Natthaphong Wongkaweepairod

Natthaphong Wongkaweepairod (Thai: นัฐพงษ์ วงศ์กวีไพโรจน์), known by the nickname A (เอ) and also romanised Nuttapong Wongkaveepairoj, is a Thai director and screenwriter. He directed GAP (2022), the first girls’ love series made in Thailand, and he is the only director in this catalogue working at volume in both GL and BL: three GL series and six BL series verified so far.

His directing begins in 2018 with My Hero Series (7 episodes), a conventional Thai lakorn. In 2022 he directed Lipgloss Spy (15 episodes), which he also wrote, and then GAP, twelve episodes for Idol Factory, the independent company founded by the actor Saint Suppapong. GAP is recorded as Thailand’s first GL series, which makes it, with Yes or No in 2010, one of the two founding productions of the category.

He stayed with Idol Factory for The Sign (2023, 12 episodes), a supernatural BL built on reincarnation and Thai mythology, and My Marvellous Dream Is You (2024, 12 episodes), a GL fantasy.

His recent output is heavy. In 2025 he directed My Magic Prophecy (10 episodes, BL), Reset (10 episodes, BL, which he also wrote), Somewhere Somehow (13 episodes, GL) and the film CEO M6. In 2026 he has three more: The Grim Lover (10 episodes), Class Crush Crisis (8 episodes) and Flower Boy (8 episodes), all BL. In Harmony is dated 2027.

He also appears on screen occasionally, in small parts: a doctor in Khun Pan 2 (2018) and Khun Pan 3 (2023), and Professor Win in SLR (2022).

BLGLFlix editorial view. Two things here are worth stating plainly. The first concerns how the origin of Thai GL usually gets told. GAP is remembered as Idol Factory’s series and Saint Suppapong’s initiative, which is true and sourced. But somebody had to direct it, and it was this man, who is close to undocumented anywhere. The person who directed the first Thai GL series has almost no public record, and that is a failure of the whole ecosystem rather than of any one source. The second is what his filmography shows about the BL and GL divide, which is that for him there is not one. Three GL, six BL, moving between them year to year and sometimes within a year. Almost everyone else profiled here either specialises or migrates in a single direction. That is the healthiest possible signal for the field. A director who can shoot both is treating them as one craft problem, two people and the distance between them, rather than as two separate genres with separate rulebooks and separate audiences to be served. The industry gets more interesting the more people there are who can do that.