TW/CW for sexual assault, intimate relationship violence and bullying Spoiler alert: This episode contains spoilers for F4 Thailand, 2010 Boys Over Flowers, 2005 Hana Yori Dango and 2001 Meteor Garden. A year after we recorded our Boys Over Flowers episode, we’re back with our second deep dive on F4 Thailand: Boys Over Flowers, the latest addition to the Hana Yori Dango universe. We all agree that this show is already a modern classic and is by far the best adaptation of this problematic teen franchise. If you haven’t already listened to our deep dive on episodes 1-9, you can listen here: https://audioboom.com/posts/8038424-f4-thailand-boys-over-flowers-episodes-1-9  1:58 Background on the Hana Yori Dango universe 4:42 Episode discussion begins.  5:47: We discuss the huge challenges that director Patha Thongpan faced while making F4 Thailand, which he shared with fans on social media. They include budget, PPL, covid, and not enough episodes to fully tell the story. Despite any shortfalls in the second half of the narrative, we all love this adaptation and think it’s a modern classic and the best Hana Yori Dango adaptation ever.  9:35: Katherine makes a bold statement and declares Thailand's F4 entrance scene to be even better than the iconic Korean entrance scene. The rest of us agree! 11:50: Vickey also makes a bold statement and declares the Thailand’s F4 to be the best looking of all the adaptations and Alisa gives and AMEN to that  13:02: Alisa reads a Francois Truffault quote she tweeted on Great Flawed Films that applies to F4 Thailand being a Great Flawed Drama:  “I want to define what I mean by a “great flawed film.” It is simply a masterpiece that has aborted, an ambitious project weakened by some errors in the making: a fine screenplay that is “unshootable,” an inadequate cast, a shooting contaminated by hatred or blinded by love, or an inordinate gap between the original intention and the final execution. This notion of “great flawed films” can apply only to the works of a great director—one who has demonstrated that in other circumstances he can achieve perfection. In an overall view of his achievements, a true cinéphile may, on occasion, prefer such a director’s “great flawed film” to one of his acknowledged masterpieces—thereby preferring, for example, A King in New York to The Gold Rush, or The Rules of the Game to Grand Illusion. If one accepts the concept that a perfect execution often conceals the film-maker’s intentions, one must admit that the “great flawed film” may reveal more vividly the picture’s raison d’etre. “I might also point out that, while the masterpiece does not necessarily arouse the viewer’s emotions, the “great flawed film” frequently does—which accounts for the fact that the latter is more apt to become what the American critics call a “cult film” than is the masterpiece. “I would add that the “great flawed film” is often harmed by an excess of sincerity. Paradoxically, this sincerity makes it clearer to the aficionados, but more obscure to the general public, which has been conditioned to absorb mixtures that give priority to gimmicks rather than to straightforward confessions.” 15:32: We discuss a photo shared by one of the F4 Thailand writers of a whiteboard where they brainstormed themes for the drama. With a special shoutout to @BeLight_21on Twitter for translating it for English speakers. https://twitter.com/BeLight_21/status/1513346654878928896   17:47: Melanie mentions that the production had to incorporate 36 different sponsors with specific requirements into the storytelling and how it impacted the drama, especially in the second half as the number of sponsors grew (including the MJ KFC ad, lawd).  19:11: We discuss how key staff dropped out of the project along the way, including their Director of Photography which is huge because a big part of