Nichaphat Buranadilok

Nichaphat Buranadilok is a Thai screenwriter working at GMMTV. Of six credits on record, five carry queer classification, which is the highest proportion of any writer in this catalogue.

The first credit is Home School (2023), eighteen episodes. In 2024 came 23.5 (23.5 องศาที่โลกเอียง), the twelve episode Girls’ Love series for GMM 25, and High School Frenemy, sixteen episodes classified as bromance. From 2026 the work turns to Boys’ Love: Cat for Cash (เปย์รักด้วยแมวเลี้ยง), ten episodes premiering 20 January 2026 on TrueVisions and GMM 25, and two further GMMTV productions, Roommate Chaos (หอในหัวใจวุ่นรัก) and Wish Upon A Star (คืนนั้นฉันมองเห็นดาวด้วยตาเปล่า).

Two rooms, not one

The credit list splits cleanly in half, and the halves have different people in them.

The first half is a standing three-person writing team. On Home School, High School Frenemy and 23.5, the writing is credited across every episode to the same trio: Nichaphat Buranadilok, Naphat Chitveerapat and Lalil Kittitanaphan. Kanittha Kwunyoo directed the last two of those.

The second half is a different unit entirely. Cat for Cash, Roommate Chaos and Wish Upon A Star are all directed by Kornprom Niyomsil, with Pongsate Lucksameepong sharing the screenplay on the first two. Same studio, new director, new writing partner, three projects in a row. Roommate Chaos is adapted from a novel by JittiRain.

BLGLFlix editorial view. We have argued elsewhere in this catalogue that Thai queer television is written by a very small number of people working repeatedly together. This record shows how that small number renews itself, and the mechanism is worth naming because nobody outside the industry ever sees it. A writer joins an established room, spends three long-form series learning the house method with two more senior names, and then appears on the next slate paired with a different director and a different co-writer, carrying the method with them. The room does not stay a room. It buds.

Our own read is that this is the most plausible explanation for something viewers notice and usually misattribute. GMMTV Boys’ Love and Girls’ Love series feel like each other, and the usual explanation is a corporate formula handed down from above. What the credits suggest instead is simpler and more human: the same handful of writers taught each other, then split up and took the same instincts to new teams. A formula imposed from above would be easy to change. This is much harder to change, because it is not a rule, it is a habit.

The move from team writing on a Girls’ Love series to co-writing Boys’ Love with a new director inside two years is also worth watching on its own terms. It is the clearest example we have found of a Thai studio actively growing a writer rather than hiring one.