One Year

One Year (Thai: เลือนรางและจางหาย; RTGS: Luean Rang Lae Chang Hai, lit. "Faint and Fading Away") is a 2026 Thai boys' love melodrama filmed on location in Phuket, and it opens on the day Kim (Hearth Chindanai Dechawaleekul) turns twenty-five. A fortune-teller warns the Bangkok golden boy that the year ahead carries real danger, and that the only way to outrun it is to spend the next twelve months living beside the sea. So he goes home to the coast, where relatives already eye him as a rival for the family tour business, and builds something of his own there: a cultural cooking tour for visitors. The kitchen he ends up in belongs to Taosor (Poom Nitipoom Jumparnin), a chef whose memory resets completely every single day.

The attraction is immediate and, on Taosor's side, permanently new. Each morning wipes the slate clean, so Kim has to introduce himself again, earn the same trust again, and watch a closeness he has already built dissolve overnight, a courtship that never gets to accumulate. Around the two of them the island fills in with its own quiet pressures. Talay (Bonus Tanadech Deeseesuk) and Khluen (Folk Touch Inthirat) belong to the coastal world Kim once left behind, Daiji (Ohmi Ryota) arrives into it from outside, and a secondary GL thread follows Now (Aim Natkritta Vongruangvisal) and Siu (Aey Supprawee Ponlathan). The countdown the fortune-teller set running gives all of it an edge: Kim is measuring out a year, while Taosor is only ever measuring out a day.

Directed by Intorn Lokaew and Santiphap Kimchiang (สันติภาพ กิ้มเฉี้ยง) for Kantana Motion Pictures with Star Hunter Entertainment, the eight-episode series premiered on Amarin TV 34HD on April 26, 2026 and ran weekly on Sundays to June 14, 2026, streaming internationally on Viu. TMDB records the last air date as June 7, 2026, which cannot be correct for eight weekly episodes beginning April 26; we keep June 14 and note the conflict rather than silently choosing. No novel or webtoon source has been announced; the screenplay appears to be original, credited to Sedthawut Inboon and Supicha Anantachat. Tonally it sits far closer to melodrama than to romantic comedy, slow, salt-aired, preoccupied with impermanence, superstition and inheritance, and built around a single stubborn question about what devotion is worth when it has to be assembled again from nothing every morning. Reception was divided, with the premise and the Phuket photography drawing warmer notices than the pacing, but the central ache holds: loving someone who may not remember you tomorrow.