The supporting cast is largely around to interrupt the leads, and introduce repetitive jealousies that simply become freaking irritating. While this does have a charming nature to it, the lack of any story, constant internal thoughts via voice over, and interruptions, make for a very frustrating watch.
The leads make a cute couple, and you DO feel the MC's pain. The script's contrivances become very annoying, and this is your warning. I would still say, give it a watch, but don't expect Spielberg.
I'm so sorry to hear that🙁 I hope you get well very soon. if you enjoy watching BL dramas and haven't done…
The Eighth Sense is the best BL I've watched since He's Coming To Me. Competent, and authentic story telling is to be cherished.
Lean structure is a favorite of mine, and this had good structure. By structure, we mean the arrangement of scenes. By lean, I mean only having scenes which move the plot forward. I feel this is often very overlooked. 90s American films had superb structure.
Anyway! You are right to recommend it. It's a rare gem in what is now a struggling genre.
Dear BL creators – hire any of us in these comments to write you a script. We got you.
I can't make any sense of the story. I've been stuck at home with COVID-19, so a good show would have been great to have, but sadly I think this has prolonged my COVID.
The “Danger” disappeared as quickly as it arrived, and the early bully angle appears to have been memory-holed. The story, and characters, are wobbling around looking for somewhere to go.
This is pretty cute, so far. Easily watchable, unlike a lot of BL's right now, where your mind starts to wander. I do think the story needs a lot of work, but what's new? LOL
Had some thoughts on the short first episode, which ended strongly.
- The idol aspect seems muted. - Lacks strong conflict so far. - Something should have happened in the car. - Something should have happened in the elevator.
Off the top of my head, but by raising Lee Jun's idol notoriety, the script would have more opportunity for situations rather than stagnant chit-chat. For instance, in the car, what if they ended up mobbed by a group of young girls, after one recognizes Lee Jun?
In the elevator, perhaps the boss Jun suffers from claustrophobia, and they take the stairs, ending up drenched in sweat? The boss, with no breakfast and just getting over a cold, faints during a disastrous introductory speech. During this sequence of events, we drop backstory hints, so the story is both good and entertaining.
Anyway, this has a decent premise and cute cast, and it ended strong. Let's hope it does well.
I just gave episode 10 a watch and I see the combination of unfocused writing and melodramatic goofiness continues.
The hearing loss convolution continues to snowball downhill, getting bigger as it goes. This snowball seems to undo some cute and tender moments.
Some viewers are trying to make sense of character motivations which can't be made sense of. Let me rephrase this a bit. We might be able to make sense of this by the end, but until then, the audience is frustrated and confused.
The screenwriters have failed to earn audience trust, which is required to be able to pull off a 12 episode series centering around a hearing loss convolution.
I appreciate that the writers were trying to create something unique and entertaining, but the more unique a premise is, the more we need a strong story and well established world rules, to keep it from falling apart.
I will check in with the final episodes and applaud the writers if they are able to pull it off!
A lot of people complain about how Japanese and Korean BLs are too short, but at least they aren't meandering…
I'm starting to think the writers shoulda went hard with comedy and just had fun with it. I mean, you can hear each other when it rains. What if one of em is getting a colonoscopy?
I know this is older, but just wanted to say that this is very emotional but also extremely well written. If you have a chance to watch this, do so. This script gets beyond mere BL, and illustrates the power of a capable writer who knows how to craft an authentic and moving story.
La Pluie's lack of well-thought-out story, outside the vague hearing loss gimmick, is its undoing. An underdeveloped script is exposed the longer it goes.
The hearing loss gimmick only helps so much. The effects of a poor script don't just apply to the audience. The cast is left to flounder with unclear and nonsensical character motivations.
I would have challenged myself to write a 1st draft of this script without the hearing loss aspect. Then add in the hearing loss aspect in future drafts. The result would have been a much stronger foundation.
Writing a series is no easy task. We're probably talking about hundreds of pages in total. A team of writers, each with their own focus/strength, might be a better way to tackle such projects going forward.
Writers are typically either a plotter or pantser. Pantsers (write by the seat of their pants) are often good with authentic scene creation and dialogue, whereas plotters (outline everything) are great at envisioning the broad story/sequence of events which lead to a good finish.
Ensuring each project has a mix of these two, would go a long way to creating a series which will keep people watching and could be something special.
Only half-way through La Pluie, but I'll throw some thoughts out there. The unique premise is very welcome within…
Update OMG: I'm up to episode 8 and am currently suffering from a melodrama overdose. I just started sobbing uncontrollably because my cat was purring too loud. Help!
The kiss with Patts ex felt force and overly artificial, and from there the melodrama snowball began rolling downhill. There are choices at this point which suggest a lack of fore thought, and perhaps, common sense.
What the audience needs to know isn't explained, and even worse, what's unimportant is over-explained, and dramatic. Breaking down sobbing because Tai was going to be rained on in daylight? Is he made of tissue? He was upset and went for a walk, not into the depths of hell. Tai and Patts reunification was too easy after all that melodrama.
GOOD: I'm glad Lomfon has the condition as well. Makes the story more interesting. In fact, it may be the only reason to watch the rest.
SOME IDEAS: Let's say Patts gets called away because his EX needs his help. Tai simply goes for a walk, and it starts to storm. HOURS AFTER DARK, nobody knows where Tai is or what happened to him. Lomfon helps save Tai by being able to hear him in the rain, revealing his condition to everyone and that he too his Tai's soulmate. Patts EX was lying and tricking him in coming to her, etc. And also, Patts can hear Lomfon saving Tai, but because Lomfon is much closer, Tai can only hear him. Now Patts is the one hurt & pissed and gunning for Lomfon.
Anyway, I'll catch the next episodes because the premise is fascinating. I just wish the meat had stayed in the crock pot a lot longer, to use a cliché.
Only half-way through La Pluie, but I'll throw some thoughts out there. The unique premise is very welcome within the BL world.
While this script presents a unique premise, the fact that it's taking a while to unravel may lead to confusion. The audience may think a mistake has been made in the story, when in reality, a twist is afoot.
This confusion could create a situation where some viewers abandon the series, or rate it low, before the writers' intended payoff. This is why earning the audience trust is so darn important to writing for the screen, which gets me to my next point.
La Pluie needs better plot and story beyond its unique premise. Goals, and the stakes for not achieving those goals, need to be raised, giving the audience (and writer) much more to work with.
For instance, and off the top of my head, but; What if people with the condition often die young? This immediately raises the stakes.
Anyway, I'll still be watching and will update. It's just my early impressions.
Robert McKee on voice over – https://youtu.be/_VseQe4TFsg
The supporting cast is largely around to interrupt the leads, and introduce repetitive jealousies that simply become freaking irritating. While this does have a charming nature to it, the lack of any story, constant internal thoughts via voice over, and interruptions, make for a very frustrating watch.
The leads make a cute couple, and you DO feel the MC's pain. The script's contrivances become very annoying, and this is your warning. I would still say, give it a watch, but don't expect Spielberg.
Lean structure is a favorite of mine, and this had good structure. By structure, we mean the arrangement of scenes. By lean, I mean only having scenes which move the plot forward. I feel this is often very overlooked. 90s American films had superb structure.
Anyway! You are right to recommend it. It's a rare gem in what is now a struggling genre.
I can't make any sense of the story. I've been stuck at home with COVID-19, so a good show would have been great to have, but sadly I think this has prolonged my COVID.
The “Danger” disappeared as quickly as it arrived, and the early bully angle appears to have been memory-holed. The story, and characters, are wobbling around looking for somewhere to go.
- The idol aspect seems muted.
- Lacks strong conflict so far.
- Something should have happened in the car.
- Something should have happened in the elevator.
Off the top of my head, but by raising Lee Jun's idol notoriety, the script would have more opportunity for situations rather than stagnant chit-chat. For instance, in the car, what if they ended up mobbed by a group of young girls, after one recognizes Lee Jun?
In the elevator, perhaps the boss Jun suffers from claustrophobia, and they take the stairs, ending up drenched in sweat? The boss, with no breakfast and just getting over a cold, faints during a disastrous introductory speech. During this sequence of events, we drop backstory hints, so the story is both good and entertaining.
Anyway, this has a decent premise and cute cast, and it ended strong. Let's hope it does well.
The hearing loss convolution continues to snowball downhill, getting bigger as it goes. This snowball seems to undo some cute and tender moments.
Some viewers are trying to make sense of character motivations which can't be made sense of. Let me rephrase this a bit. We might be able to make sense of this by the end, but until then, the audience is frustrated and confused.
The screenwriters have failed to earn audience trust, which is required to be able to pull off a 12 episode series centering around a hearing loss convolution.
I appreciate that the writers were trying to create something unique and entertaining, but the more unique a premise is, the more we need a strong story and well established world rules, to keep it from falling apart.
I will check in with the final episodes and applaud the writers if they are able to pull it off!
I wrote a full length screenplay which has a same-sex relationship at its core, it's in my profile, but I only set out to write a good film.
I also see disrespect directed at the BL audience, as if we're too stupid to be worth a quality plot or story.
Combine this with writers who may not be interested in writing a BL, and I think you can see why there are many disasters.
One of the better BL's in terms of story was, He's Coming To Me https://kisskh.at/31880-he-s-coming-to-me
The hearing loss gimmick only helps so much. The effects of a poor script don't just apply to the audience. The cast is left to flounder with unclear and nonsensical character motivations.
I would have challenged myself to write a 1st draft of this script without the hearing loss aspect. Then add in the hearing loss aspect in future drafts. The result would have been a much stronger foundation.
Writing a series is no easy task. We're probably talking about hundreds of pages in total. A team of writers, each with their own focus/strength, might be a better way to tackle such projects going forward.
Writers are typically either a plotter or pantser. Pantsers (write by the seat of their pants) are often good with authentic scene creation and dialogue, whereas plotters (outline everything) are great at envisioning the broad story/sequence of events which lead to a good finish.
Ensuring each project has a mix of these two, would go a long way to creating a series which will keep people watching and could be something special.
The kiss with Patts ex felt force and overly artificial, and from there the melodrama snowball began rolling downhill. There are choices at this point which suggest a lack of fore thought, and perhaps, common sense.
What the audience needs to know isn't explained, and even worse, what's unimportant is over-explained, and dramatic. Breaking down sobbing because Tai was going to be rained on in daylight? Is he made of tissue? He was upset and went for a walk, not into the depths of hell. Tai and Patts reunification was too easy after all that melodrama.
GOOD: I'm glad Lomfon has the condition as well. Makes the story more interesting. In fact, it may be the only reason to watch the rest.
SOME IDEAS: Let's say Patts gets called away because his EX needs his help. Tai simply goes for a walk, and it starts to storm. HOURS AFTER DARK, nobody knows where Tai is or what happened to him. Lomfon helps save Tai by being able to hear him in the rain, revealing his condition to everyone and that he too his Tai's soulmate. Patts EX was lying and tricking him in coming to her, etc. And also, Patts can hear Lomfon saving Tai, but because Lomfon is much closer, Tai can only hear him. Now Patts is the one hurt & pissed and gunning for Lomfon.
Anyway, I'll catch the next episodes because the premise is fascinating. I just wish the meat had stayed in the crock pot a lot longer, to use a cliché.
While this script presents a unique premise, the fact that it's taking a while to unravel may lead to confusion. The audience may think a mistake has been made in the story, when in reality, a twist is afoot.
This confusion could create a situation where some viewers abandon the series, or rate it low, before the writers' intended payoff. This is why earning the audience trust is so darn important to writing for the screen, which gets me to my next point.
La Pluie needs better plot and story beyond its unique premise. Goals, and the stakes for not achieving those goals, need to be raised, giving the audience (and writer) much more to work with.
For instance, and off the top of my head, but; What if people with the condition often die young? This immediately raises the stakes.
Anyway, I'll still be watching and will update. It's just my early impressions.