MAI

I came across this show on YouTube and I almost broke my head trying to figure out what show it was, sitting there like "behind the scenes cut of WHAT?"
Turns out the show is just named 'behind cut'. Darn it.

I mean, to be fair, the dude IS an adult video director. So we could have seen this coming... 😂

Same here lol! Sometimes, when I'm feeling depressed, I remind myself this monstrosity exists. And then I convince myself that, if Yamanouchi Daisuke was able to give life to his innermost kinks, I too can achieve all of my dreams. Ah, yes, a truly uplifting movie.

The great chemistry/tension between the characters was literally the driving force of the first season so, knowing that this new season will not be a BL, I feel somewhat betrayed. Sequels are always already tricky to make since there is pressure to top the original work, but if you decide to continue a show with a COMPLETE different approach you are just bound to displease the loyal fanbase. Sequels are made for those who are already invested in the original storyline and source material (not for a new audience) so you need to take into account the fanbase's expectations when it comes to the plot. The reason this show gained so much traction and support was because of its BL elements so you're basically setting yourself up for failure if you disregard this the second time around. I have to totally agree, a spin off would have been a much better option!

LOL, well at least they are guaranteed to have flawless skin with all those Nivea adds at their disposal!

Also I'm still hollering over the fact that someone named the museum curator 'suspicious lady' in the credits. I really can't with y'all.

I must say I wholeheartedly agree with you about the sponsorships! Money needs to be made, and the smell of good ol' monetary gain often trumps controversy and homophobia, lol. I think Light on Me was a pretty good example, and if all goes well, that show will continue to inspire many future BL projects. But, to add a bit more nuance to the comment about the Korean film industry: Korea's expansive and experimental LGBTQ+ movie scene is mostly the work of a select few independent directors (who typically still remain on the fringes of the mainstream film industry, and their movies are typically made by the same group of producers, cinematographers, etc). While there are some real cinematic gems (as well as some incredibly problematic projects lol) the mainstream Korean audience has little exposure to these movies. With a bit of luck these types of movies end up being shown at international film festivals-- where they can appeal to an international audience--but in general these movies don't really receive Korean attention anyway. Plus, there is a definite difference between BLs and LGBTQ+ themed movies, of course, as BLs are typically made for a younger, female audience whilst queer movies are usually made for the queer gaze (although there are exceptions to my sweeping generalisation, of course)-- but there is more money to be made from (specifically male/gay) sexual objectification than from movies that address actual social issues. But then, the only major BL funding initiative I remember was last year's Queer 2021 Matchbox project, and even that one relies mostly on international audiences and sponsors.

AHAHAH okay HAHAHA I'm literally 1 minute in but how in the age-reversal-hell did they think they could make Jun look like an actual highschooler HAHA byee

I seem to be one of the few people who truly enjoyed this, lol. A definite slow-burner with impeccable symbolism and mysterious characters. Cinematically, this movie is absolutely phenomenal and I would recommend to watch this in HD (rather than the crappy quality you find on dramacool) because low resolution really doesn't do the subtle acting or the nature shots justice. However, as many have said before, this is your typical art-house film: most of its impact comes from layered dialogue and metaphors, not from a high-tension plot, so definitely avoid this if you're not into that!

Also, I personally interpreted Hiasa's comment on not being too greedy in a different way. I think this movie uses the rainbow trout as a symbol for Hiasa himself who, much like a slippery fish, slides in and out of people's lives and constantly finds himself in strange waters. The fish makes 3 major appearances in the story: in the beginning of the movie when Konno fails to catch the fish (Hiasa disappears from Konno's life), when the fish is let go freely because one should not be greedy (Konno and Hiasa can't be together because there is a major secret looming between them), and, in the final scene, when Konno let's the fish go after he has caught it (he has moved on from Hiasa). Ironically, Konno admits that he only managed to catch weird, small fish in Hiasa's absence; the large rainbow trout only appears when Hiasa is present.

I think it's safe to say Hiasa genuinely liked Konno but that he also very much aware of his own destructive character and his inability to live a conventional life. He was aware that Konno didn't actually know his true self--hence also his campfire comment about only being able to love someone when you've seen their darkness-- and he didn't want to burden Konno with his scams. I mean, he obviously struggled with deceiving Konno with his funeral/marriage payment in the first place (come on, the dude smoked 5 cigarettes before he had enough courage to face him) and he is only asking Konno as a last resort (since he had already repeatedly extracted money from the other lady Konno meets in the cafe). Hiasa knows his fickle lifestyle is so drastically different from that of Konno's that he'd rather not dabble into relationship territory at all: they shouldn't be greedy.

To add to your interpretation of the symbolism of the jasmine plant and its white flowers: Konno himself is also similarly donned in white clothing during the initial part of the movie. There is an innocence and purity about him that later get polluted/muddied by Hiasa (who himself is much like the destructive and untamed tsunami that befalls Japan in the end). Konno's clothing becomes increasingly dark throughout the movie-- he ends up wearing mostly gray and black sweatsuits--and it is only in the ending scene where he seems to have let Hiasa go (and even moved on with his new boyfriend) that he is once again wearing white. His cycle of grief and acceptance is much like the moss of which Hiasa has spoken before: things die but they give way to new beginnings.

Anyone willing to spoil me the background story of Ming Chuan? I got stuck on episode 12-- episodic dramas are just really not my thing-- but I don't want to force myself to go through hours of episodes to finally get to know the overarching storyline.

Meh. This was as banal as it was tedious. I understand the plot was meant to demonstrate the stifling nature of workplace corruption and its hierarchies, as well as the (in this case quite literal) murderous competition between office workers, but the pacing was too slow and there was not enough depth given to the the characters for me to really get invested.

Good grief, you'd think that, with a whole team of scriptwriters, they'd be able to come up with a more coherent plot. This is one of the most disjointed and nonsensical storylines I've seen in a while. What was going on in the writing room? It's clear they relied solely on the star cast to carry this show (but, to be honest, if I see Nanon give me that exaggerated scowl one more time, I might flip a table).

Watching this while Bad Buddy is still airing is giving me some major character schizophrenia, lol. I'd swear they hoisted up all current (and future) BL actors from the depths of who-knows-where for this one.

This was produced in 2018 but it has the aesthetic of the early 2000s. If the mediocre acting won't scare you away the questionable graphic t-shirts will, lol.

I'm also wondering if the doctor might not actually be an imposter as it would be an interesting plotline for him to be connected to that Russian mob. I guess we'll see!

Totally agree! I also think mental health issues/disorders are often used as a plot device to explain away things that the writer can't explain otherwise. While it can work (I'm not altogether dismissing the potential for it to be done well) I also think it can be a sign of lazy writing, and it may even have the potential to completely misrepresent real disorders and reinforce stigmas surrounding mental health issues. So far, this show has definitely taken Soo Yeol's split personality quite lightly, but I'm curious to see where this will go!

Honestly, this irks me as well. I understand that he is there for comedic relief while at the same time serving as a plot device to explain Soo Yeol's unusual behaviour but-- considering this show is made in a country where seeking professional help for one's mental health is already somewhat stigmatised-- I don't think his portrayal is that helpful (especially since his character has the potential to reinforce existing negative stereotypes).

Great acting, good pacing, and beautiful cinematography. Too bad the script falls into the all-too familiar trap of presenting us with a flat, unoriginal villain. For those familiar with the sci-fi genre, the eventual plot reveal is definitely not that surprising, but it is clear the director at least attempted to give this show its own charm with the colouring and the camera angles. For all that it accomplished in 6 episodes, I'd say this was a pretty solid watch.