<i>Wer</i> Viewership and Queer Imag(in)ing: Thai Soap Opera <i>Shadow of Love</i> and Boys Love Media

Abstract This article brings film/media theory into Southeast Asian research through a revisionist queer approach. It contains two goals: addressing some recent developments about queer imag(in)ing in Thai media whilst reappraising the fundamental question of spectatorship via screen theory. Taking into account the more general issue of media specificity and the particular textual device of identity/gender-switch in several recent Thai television serials, we propose the notion of wer viewership: a mode of viewing practice that features viewer-text interaction through the perceptual-cognitive processes, and is characterised by wer /excessive aesthetics, multiple meanings, and diverse pleasures. Resonant with camp reading, wer viewership underlines how the viewer actively makes sense of the ambiguities about gender, particularly those along the extra-/diegetic interface. We use Thai soap opera Shadow of Love to illuminate the wer /excessive aesthetics rendered through its identity/gender play bordering on the extra-/diegetic divide, and the enhanced pleasures and meanings thus available to its extradiegetic active viewers. We stress, though, the expanded queer imag(in)ing in Shadow is not of total free interpretation, but is animated in relation to both the evolving discourses about gender/sexuality in Thailand, and the popularising homoerotic Boys Love (BL) media across Asia in recent years.