BLISS RATING: ★★+
“When the world you’ve built on obedience crumbles, the only thing left to hold on to is a stranger’s hand in the dark.” – Quote From Life Of Salom
Perhaps If they had added just some element of creativity to this drama, it might have been at least for me a better or even notable series. But instead, it just is yet another in a long line of troupe-filled, cliché driven stories that offered nothing different. To be sure, there were moments that were good and even enticing, but overall, this story is so predictable. And honestly, the protagonists were as interesting as watching paint dry.
Truthfully, watching paint dry would have been more interesting because one never knows if a paint bubble will form and you will have to smooth it out. That would at least grab your attention. These two were the least dynamic individuals in this series in all honestly. I am NOT talking about any bad acting. That is not the case. Both these actors are just so one-dimensional, but they were played that way, which made them boring and thus projected uninteresting characters. That is too unfortunate as both individuals had unique qualities and could have been more idealized with more impressing personalities from the very beginning; but did not.
Krit (Up PoomPat) is a police captain with a domineering and controlling father who is a senior member of the national police. It does seem that over the years he has squeezed all the life out of Krit. So much so that Krit has and seemingly always will do what his father demands and of course will follow in his father’s footsteps despite whatever personal dreams he might have. Previously, Krit had been in a same-sex relationship but because his family, specifically his father, made their wishes known quite clearly that Krit would get married and have children, that relationship soured and separated. Because Krit was naïve and dumb (and astonishingly stupid), he bought a condo and put it in his boyfriend’s name. When the relationship dissolved, Krit was kicked out of his own condo since he now did not own it.
Currently, investigating a series of crimes in the section of the city called Silom, Krit concentrates on an escort bar named Moonlit that might be the center of information about what is happening. As Krit investigates, he becomes intrigued and then enticed by one of the dancers and escorts named Wayu (Poom Phuripan). It does not take long for them to form a union that frankly is boring and predictable.
Honestly, it is not the fault of the actors. These are unchallenging roles and the director made no attempt to make them interesting. Sure, there are sporadic moments where they shine, but it is all when the script calls for them to do so. And only because of the supporting cast do these two even shine at all. Their romance is utterly unbelievable and full of yawns and colorless. Krit cannot break away from his father’s influence and is reticent and reserved in almost all his interactions. Meanwhile, Wayu cannot break away from his inevitably spiraling history and is ladened with almost insurmountable uncontrollable financial burdens, having no time to relax. These two mostly exchange long, yearning looks, which does little to make their story compelling. What makes for an absorbing story are the myriad of supporting individuals who are so much more dynamic and captivating.
Who really S.T.O.L.E. this series? Literally everyone else in this series was so much more appealing to watch. From Wayu’s adorable nephew, Singto so squishably played by Leica Nonnarat who quite literally steals every scene he is in, to Wayu’s lost and confused sister, to his gambling-addicted mother are just first rate in this series. They added color and dimension to the otherwise one-dimensional characterization of Wayu. Then you had Wayu’s dance partners and fellow escorts who just add so much energy and vivacity as well as atmosphere. Two really stand out. The matron of the club, Foie played by Jai Sari, who is such a magnetic force not only in the club itself but is an influencer among the individuals he/she hires. He/She nurtures and provides them with clear paths to what expectations are not just for work discipline but gives them lessons on life that are needed. Lessons that their parents perhaps should have taught them. Seemingly gruff, he/she is their protector and supporter but would do anything for them. He/She is the epitome of a supporting force in life. Wayu’s best friend, Tai played by Volvo Supakit, is a gorgeous and beautiful man all wrapped up into one package. Not only is he a loyal friend but he is his confidante and wingman at the same time. He is always omnipresent. On the other side, Krit’s parents who are adamantly against his connection to Wayu with equal conviction – until they are not. Of course, his mother deduces soon enough, the folly and futility of going against what her son really wants earlier than the father does. And Pimjit played by Rina Wacharin realizes the foolishness as a mother of her continuing stance against her son loving Wayu. She convincingly and with sincerity gets the father to see his vanity.
I am sure this probably presents the life of male dancers/escorts at these clubs with some truth. I can imagine that hard times force many to use their bodies to make money. This series does show an affable and sociable balance between that reality and life itself; to say that none of us are in a position to pass judgement on the work of others to make money. It is a candid and forthright way for individuals to make money and for Wayu, who desperately needed the money, for a lot of legitimate reasons, the only way. That was an honest portrayal.
Where this series falls flat is in the presentation of the entire story. It has all been done before in one form or another and frankly much better. It became so plainly predictable. As a ‘police’ story, we knew someone would get shot and it would take an intense discourse by Wayu to pull Krit out of his coma. We have also seen the same premise where a protagonist is pretending to have a relationship with a female best friend. We have also seen the required breakup because one of the protagonists is not being strong enough to fight his father and worse, not thinking his relationship is formidable enough to withstand anything the father would throw at them. We also know in the end, it would all be resolved.
None of this in and of itself is necessarily ‘bad’ or defeats the series, it just makes it uninteresting and the characters ordinary. And to add that the protagonists are honestly so one-dimensional. Seriously, these two characters hardly showed any type of deep emotions and when they did, it was only superficial. (I need not point out the weakness of crying here with no tears or one tear, do I?)
The one saving grace of this series was that the two families did merge as one force towards the end. On the strength of the little boy, Singto, as he had learned to see Wayu and Krit as Papa and Dad. That was nice as he will establish that he has two fathers and both Wayu’s family and Krit’s family have accepted that they are his ‘fathers’ with both genuinely providing a deep love for Singto.
This story would and could have been vastly more interesting if it just concentrated on the development of a relationship of a dancer/escort at a club and another ordinary individual (not a policeman as that is overused). Someone not rich where we can see and feel the trials and tribulations of two men trying to make it in a world (like most of us) who are surviving from paycheck-to-paycheck and do not have the luxury of having a wealthy family to help us. That is a story worth exploring. Two people struggling and having to make it on their own and all that goes with that.
This story was not such. Yet, there was a lot of sadness, deep sadness, in and around this story, that was glossed over by a happy ending for our protagonists. But people did die. Good people. Not everyone’s lives will be necessarily happy ones once their youth and looks fade. Remember that. They are also a part of the story.
Leave a Reply