s world, stepped through Jeng’s barriers, stayed in there with him. 

But now?

Now things are changing. Now Pat has seen what lies beyond the walls they’ve put around themselves. 

And when Pat suggests he and Jeng stay apart for a little bit, while Pat is laying in Jeng’s space, Jeng does not want to entertain the conversation and tries to shut it down in every way he can. 

And he is only successful when he moves in to Pat’s space, but it’s not because Jeng’s successfully soothed Pat’s fears. No, it’s because Pat gave up trying to express his concerns to Jeng. 

And Pat is left alone, stuck in his own head, while Jeng rests peacefully outside Pat’s world.

Scene 20

I have to give it up to Pat for valuing himself enough to ditch Jeng in the middle of the night, and then go over Jeng’s head to Jeng’s father and resign from the company. Pat’s pissed, Pat is being the responsible one, and Jeng knows he fucked up. When we see him sitting in that conference room he is moping. Full on kicked puppy dog, and I’d hope that that would be enough for Jeng to do some introspection, and to finally stop trying to keep Pat separate from everything else in his life. But we will have to wait and see how the next two episodes go. 

We end the episode with Jeng, sipping coffee, stuck back between two barriers that can barely fit him. 

SO

That is every single scene with Jeng and Pat together and even a few where they are apart, and this whole essay has been my evidence that they are throwing walls up everywhere this episode. 

The lesson here, kids, is that Jeng and Pat rushed in to this too fast. They spent all this time in a slow burn because they were valuing the workplace, because Pat was trying to get over his crush on his boss, because there were a lot of fucking considerations that needed to happen. 

But Jeng grew impatient, and got swept up in the moment, and Pat was stuck right in there with him. They closed themselves off to everything around them. They stopped paying attention to anything but each other, which meant they weren’t careful, which meant other people caught on, which meant that Pat, who has no power in this company, was forced to face reality and Jeng, who has power and is happy for the first time in who knows how long, stuck his head in the sand, refused to look at Pat’s reality, and ultimately let Pat down in a big way, and he’s gonna suffer for it. They are both going to suffer for it. 

Onwards towards the Episode 11 Curse! 

for the love of your ears turn the volume down

People on and off screen were losing their minds

30.06.2023

reblog if your url represents who you really are 

HOME SCHOOL
Ep 7 | The Rules

BUT IT’S TRUE

look at these two overrated idiots jk JK jk JK

26.05.2023

Just fucking lie about the previous poster

ariana up what are you doing here!?!?!?

From Khun Jeng to P'Jeng (a.k.a the "blink-and-you-miss-it" road from 'boss' Jeng" to 'blinded by love' Jeng in just one scene)

I have been reading meta after meta about how Jeng lets himself 'fall into love' and right into evasion and concious ignorance about anything not Pat related going on in his life in the episode, including everything he has been boasting about to Pat and his employees that he knows from experience about life and love up to now (thanks to @shortpplfedup, @asdfghjklmpff, @neuroticbookworm , @sunshinechay, @sunshinesanctuary, @lurkingshan, @shouldiusemyname, @wen-kexing-apologist , @heretherebedork for their fantastic meta, go read them, they are all saying what I am thinking and...yes).

What I want to focus in is how we can physically see that change happening in one scene of the episode: the kitchen confrontation.

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but let me forgive you you don’t ahve your phone with you