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Simple but Fun and Engaging Rivals/Friends to Lovers Tale
Look, I'm not going to lie. It's a simple plot. Boy meets girl. They instantly hit it off. Girl has boyfriend and they don't talk. They meet up again later down the line and it's like nothing happened. Except now theyre rivals pining for funding for their competing app start-ups. Add in some espionage hijinks and friendship messages, and you get a movie that's not entirely unlike what you may have watched when younger.However, it was *very* engaging. How far would the espionage go? When would the gig get called off? Will they ever decide to just work together and create one app with both of their strengths combined? And somehow, every time I though we would hit such plot points, we didn't. I also loved how even some of the small things came full-circle by the end of the movie.
And then there were the budding romance scenes. Their balance of being rivals and being friends/mutual crushes was just excellently done. They really did forget they were rivals for a period there. They were just two people working towards their ideas and cheering each other on quietly. And the laser tag get-togethers? They had me grinning so much, lol.
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Spouse Lottery: A bill from dystopia for character growth
From the moment I read the synopsis, I was quite taken by the prospect of this drama. A law that requires you to enter into a dating lottery system? With consequences should you come out unmarried? That sounds so much like something you would find in a dystopia! The only other things I knew coming in was that there was social commentary including LGBTQ+ issues and possible ace rep.And then quickly after starting, i became taken with all the various issues and concerns all the characters, main and supporting, had for choosing or winding up single between the ages of 25-39. Not only were their respective experiences well included, but also the surrounding societal commentary that people seem to think marriage (and having children) is a requirement of being human, instead of a right that people may or may not personally partake in. We see people struggling with this societal ideal for reasons such as career aspirations, infertility, physical or mental health, trauma, gender norms and expectations, sexuality, and many more. It really showed just how many victims of this mentality there are, even if the context it was brought up in during this drama was an exaggeration of real life - as Japan's decreasing birth rate has become a subject of economic and infrastructural concern even in real life.
While we did see lesbians and gay characters, I cannot really confirm any ace/aro rep. Most people were single for other reasons than a lack of sexual/romantic attraction. One could make an argument for our male lead Tacchan (Tatsuhiko), but there's so much intersectionality going on between the plot and his mental illness to say with any certainty. Everything could be explained away. So, a decent headcanon for those who think so (though you don't really need any permission for headcanons, lol), but I wouldn't really advertise it as a story with ace rep.
Another key topic i'd like to discuss is the rep of mental illness. Tacchan has OCD, mysophobia, and misanthropy. I liked that these weren't the product of a gruesome trauma, but rather a moment of humiliation and insecurity that stuck in a different way than most. I liked that it was consistently shown and not forgotten about when convenient. Indeed, the only time he forgets about it is when he's so busy with something else, something that he finds fulfilling and helpful - something that he established in the very beginning of the drama (yay, internal consistency, and i have heard of similar cases in reality). However, I did have a problem with how close we got to "love cures all" with the OCD and mysophobia. We got very close folks. Like a strong hand from a person he cares about will make such an instant improvement. It wasn't cured, but it was so greatly reduced that, well, it could've been. Not to mention that she quite literally says "it's not an illness, it's a habit" and "doctors are just looking to diagnose you" without ever being called out on it.
My main other complaints are that the ending speeches were not satisfying, and even seemed to excuse this inhumane bill to a point. If a government ever did do something of this sort, it should be a program to opt in to, not a bill that has hypothetically severe consequences if you do not follow.
But, I did enjoy the drama for the characters, their growth, and the various perspectives shown in relation to the plot. I can see myself watching this again - especially for the notable character growth from 3 of the 4 main characters that were well paced.
Quotes:
"Saying that marriage is our duty as a human... is a joke."
"If we don't get married, does that mean the country won't acknowledge us as humans?”
"Because all sorts of people live in Tokyo. They're chasing after all sorts of dreams. And escaped from all sorts of things. They may look satisfied... but that's not the case. There are things that they can't let go of. Their feelings become complicated and entangled. It's just a melting pot of those types of people... Tokyo is."
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In some ways, I'm remined of a club scene in the BL short film Verona (2010). But could not vibe in the same way as I did to Verona. The music was effectively the sound equivalent to strobe lights. Combined with the essentially strobe-style scene portrayals and switching - I felt a very unpleasant level of anxiety. It's probably purposeful, to show Noah's chaos, but it leant to a personally unpleasant experience.
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This review may contain spoilers
This film was a breed of mysticism and magical realism that you so rarely see anymore. One that demands the viewer to take time and weigh the details in their mind (so much so, that i had to draft this review in a word document, rather than straight into the MDL textbox). One that provides ample fruit for analysis upon reconsumption. One that requires absolute mastery of cinematography and characters.“Are we really in the present? I don’t know. We are losing the certainty of being in the present. It could be the past. It could be the future.”
Put in the most simplest of terms, this was a story of reincarnation and rebirth. In it, we see two converging timelines of parallel souls anchored to the forest in which the story takes place. At first, it’s subtle. Mere flickers of visions across Joan’s consciousness. But towards the end, we see it leak into her reality more and more, until she comes to a revelation. The “vision” herb/fungus for which she felt a desperate and indescribable need to find (“I don’t know. I don’t know. I need it.”) wasn’t for her happiness. Nor even mankind’s.
But rather to heal and cleanse the forest of the tragedy that simultaneously happened long in the past and in the present (“I’m looking at two suns existing simultaneously. One in the water, the other on top of the hill.”). The tragedy that created unrest in the forest. The tragedy that seeped agony and pain even into the next iteration of their souls. Afterall, “love never stops.” Even when it looks still. It’s also the tragedy that the old man in the forest comments about it being a sad thought that when he passed, no one would be left to remember those graves on top of the hill. The tragedy of the young father-to-be killed in a hunting accident. And that of the young mother who (presumably) died shortly after giving birth to their son.
The son that the old crone, an old entity who sees not through her eyes but through her mystical connection to the forest that her life is so intrinsically tied to (honestly, she reminds of Mother Willow from the Pocahontas cartoon), carried through the tunnel into the near past. The son who is adopted by the old man telling the story in the forest, and who is given the name Rin. The son who found his way into a familial dynamic with the reincarnated souls of his parents.
And when the 3 should-have-been family members finally reunited and found themselves under the old and cleansing Juniper tree that they have all been drawn to throughout the story, that’s when “vision” is born. Or, the final merging of these 2 parallel timelines. And we see the spirit of the young father-to-be, smiling at what is finally possible, and walking off into the woods – his soul finally able to move on.
And what better method of rebirth, than that of fire – which has been intrinsically related to rebirth in both worldwide mythologies and in nature. And fueled by the wind that is Aki, who guided all the key players into making it possible.
And I think what's great about this film, is that this is all just one interpretation. But they all have the potential to deeply move a viewer. For instance, a fellow reviewer who analyzes the story through a lens that does not include reincarnation.
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When the writers play favorites, you get this.
I don't even know if the production team knew what they wanted to do with this? It was a bit of a hodgepodge of comedic and serious acting, scenes that had no significance, a villain that had no motive, and action sequences that contained what should have been bloopers. I seriously watched one of the MLs headbutt his opponent in the armpit. Three times actually, because I was certain that that wouldn't have made the final cut... The official subtitles (via IQIYI) were rough and delayed, and regularly translated the characters' names into their meanings. And the story itself contained problems. Xiaotu was so poorly treated by the script as a character. What was the point of bringing up that they each had their own strengths, if you aren't going to show us what they are? It seemed like the writers were right there with the other characters valuing Xiaohu higher than Xiaotu.The highlights were when Xiaohu was guiding his brother's actions. Or when they both inhabited Xiaotu's body to accomplish impossible tasks. Those were cool to watch. The two brothers had good on-screen chemistry and really carried when they were visible together. But I can't find anything else to praise. Sorry.
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Excellently-performed character story, even in the absence of dialogue
It wasn't complex. It felt like a simple moment in time - especially given the scarcity of dialogue. But i found that it wasnt really needed after some light reflection. It was a gorgeous story of the unconditional love between 2 young brothers surrounded by destruction and witnessing hatred for possibly the first time. Everything was delivered well. Even with the scarcity of dialogue, I felt like I knew the characters. I knew what they all were feeling, at all times. It was truly a gorgeous understated short film that I highly recommend.Was this review helpful to you?
Classic indeed. They don't make them like this anymore.
I can easily see why this was a hit with western audiences at the time of it's release, and is considered a classic masterpiece. The story is very reminiscent of some favorite western fantasy films being released around the time (DragonHeart being a personal favorite of mine), as well as having all the characteristics of a Wuxia production.The story is simple but action-filled. The motivations for the conflicts went beyond greed - instead erring towards the desire for a better future and justice for the past. It allowed the characters to have ample depth. Even when you were wholeheartedly against them, you could understand where they were coming from. And the action sequences were gorgeously choreographed and told stories beyond just "this is the characters fighting." There were some things that were not explained, as they would in several modern wuxia dramas, but it didn't make the story hard to understand. I wish modern wuxias would do similar, so that we are not bogged down by explanations, world-building monologues, and character introductions all at once.
Even the ending was well-done. It was very true to the story being told. And the one unanswered question being left open like it was makes it a perfect ending for divided watchers.
It's a perfect starter wuxia. A classic if you will. That even long-standing fans may go back to for the actor performances and exquisite fighting sequences (which are numerous).
The only reason why this didn't get a 10 from me is because of the lack of one subplot that deserved a few more minutes of attention.
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The toxic ML destroys an otherwise emotional movie
I wish we could have gotten to see the growth of true Chinese BL screen adaptations so that this isn't the legacy they are left with. Look, even with the poor image quality of the version I found, you could tell these actors were doing a great job portraying their characters. You could hear everything in their voices. Glee. Reservation. Relief. And you can definitely feel bad for the plight they are in, but it's way too fast-paced to really connect with the characters and feel impacted by the story (without the associations and emotions lingering from other productions with similar plots that is, or without the personal experiences being attached to their plight). The pace very much feels like it belongs to a collection of short films, rather than one full-length one, or characteristic of multiple unannounced time skips.Furthermore, it's just really really hard to root for Lu Feng. Their relationship is so incredibly toxic and harmful. He's headstrong, aggressive, authoritative, and immature. And grand gestures simply can't fix everything. And you'd think that, considering they know the plight they are in, that they would be more careful about their actions in public.
I absolutely adored the music though. And there were some really memorable scenes. Such as the custom couple rings done at the beginning of the movie - that I really wish we see more of in other productions. The surprisingly good amount of communication (not enough to even begin to contradict all that's wrong in their relationship, but it is there). And there were a couple of scenes that remind of my much beloved scenes from Skam and Semantic Error.
Honestly, it could have been a great movie (sequel events aside), if only Lu Feng wasn't so incredibly toxic. But alas, I do understand that it's probably MEANT to be toxic (from what I know about the sequel). I don't think we're supposed to think it's romantic.
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Lesbian Fluff, Fancy Tea, and Gorgeous Aesthetics
Honestly, this might be my favorite lesbian story out right now.It almost didn't feel like a mini-series because of how well it was constructed. And since the story took place within a span of 2-3 days, the pacing felt organic and natural. I didn't feel like I was missing something.
And the characters were really well-established. I really felt like I knew them. Tea Master Hong is stubborn and proud, but passionate. Marketer Cha is a knowledgeable professional, realistic in business but romantic at heart. And Lee Dan's teasing dramatics and straight-to-the-point approach to life made her my favorite character in the story. You could tell that the tea shop workers are really close with each other from their silent communication. And the two female leads had good chemistry (for the timeframe they had anyway).
It was well-constructed pure fluff. And a very effective advertisement if I do say so myself - I am definitely going to have to stop by Altdif if I ever wind up in South Korea. That is the most fanciest tea I've ever seen in my life.
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A great idea, but something was missing.
It was a good short production with a great story. I absolutely loved the metaphor at the end. However, the show didn't feel as flushed out as I would have liked. Not because of the open ending (which I think had a good purpose and significance), but rather their relationship development. If it was a matter of time that kept the producers from making this a longer series, then they could have cut some of the basketball scene at the beginning and added a segment where we see them talking about themselves at a table or something. Because the majority of their scenes made them seem like they were a casual fling, but the seriousness at the end didn't match up.Was this review helpful to you?
A fitting tribute to the reality of adult pressures, relationships, and dreams
I truly fell in love with this drama. It possessed a depth and quality that really felt true to life. Serious and emotional, I was swept away in the emotions of these characters. These people. I laughed when they laughed. I giggled when they blushed. I cried when they cried. You could tell it was written by an LGBTQ+ man, writing for the full array of his audience.Through this story, we got a taste of what it means to be human. How we're all flawed, trying to navigate new and changing relationships in whatever way we think is best. And we're going to make mistakes. Because hindsight is 20/20. Love, whether it be between lovers, family, or friends, is messy. It's filled with joy and pain, all the best intentions that do more harm than good, and questions that may never get the desired closure. And this was a great tribute to that fact.
But the drama also drives home the power of potential. In love. In dreams. In life. That everyone is the same deep down, just trying to make it through life with what they have - both with privileges and burdens. But everyone's journey is inherently unique and independently decided.
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"I chose to sell chicken rice because it's a simple dish. It's consisted of four components: chicken, rice, broth, and sauce... It might only have 4 units, but yet everyone's definition of 'delicious' differs. That's what makes this simple dish stand out. I see people eat chicken rice every day and they all enjoy their chicken rice in their own way."
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On to more specific details, I really loved the commentary about disability and ableism when it came to Heart's storyline. Both in the large scale (being just as capable of living life as hearing individuals) and smaller scales (preferring international films because Thai films never come with subtitles).
Also, the portrayal of Thai culture was brilliantly done. Each episode takes place in a different month as we progress through the year and Thai festivities. By doing so, it presented viewers with a certain degree of Thai pride, showed the passage of time in the story, and in my opinion, really helped establish a fitting pacing for the story (something GMMTV tends to have trouble with).
The story also presented a fresh look at income disparity. Wen is not wealthy. He's still very much having to work his butt off to get by, finding ways to save money in his daily activities, and trying to work his way up the corporate ladder. But, we are still shown that his has more privilege than the residents and workers of the Moonlight Chicken diner. That there are things that he simply can't grasp to the full scale at which they experience. A scale at which he can't resolve, just watch and comfort. We got to see the disillusionment of society that comes with living so low-income, believing things are at a standstill and will never change. The fear associated with being the man at the bottom, easy to stomp out and take advantage of, perceivably without the power to change anything. Without the power to change anything or even to take up more space. The habits you take up in order to distract yourself, or to faintly indulge hope for change. The same habits that struck close to home.
So even while I'm learning about a culture away from home, the portrayal of life still managed to be so wide-reaching that it fed back into the above-mentioned messages. But unlike other GMMTV social commentary dramas, such as "Not Me" or "The Eclipse" (both of which I did love), these messages weren't as explicitly stated to audiences. They fell into the narrative organically with the right amount of emphasize (and quotability) that drove the message home, but without pushing you out of your immersion with the drama.
On a more non-story note, I loved the aesthetic quality of the series. It was full of screen-shot worthy moments and really set the tone. You knew immediately that this wasn't your standard Thai BL. I wasn't particularly fond of the opening theme song, but i loved the rest of the soundtrack. In fact, Ford Arun's "Tomorrow" is playing on a loop while I'm writing this. The PPL was very apparent, but as it was mostly centered around a cat, I found myself not minding it at all. In essence, the cuteness on the screen made up for the abruptness in my eyes.
The drama was immensely different than first presented to us in the pilot and final trailers. The main difference is perhaps the one that I can't mention here because of spoilers, but I ultimately liked this "deception" as it really calls the audience out on seeing everything in black-and-white before they have all the information. The other one, I didn't mind as well, but I know others definitely did: this drama is not spicy. It's just not. There's considerable tension, but it only really comes to a head in that first episode.
I found myself not into Earth's performance here. Not because of age, like so many others have pointed out (but yes, it seemed like the script kept mentioning Jim's age in order to keep reminding us since he did not have the look or give off the vibe that the character was apparently supposed to have), but rather because he didn't draw me in. There's reserved (like what the character is supposed to be), and then there's awkward. And Earth seemed to fluctuate between those two on a regular basis. I wasn't convinced that the character was feeling all the emotions he supposedly was. It wasn't there in his eyes, body language, or demeanor. I mean, the scenes still went off well, but I suspect it was in large part due to the more emotive actors on the screen with him. I was really hoping to see more from him in this drama, as he seemed to have been doing much better at emoting with his eyes and expressions in "Cupid's Last Wish."
Also, I find it rather ironic that, considering the message about Heart preferring international movies because of the lack of subtitles, we didn't have subtitles for the sign language. You can largely get it through context, especially as other characters will often respond verbally along with their sign. But in the latter episodes, as we get more prolonged use of sign language without spoken language, the absence of subtitles was extremely evident.
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The vast majority of the movie was very much told in a recap-video style manner by the two MLs over the events that occurred in "2gether" and "Still 2gether." The first half of "2gether" is told from Tine's narrative point of view, while the second half of "2gether" were told from Sarawat's POV. The events of "Still 2gether" (as well as all of the support couples) were more of a montage than a recap and I think Sarawat continued narrating into this segment. I say "I think" because it seemed like they either got different actors for the narration (which I couldn't find support of in the credits) or purposefully made them sound different. This entire narration is told while the leads are getting ready for their graduation ceremony - which we are reminded of by a handful of intermission scenes between recapped plot arcs, and at the end which is all new content.
The analysis:
Among the recap scenes, I think a handful of moments were either edited or used alternate takes in such a way to provide a slightly different emphasis that reflected the narrated inner monologues of the characters. Thankfully, this recapping also eliminated the more cringe-y scenes that I hated from the drama. But, Tine's inner monologue was even more narcissistic in nature than the drama had presented him at the beginning. Nor did some of these thoughts seem true to the longer scene versions and context from the drama. It made it seem like Tine was narrating the lies/excuses he was telling himself, making him a mildly unreliable narrator at times (from my reading of the character in the full drama). Also, for new viewers, the suddenness at which characters appeared at key moments in the recap may be confusing, as they would largely be missing beforehand.
Of course, it's not "2gether" without the Scrubb-centric soundtrack. And because of the recap-like glazing over the content, this felt more fluffy and nostalgic than the previous versions. And, like i said, the exclusion of the most cringe-y scenes was much appreciated as a viewer. However, "Still 2gether" being my favorite part of the franchise, I'm a little sad that they basically turned it into a montage. I also think that there would have been more value if we had Sarawat narrating over the beginning half of 2gether, since we know so little about his perspective in this portion of the story.
Overall, this is decent. Fans may like to compare scenes and have explicit intel into characters' thoughts. The overarching story surrounding the recapping was cute. Non-fans might appreciate being in-the-know without having to sit through the entire franchise (so long as they are okay with not knowing quite how everything and everyone fits).
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I say "they" because it is made ABUNDENTLY clear that Wan Ting did not want to physically transition and has a hard time accepting the reality of it. But, at this particular segment of their story, we can't be sure if it's mere dysmorphia because of being back amongst people they interacted with while identifying as a female, or if they still internally feel as such (although, I personally lean towards the latter based on their behaviors).
I loved how the MC is not faced with bullying because of them being intersex (the bullying tag is quite unrelated, as well as brief/mild). I loved the friendship between all of the leads, especially after the MC's return. It's so supportive, even in the face of their own troubles and their own difficulty in seeing the MC's transition. And the moments when reality hit for each of them during various moments were really poignant. I could feel my heart drop.
I know some people are upset with the ending. But personally I saw it coming from a mile away. And while it did leave us with unanswered questions that I would love to have answered - that wasn't the focus of this story. This film is solely about the MC coming to terms with being intersex, having to transition, and finding their new place amongst those who have never left their heart. Everything that comes after that is a whole other story. I'm happy with how it ended - even if I do see it as unnecessary. Who knows, perhaps they were hoping to spur enough interest to expand on this idea either as a sequel of another adaptation.
The part that I particularly dislike is the beginning. There were so many components to the beginning part of the story that had no point and with little to no follow-through. Furthermore, I really disliked the MC's best friend for quite a bit. It set a really negative tone to the character - that was inconsistent with her character throughout the rest of the film. I was so close to dropping in the beginning. If they had only kept the parts that were relevant and consistent with the rest of the film, they could have had several minutes to either explore MC's actual transition/treatment period or (as others advocated) add to the ending more.
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Straight-faced dramatics for a perfect mindless watch
It's a strange one. I contemplated dropping for a bit there. What kept me watching though was how likable all the characters are. Every single one. That's very rare to come by. From the little girl who watches too much John Wick, to the hired help with the perfect facial expression changes, to the little boy from Colombia giving the ML a run for his money, and yes, even to the ML who just wants to stack cups but keeps getting interrupted.Eventually, the straight-faced dramatics and comedy grew on me. I found myself chuckling and shaking my head at the ridiculousness quite often. It's perfectly mindless.
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More of an outline than a full documentary
Put simply, it's an outline of a BL industry documentary. Lots of relevant points were brought up, but in such a brief and unspecific way that only really early newcomers might see as useful.Topics included:
- History and rise of Yaoi, Y series, and BL
- Fan club opinions of the appeal of BL series
- Popularity in the novelty of the illegal
- Romanticized and normalized portrayal of sexual harassment and rape in BL
- Homophobia among BL crew members during film shootings (apparently some may have turned around and puked afterwards)
- The separation of actor and character when filming
- How controlling the industry is over the actors
- How some activism needs to stay backstage in order to avoid collateral damage to the actors
- Shipping culture and the tendency to see characters (and by extension, the actors/idols that play them) as their metaphoric children
- BL actors' activism and presence in society
I suppose this information could prompt curiosity in newcomers, but the trick would be to get it in front of them.
I did however enjoy seeing cameos and interviews from some familiar faces, as well as several clips and references to shows and headlines I remembered or missed.
I do think that another documentary should be done on this topic - to elaborate on the topics, give more testimony, and (no hate intended) find better fan club spokespersons (it's not that they particularly said anything wrong, it's just that they really didn't add much to the conversation - despite being in an excellent position to do so).
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