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Jisoo plays an ordinary woman whom nobody notices? That requires a massive leap of faith. When she stands in front of her mirror and complains about her dark under-eye circles… but she has the most flawless skin in the world. It’s hard to believe she’s this insignificant, clumsy character. But, to be fair, her acting has improved. (She was already quite good in Newtopia, given the series’ delightfully daft tone)She plays an adorable, heartbroken producer who’s getting over her break-up and taking control of her love life again. We figure that out pretty early on.
All her scenes with new virtual boyfriends are strangely good. It plays on clichés deliberately, so it doesn’t treat us like idiots. I've found myself laughing stupidly far too often to say anything bad about it. I’ll admit it, I liked it. There, I’ve said it ! The humour saves the day when it gets a bit saccharine.
This series is pure binge-watching (there isn’t even an opening credits sequence), a short, simple, funny, pinky, very pinky story… Pinky but blackened (this joke : illegal in 197 countries) by this dating game, which, when you get right down to it, is quite terrifying. Losing consciousness every time you start it up ? I’m not sure I’d like that. I’ve already played Dark Souls, ok ?
And what about her working hours... can we take this up with a trade union, please ? Both in the series and in Jisoo’s real life.
Gong Min-jeung, the "annoying" author, is the best. Keep it up, madam. Screw them !
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It's hard to ignore the limited special effects, to put it diplomatically.
You have to be really into celestial palace intrigues between millennial beings in an bad RPG landscape. I lasted until halfway through. 17 out of 33 episodes, no less. The cardboard sets, the ridiculous superpowers, the scheming between clans I didn't know existed five minutes ago, death but actually no I'm coming back as a spirit and I'm alive again (are you elves, actually ?), all of that got the better of my patience.
Wang Yinglu is exceptional, naturally. In 'Twelve Letters', that same year, she played a completely different character with great intensity. She's a superb actress. And she undoubtedly deserves better roles than that of a servant to a capricious god.
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A fridge with built-in AI ? One that tells you what recipes to make with what's inside ? Who asks for that ? Why ? And those round, translucent ice cubes, do people even want those ? Excuse me ? Their job is a joke.I have a problem with Seo In-guk. Park Ji-hyun looks like she's 10 years older than him, but in real life it's the other way around. My real issue is that he only plays characters who seem autistic without it ever being explicitly stated, and only highlights the quirky and charming aspects typically associated with autism. Is he autistic himself ? He doesn't mention it in interviews ; I've searched extensively, and while he shares details about his private life, he doesn't talk about this. Between this role and Boyfriend on Demand, it's a lot. And I'll admit, it bugs me a little. The difficulties with social interactions, the list written on his window, the identical outfits, the unchanging habits, etc... They really did their homework when it comes to the most obvious clichés.
Those two characters drove me sick from the very first second. They make their lives so complicated for no reason, it's fascinating. A totally stupid rom-com. She loves him, he loves her, we love each other, you love each other... but here's the thing ! He'll go back to America if their stupid translucent ice cube project works out. What a tragedy ! So we have to push each other away without saying how we feel. We have no choice ! What else can you do when you're in love ? Especially when you haven't actually done anything concrete yet, when you're still complete strangers to each other… Your whole life revolves around this coworker who's about to get promoted. And leave. That's pathetic, don't you think ? You have no passions, no hobbies ? Respect yourself !
I wonder why I keep watching this kind of thing. I knew what I was getting myself into. Propaganda that's never been so obvious. I doubt that's how relationships actually work in Korea. They want the world to believe that Korean men aren't such horrible misogynists that Korean women refuse to date them. It would be unbelievable if that were true, wouldn't it? I wonder. 4B Undong, you say ? never heard of it.
The side story with the guy wearing round glasses : Stop, no, that's enough, cut it out ! It's absolutely terrible. I was screaming inside during every scene. All the men (every single one of them) in this series are unbearable and selfish, but they're trying to make them out to be cute guys who are clueless about their own feelings. The women have to fight for these guys... how sad ! "It's realistic" some might say. I'm going to splash some water on my face.
Park Ji-hyun, I adore you, but between this and Flex Cop, you're making me watch some truly awful things. My health is at risk.
In the French class, they wrote "bonjour" in big letters. This must be serious.
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I'm not Korean, but I was bullied throughout my entire school career. I wish I could say that everything in Episode 1 is exaggerated and ridiculous... but not really. Students who insult, hit, and humiliate other students, with no one coming to the victims' aid, and sometimes even with the teacher's support (yes, really), well, that's the reality. Episode 1 isn't that far-fetched.Violence doesn't solve anything in this case. But the series suggests that it does, that it would be the ultimate solution to everything. No, the bullies will take revenge on their victim. All it does imply that if violence comes from the stronger people (adults), then it's valid. And consequently, adults have complete authority over minors... because ? Because, period. Thus, violence in school would simply be an educational problem caused by the parents alone. I'm not sure I support that. (I believe above all in the collective responsibility and individual courage proposed by philosophers like Arendt or Sartre. At some point, we must act even if we stand to lose something, even if we aren't personally responsible : we are.)
That said… it's hard not to find it thrilling when a teacher goes to the home of a privileged bully (the son of a high-ranked politician) just to piss him off. And he couldn't care less about threats from a potential future president of the Republic. I admit it.
There are also some very serious issues that aren't handled all that badly. It goes beyond just school. We seek revenge for the powerless. And these "teachers" are only there for a specific mission.
Well, here I go complaining again… I love revenge in movies or TV shows, but in real life, it accomplishes nothing. I wouldn't be any less devastated if I learned of the death of my bullies or attackers. It doesn't make things right. And it's individualistic, too. An individual solution for every systemic problem ? No. (Or else we must expect that many of our relatives and family members will disappear in prison or be executed...) And it happens after the problem. It's already too late. Neither violence nor the death penalty dissuades people from committing crimes !
The series takes on a cartoonish tone starting in episode 2. The students are total thugs straight out of the worst mafia movies. How many times have they repeated a grade ? Paradoxically, it becomes much more watchable. From that point on, it takes on a satirical approach, the ideology takes a back seat, and you can watch it as a usual action comedy. If the whole series were like that, it would be just fine. But, it's not.
Episode 3 and its false accusation of a teacher sexually harassing a student. I just can't handle that. What about the real accusations ? Do we just ignore them ? It leaves me completely dumbfounded, I can't stand it. And Jin Ki-joo finally shows up ! Finally ! (My main reason for watching this series) But I couldn't appreciate her absurdly authoritarian approach as much as I'd have liked. I dropped the series right there. That's my limit. It's probably a shame, but I refuse to waste my time on stories about false accusations.
(Ignore the note. It's just for my own reference, so I know not to try again.)
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A lavish series in every sense of the word. Very slow,too slow. Boring, one-dimensional characters who are a pain to watch. A super basic plot, a Monte Cristo-style revenge story we've seen a thousand times before. However, it varies slightly because the heroine finds herself caught up in someone else's revenge (her adoptive mother’s) and breaks free from it without much effort. In fact, nothing really serves as an obstacle or a climax in this story. Most of the time, you're just waiting for it to end.If the point was to make me hate chaebols, I already hated them before. Missed the mark.
If the point was to see a deadly, venomous Seo Yea-ji with a slender figure, then mission accomplished. Yoo-sun looks extremely elegant despite her unlikable character. I only watched for the two of them. The rest of the cast is boring to the extreme.
Episode 1 ended up being the most interesting, thanks to its editing that jumps between different time frames. And yet it still felt very slow for no good reason. Next, the synopsis misleads us a bit by saying that Lee Ra-el isn't rich. She's fully part of the world of the wealthy that she wants to destroy. (Or else, I'd be happy to be poor like her) And by "destroy", I mean "break up a marriage that was already broken from the start." Nice work, young lady !
Their whole Piazzola bandoneon thing, I don't get any of that nonsense. Their whole tango thing, what a bore !
And the age gap. I won't say anything rude, but I still think what I think.
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The important thing about cooking is to talk about it. French technique : spouting a bunch of pretentious nonsense to make it seem like you're about to eat the best dish in the world. And making people believe that its lousy cuisine (invented for the rich in the 19th century) is centuries-old and down-to-earth. Sorry, I guess I hate France.A series that seems strange at first glance but is above all funny thanks to its main character, the adorable Park Ji-hoon (this guy has something magnetic about him). He seems completely lost and sorry to impose his presence, all while creating the greatest culinary masterpiece in the universe. And when people taste his lovingly prepared dishes, things just go completely off the rails. They run along the beach at dusk, belching with joy and dancing like little Terpsichores. With each new dish comes a new surreal bit of nonsense to illustrate their momentary ecstasy. Writing this must have been a blast. Special mention when they turn into an overly saccharine K-pop boy band. (Lee Kwang-soo would have absolutely killed it in this series !) "I'm so crispy, baby."
Obviously, it couldn't just be a story about a great chef, they had to throw in a whole bunch of outlandish complications. Gaining self-confidence through cooking and the kindness of your coworkers is all well and good, but it's far from reality when you know what working conditions are like in the restaurant industry. No one lasts very long.
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There's a parallel between the pills people take to get through their studies, to stay awake and focused, doping in sports, and this app. King showed how the 1980s in America had put a price on everything, on dignity, on life, and that nothing can ever be free in that world. That's exactly what If Wishes Could Kill does. At least, at first. Starting with episode 2, it takes a different turn and partially abandons the social critique aspect.
People start acting a little crazy, but they're teenagers, so we cut them some slack. Of course, a shaman and her sidekick have the solution. The series chooses to go back to the origin of the curse rather than just explore its consequences and the social subtext that comes with them. We might think it's going to be a total mess ! Well, not really. Its actually pretty cool. Even a little funny at times.Yeah, really.
So, paradoxically, it ends up as a story stripped of its fantastical elements. It abandons them to focus exclusively on friendship, on misunderstanding and lies.
Jeon So-young acts far better than her young co-stars. It's quite striking to see the effort she puts into her lines compared to the others. She's head and shoulders above them.
Anything involving the eyes... I just can't handle it ! It terrifies me.
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What can we say about these learning methods that consist in humiliating and discouraging ? Asking young women to do the impossible and then telling them that they suck for not getting it right the first time is pretty bizarre. Teachers, those damned little cops. And their shows, it's like they discover it by performing it, in the first episodes at least. Don't they ever do real rehearsals ? Too weird.Kim Tae-ri plays her colorful character with a lot of life and empathy, despite an extremely toxic and invasive entourage. Give her a break ! She exudes energy and has an impressive physical presence. A total commitment. The audition scene, in tears, is intense... But the rest of the cast is not to be outdone. The members of the troupe personalities evolve intelligently, and they don't go from very mean to very nice all at once. They don't even try to justify bad behavior, they simply take responsibility. And then the series manages to make us feel involved in a traditional theater we'd never have seen or even known otherwise. To the point where you don't know where the story ends and the theater begins.
As we say in France: “bravo les lesbiennes !” (courage Jooran)
"You can forget me. I'll remember us, for both of us."
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TW : domestic violence. Physical and psychological. And animal cruelty.The first episode is already tough going. The second episode brings tears of anger and despair. We unravel the mechanisms of control and silencing, particularly by the police and their invaluable assistance, or by those around us who prefer not to upset the status quo. Resisting makes things worse, enduring leads to the worst too, and fleeing is not an option for everyone, nor is it the ultimate solution. The perpetrators will never be satisfied, even if they kill their victims. The victims are not apathetic ; they simply have no solution. The series shows this without voyeurism or sensationalism. We cannot expect a victim to solve a structural problem on her own. That is the whole point of this series.
Nevertheless, I find the sudden change in personality of a key character a little unfortunate. His temperament could have been toned down a little. Apart from that, the script deals well with the venomous participation of certain women in patriarchal violence when it suits their interests. This is also one of the reasons for the maintenance of this system, even a necessity.
The only solution is collective action, without expecting anything from institutions, by making the perpetrators pay the social price, and abolishing all relationships of domination, such as marriage, family, exploitation (broadly speaking), etc. This is just my opinion ; the series does not provide an answer.
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With this director and screenwriter, obviously we had to watch it. Kim Go-eun, as a bonus, we can't say no. Park Se-jun's intriguing music completes the picture. He makes good use of the solo bassoon. I appreciate the effort. (Even if that minor sixth leap sounds like the theme of The Force beginning.)At the beginning, we are introduced to complex characters who have room to exist and develop. We expect nothing less from this team. The understated direction chooses its moments to intensify the stakes of the story, then becomes more academic when the actresses' performances demand it. Thus, we follow the story in the most natural way possible, without questioning the (many) oddities of this far-fetched scenario. The original text of ‘Little Women’ is far removed from this...
One criticism I would make of this K-drama is that it resorts to certain plot devices to add artificial suspense. Certain elements of the plot are resolved in a very convenient, even miraculous way. The whole Singapore section, for example. (Singapore, the wet dream of every fascist on the planet) It's reminiscent of the 2013 film Samar, and that's not a compliment. The twists go so far! These secret societies that scatter blue flowers all over the crime scenes and reveal everything (but not too much at once, let's save some for later) when our heroines question them. Strange, strange.
"The rich risk their capital, the poor risk their lives."
From the very first episode, there are references to ‘illegal’ torture (we'd like to think so, but it was perfectly legal) against people suspected of espionage (being "communists"). The scene is set: the cruelty of the rich. You don't become rich without stealing, killing, cheating and being complicit in all of that at the same time: inheriting.
I think it's good that the alcoholism of one of the characters raises the issue of taking substances to keep up with work and cope with pressure. It's a problem that no one wants to address; bosses are happy to see their employees work themselves to death and then accuse them of bad behaviour when they no longer want them.
It really hurt my heart to see how it was used against her. That said, this theme disappears quite quickly. And excuse me, but when you quit alcohol, you suffer serious, even fatal, physical and mental consequences. It deserved better treatment. Here, it seems like a bit of an easy plot device.
Another thing : the rich great-aunt somewhat undermines the dialectic around money. If we can count on providential help, what's the point of repeating over and over again how desperate these young women are to find money to survive ? It somewhat undermines the illustration of how poverty makes you exploitable and disposable. And so we wonder, where was this immensely wealthy woman when her family was living in poverty ?
What's more, all this talk about pride when you're poor is rather annoying. When you need money, you don't turn your nose up at it, and those in power know this very well indeed. We feel indebted when they throw us a few crumbs, but for them it's nothing; we cost them nothing and they gain so much.
Similarly, trying to justify this great-aunt's actions by saying, "Yes, but being a woman was hard", well, being a poor woman is undoubtedly much harder, and it still doesn't justify getting rich off the deaths of others. At least this old lady seems to have a keen taste for the paintings of Juan Gris, Jacques Villon and Serge Poliakoff, and she's quite right.
And now that I think about it... she could have told her nieces so much about that blue orchid thing, but she didn't say a word ! What a joke.
"Do you really believe that the rich are always the aggressors and the poor are inevitably their victims? That's a lie that poor people tell themselves."
On the other hand, violence among wealthy individuals, towards each other and towards their children, is shown in a stark light. It is their way of validating their worth ; this social position is maintained through violence against others and against themselves. One must undergo "discipline" to remain in line and thus "earn" their's superior position. This is demonstrated in the work of French sociologists Pinçon-Charlot. (not sure if their books have been translated in English) However, it is worth adding that violent fathers exist in all social classes and are never good fathers.
The ambitious mayoral candidate says at one point that his father was a Vietnam War veteran and a victim of Agent Orange. It is curious to see how Korean productions so rarely mention their country's participation in this war against Vietnamese independence on the American side, and how, coincidentally, it is only to talk about a very sad old man who is ill, and never about the Vietnamese he surely killed... The screenwriter does the same thing in Tempest, briefly mentioning the war but without saying what it entailed. There is something to question here.
I notice a lot of annoying things (which no one will read, thankfully. I write too much), but to be honest, this series keeps you hooked throughout. You want to know where it's going, and each episode ends with a scandalous cliffhanger. Scandalous ! Even if it's a senseless mess at times (the youngest little sister who serves as a sort of pet throughout and then disappears because one really don't know what to do with this character...), I devoured it all in a ridiculously short time. I'm so weak. And any story that doesn't involve virile males in search of action, I'm in.
Useless bonus :
_The heir locked up in a luxury psychiatric hospital reads Le Comte de Monte Cristo and later sends a text message under the pseudonym Dantès. A true fan.
_The shameless advertising for chocolate squares wrapped in plastic (we see it in countless K-dramas) is completely off-putting. Buy a whole bar and cut your own squares !
_From one series to the next, we end up seeing the same places. I recognise the house of the evil rich people and the three sisters' flat on the roof. With that church tower right next to it.
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Citizen Kim by Or Son-Wel
"Is a fake that seems perfectly real really fake ?"Shin Hye-sun, best actress. End of sentence. That's all.
A thrilling series, with a new twist in every episode. I really liked how effective it was. Just the right length, even if it does drag a little in the middle. The themes are well explored and really gripping. It's quite clever !
"I felt deprived of something that had never belonged to me."
All these luxury bags, all these luxury items, it's high time to put an end to it. These people clearly don't pay enough tax and feel far too secure to walk around with them in public. "When did it all go wrong ?" It's amusing to talk about Ponzi schemes, but capitalism is based on them. The whole system is a huge scam based on debt. "My mistake was wanting to become rich. You don't become rich, you're born rich."
Sarah Kim, who no longer knows who she is because she keeps taking on new roles and doing what is expected of her... welcome to the world of autistic people. It's exhausting, isn't it ? I know. And it goes well with the big twist (which we see coming, anyway). A clash with oneself, with one's fellow human beings, alienated by money, obsessed with commodity fetishism...
"I'm not sorry, and I apologise for that." Great line.
_And Jung Da-bin finally starring in a good series ! Well done to her. I never doubted her. Or maybe just a little.
_"Splendid melancholy", why get that tattooed on yourself ? Joyful depression, obscure clarity, excellent Nolan. These oxymorons are so bizarre.
_I loved the moment when she turns around and says her real name : "Rosebud". Now that's cinema, the real thing.
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"Alone, I can't do anything. I can't redeem myself. I can't comfort anyone or be comforted myself. The only thing I can do on my own, it is feeling lonely."One touching aspect of this series is the attention paid to how the characters look at each other. People like to see others happy. The series deals with sad topics, such as grief, but it also has some sweet, funny and tender scenes. (The story with the young girl in the convenience store is very touching.) It's terrible to feel guilty if you start to feel better after losing someone. This cult of suffering in our societies, truly poisonous. And these people struggle to get out of it.
A series I watched, taking breaks. Quite long breaks, to be honest. Its pace, its subjects, its slowness, all these elements make it challenging despite its great qualities. Two episodes in, and it starts to feel heavy. I cry far too much. It has to be said, some of the characters can become downright unpleasant, behaving badly or hurting others, wallowing complacently in their own misfortune. They are whole, complex, real, and don't always know what to say or even how to feel. It requires a heavy investment on our part.
The brother, for example, I didn't want to follow his story. He becomes interesting when he interacts with his father or sister, but the rest of the time he's unbearable. And I really wonder how he ended up with his dancer girlfriend. What does she see in him ? It's a mystery. This kind of relationship is best avoided. Everyone ends up hurting each other...
On the contrary, we see the brother's childhood friend doing all the emotional work for him, even mourning his mother's death in his place. She invests herself in their friendship, almost like a second mother ! And I would have preferred them to remain friends. Friendship is beautiful too, isn't it ? He remains incapable of saying I love you to the one he loves. It exhausted me to follow all this. I'm sick of seeing guys who make no effort and live like parasites off their girlfriends.
Overall, the women in this series... I feel sorry for them, so sorry. The last episode is hard to watch. They deserve better. They have to put up with everything, plan everything, manage everything, and (unfortunately) it's very realistic. The series has a happy ending (what a relief !), but it's still primarily to the benefit of the men and at the expense of the women's work. Emotional work, particularly.
"Without you, I'm a total disaster."
Seo Hyun-jin/Joon-Kyung is more or less the main character. All her life, she has made so many efforts without success, yet she does not realise how far she has come. But she is terribly lonely and unhappy. She leaves her mother feeling angry, even furious with her, and doesn't immediately realise that it's over, gone, and that one day a wall of silence will hit her head-on : her mother is no longer there. She is left alone, carrying their memories. But this triggers a realisation that she has the right to be happy. It's a complex and mixed set of emotions, enough to make you sick.
This character's journey is very beautiful. She makes mistakes, she overcomes them, she finds love. This strength has always been within her. She just needed to find a way to open the door wide.
Her partner confides in her, explains how he feels, suggests activities, cares about her. Incredible. A rare gem. It's so good to see men like that! I don't know if we realise how rare this kind of representation is ? (Well, the story with his ex was tough) This K-drama presents quite different types of men in heterosexual relationships. That's one of its strengths, its subtlety, its raw complexity.
"Just because we are a family does not mean we are supposed to know everything, understand everything, endure everything and persevere."
However, we need to have a conversation here. People in this series do not know how to respect other's privacy. You don't just invite yourself into someone's home without warning ! What's more, with their strange doors, everyone knows each other's codes and can just walk in unannounced. That's not right at all.
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These people take role-playing way too far.I wasn't convinced at first, but I got caught up in the game. I'm weak. A lone knight like me ? Falling in love with this budding romance ? How shameful ! But that's the magic of Chinese dramas ; the pace and technical quality play a big part in it. The evil minds behind these productions are very powerful.
The story navigates between their role-playing and their IRL lives, which allows for a variety of atmospheres, but it mostly feels like two parallel series that come and go somewhat randomly. It takes some getting used to, but it doesn't last long ; at some point, it stops. What they want us to understand is that these are people who would like to be someone else and will discover that they are happier together, just as they are. Isn't that beautiful ? Be yourselves. Unemployed.
It works thanks to the two leads, Chen Xingxu and Lu Yuxiao, especially her, because they are extremely cute. They are so touching together and natural. She is clever and mischievous, a fighter who doesn't hesitate to resign when she realises she won't be given the job she was promised. He is the typical Chinese male model, a little reserved but loyal and devoted. It's a healthy relationship, they take the time to get to know each other. They don't make impossible promises to each other. No one fights to win the other over ; it happens naturally, and they already know they love each other when they finally admit it. They laugh together, tease each other, and are just happy. And in these dark times, when everything is nothing but brutality and hatred, this kind of light-hearted series where everything is fine is a breath of fresh air.
The ending unfortunately tries to create tension between them, but it doesn't work. I know. I know everything! They resolve it like adults, by talking. And this heavy secret wasn't really a secret at all. "Either tell me everything or let me go." "I've already told you everything you wanted to know."
And I wish all these characters the best and many happy years ahead of them. But I'm delusional because they're fictional characters, so what I'm saying doesn't make sense.
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Lee Kwang-soo does a spot-on impression of Nicolas Cage I said casually as I lit a cigarette, leaning against a wall, my gaze wandering and a mocking look on my face.I started watching this series without knowing anything about it, just because of Park Bo-Young's name. Well, sometimes you really do need to know what you re getting into, because you end up disappointed. A mysterious first episode followed by two episodes that are boring as hell… with the occasional serious turn of events, or revelations that aren't exactly earth-shattering. (You can see them coming… the colleague at the airport ? Don't take me for a fool, please) It loses its momentum straight away. And anything that might pose the slightest obstacle is magically overcome : they hide the gold, they've got someone to fence it, they make a fortune, they forge documents. Nothing really causes a problem.
I'll be straightforward : it feels like a film that's been stretched out over 10 episodes. They're taking my precious time for granted. So I watched it, skipping bits here and there, just to see what it was like. But it wasn't any good. What a waste of time !
If that twist right at the end sets up a season 2, I have to warn the whole team: don't bother !
Doesn't the bloke who melts down gold actually know the price of gold ? Strange.
In the end, in France, in Provence, Park Bo-young buys three nectarines for €4. The price per kilo ! She's been ripped off, poor thing. That's my France. Well done to that shopkeeper for respecting French traditions. And her car is registered in the 96, but there's no department with that number.
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Female students who are both academically gifted and beautiful face harassment in China. You’re not allowed to have both ! Tian Xi Wei went through this, at least, that’s what she says in an interview, and I believe her. Is this C-drama sort of a form of revenge ?A feel-good show in the best sense of the word. All the characters are endearing and do their best. They support one another. Way to go, math ! Cuteness personified. Not very realistic, then. Unfortunately, these positives aren’t enough to carry an entire series. The story is "dry" and uninspiring. I don’t think I'll finish this C-drama ; I've been watching the episodes very slowly, which is a bad sign.
Episode 5 : promoting positive thinking. That's just guilt-inducing 'self-help' nonsense.
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