FYI, spoiler ep. 4! Kagome is now officially my favorite character ever. I felt a pang of disappointment while watching her backstory today because it made me like Hassaku way less, but... her friendship with Towako is a shining gem in the dark of night. It just tore all of my defenses down and hit me where it hurts. I found myself bawling at the screen before I knew it. This was my favorite episode yet. I am kind of scared to keep watching, not because I fear it might disappoint me, but because if it gets better than this I won't know what to do with myself.
It gets better every episode? I am pleasantly surprised, every week more, at how natural their interactions are. Kaneko Shigeki is doing an excellent job with this one. That said, the skits do get more tragic each week lol
The way this drama is shot, Baba Fumika's character is basically useless. With all of Eiji's face closeups, his longing gazes directly into the camera, this might as well have been an Akaso EijiXwatcher self-insert fanfiction. All in all, it's not a great watch, unless you're really into the main actor.
Funnily enough, watching it has made every visit to the hairdresser incredibly uncomfortable for me (for non-corona reasons!). The guy who cuts my hair bears a passing resemblance to Riichi, and after watching this I can barely look in his direction without feeling like I'll die of embarrassment and shame - haha.
Man, things seem to be moving along quickly (if I can trust the preview for episode 4)! I am somehow surprised at how much I am enjoying it. I don't know if it is the good balance of cliche and freshness, or the fact that both Satomi and Go seem to be trying their hand at roles (just a tiny bit) different than those they have taken on recently. Unrelated bonus: back number's ending song's lyrics are hilarious.
Well, you have countless past dramas and movies to rewatch to enjoy the bangs! But now, for the first time ever on screen, we're happy to introduce Kasumi's forehead :P
I'll admit it, I was taken aback by the ending. Not because Kudo Kankuro is not known for springing unexpected deaths on his viewers. Rather, I am disappointed in myself for not having seen this coming, since the signs were all there. The noh motif in general, the particular choice of Sumidagawa as the piece to be practiced and performed in the last couple of episodes... 'Kangoku no ohimesama' and the rest of his recent stuff had been pretty tame in terms of last minute melodramatic, tearjerking developments (or maybe I am just not remembering it correctly; oh well), so I was certainly a little unprepared. But anyway and unrelatedly, the best thing the drama did was a faithful reproduction of Japan under the pandemic: (almost) everybody wears a mask, and yet nobody social distances and people mostly do whatever they want (including traveling to the onsen in Tohoku with their whole family haha)
Hmm.. I must disagree on the characters though you're free to hold your opinion :)I don't think her desire to…
Haha, listen, you are as free to hold your opinions as, as you said, I'm clearly free to hold mine. So you don't have to 'explain' the plot to me. I would find more diplomatic ways to start a discussion, next time. I'm always happy to debate, especially about works of fiction. I did watch the entire first episode, and I know both the actors and their careers really well too, so you do not need to defend them or anything. I am a fan of Eita. I just don't like his character or his acting here.
A few notes: there aren't many representations of the Jieitai in Japan, exactly because they are a problematic existence whose powers of intervention have, among much controversy, been expanded in the past twenty years so. Portraying a 'manly man' (according to a very Japanese definition of masculinity, at least: see the 'family rules', the stern character he, however unwillingly, shares with his father) that is also a 'heroic' jieitai soldier is a bold choice - one that is bound to invite some criticism. And not only from me, I assure you.
As for the 'Crash Landing on you' references: they're there. Her rescue? The fact that she's involved in the fashion industry, and he's an (at first glance) inflexible military man? You don't have to go excavate into the family background of the characters to make the comparison.
Last but not least. Who we are and at what point we are in our lives gives us different perspectives and influences a lot our (affective) approach to a cultural product. I am a woman in my thirties living in Japan, and very tired of having to constantly justify my life decisions to everyone here. It's really exhausting to be living somewhere where people expect you to be married in your twenties, and assume that, you being a woman, having a husband and children is basically your biological destiny. So, from my point of view, whatever her psychological background, Keiko yelling at her ex to give her back five years of her life should also be reproaching herself for having just assumed he wanted to get married - and never having had a serious conversation about marriage with him in the course of their relationship.
That said. Happy for you you're enjoying it! I really wanted to like it but the truth is that the only marriage and divorce plots on Japanese television I ever appreciate are from Sakamoto Yuuji's scripts. I should have known this was not going to agree with me.
Mmmh... this is really not for me. I love both of the mains, but Keiko is not a great actress to begin with, and the script is also not doing her any favors (her character is a bit of a jdrama stereotype, esp. of the workplace romance genre: nice to everybody, but old-fashioned and stubborn practically only when it comes to romance - and practically flat in any other respect). Eita too looks like he's struggling to play his part convincingly, but I don't blame him: rather than a real person Obara seems like a Japanese adaptation of "Crash Landing on You"'s Ri Jun Hyuk, one that does not withstand the translation very well.
So well, I got annoyed at the scriptwriter because: yup, it's 'Reiwa', and it's time you write a female lead who does not care if she's not married at 33. And because: blending two brands of toxic masculinities does not make them neutralize each other, it just doubles the unpleasantness.
It's good! There were some brief moments that were a bit overacted, but the drama is well-written and very promising. Most of all, I appreciate the fact that Kasumi got rid of those terrible bangs and with them (mostly) of that affected cutesiness of hers lol.
OOh that makes me excited to watch it! I love the screenwriter
I'm Sakamoto's fan too, and I was looking forward to this since it has been a while since his last comedy. And this drama turns out to be everything I ever wanted - so I hope you enjoy it as well!
I enjoyed this a lot. It's kind of a slow burner, even with the shorter running time - but still, soo entertaining. Also, that 100 days my prince cast cameo (lol)
I've just started watching it and I am enjoying it immensely. I am sure would even more if the depictions of mental disturbs were less antiquated and (grossly!) inadequate. :/ I wonder how old are the writers' sources.
I enjoyed this a lot: probably especially so because it reminded me of the kind of Japanese trendy dramas I grew…
I do wish they had treated the whole 'coming out as gay as an adult' thing a little better - rather than just use it to spice a secondary (family) plot. But, it could have been woese?
I enjoyed this a lot: probably especially so because it reminded me of the kind of Japanese trendy dramas I grew up with - nicely written, slow burn office romance. Rather than the writing per se, however, the acting was what was excellent. Won Jin Ah was really centered. Rowoon was also unexpectedly settled in such a mature role. And the score deserves a thumbs up too!
My impression in reading reviews and comments is that most people shipped JoJo and Sunoh, and that the evolution of the plot disappointed them. Oh well.
Frankly, while the dystopian aspect of Love Alarm itself is interesting, the actual plot of both seasons is flimsy as hell. I watched season 1 nodding to Tearliner's OST and mostly falling asleep during the useless angst of a love triangle that seemed to exist for no reason at all if not to keep the angst loop spinning. Season 2 changes little of the above, but the characters are a little more mature and less unsufferable, so kudos. I enjoyed it more than the first because of that.
...I just wished for more DukGu, the only interesting character of this mess.
This drama is so fun(!), even while not being anything new. One thing working in its favor is definitely how good the four main leads are, but the absence of real (esp. female) 'antagonists' and the quick pace contribute to make it a really enjoyable watch. Hopefully they keep it up?
I guess what I loved about Moratorium Tamako was how liberating it was to laugh at myself. It's still one of my pick-me-ups, and a subtle comedy about a growing up that I guess - from the general tone of the comments on this page - you have to have gone through to really appreciate.
Kagome is now officially my favorite character ever.
I felt a pang of disappointment while watching her backstory today because it made me like Hassaku way less, but... her friendship with Towako is a shining gem in the dark of night. It just tore all of my defenses down and hit me where it hurts. I found myself bawling at the screen before I knew it.
This was my favorite episode yet. I am kind of scared to keep watching, not because I fear it might disappoint me, but because if it gets better than this I won't know what to do with myself.
That said, the skits do get more tragic each week lol
All in all, it's not a great watch, unless you're really into the main actor.
Funnily enough, watching it has made every visit to the hairdresser incredibly uncomfortable for me (for non-corona reasons!). The guy who cuts my hair bears a passing resemblance to Riichi, and after watching this I can barely look in his direction without feeling like I'll die of embarrassment and shame - haha.
I am somehow surprised at how much I am enjoying it. I don't know if it is the good balance of cliche and freshness, or the fact that both Satomi and Go seem to be trying their hand at roles (just a tiny bit) different than those they have taken on recently.
Unrelated bonus: back number's ending song's lyrics are hilarious.
(Also, that ending song, featuring a collaboration with a different rapper every week?)
But now, for the first time ever on screen, we're happy to introduce Kasumi's forehead :P
'Kangoku no ohimesama' and the rest of his recent stuff had been pretty tame in terms of last minute melodramatic, tearjerking developments (or maybe I am just not remembering it correctly; oh well), so I was certainly a little unprepared.
But anyway and unrelatedly, the best thing the drama did was a faithful reproduction of Japan under the pandemic: (almost) everybody wears a mask, and yet nobody social distances and people mostly do whatever they want (including traveling to the onsen in Tohoku with their whole family haha)
I did watch the entire first episode, and I know both the actors and their careers really well too, so you do not need to defend them or anything. I am a fan of Eita. I just don't like his character or his acting here.
A few notes: there aren't many representations of the Jieitai in Japan, exactly because they are a problematic existence whose powers of intervention have, among much controversy, been expanded in the past twenty years so. Portraying a 'manly man' (according to a very Japanese definition of masculinity, at least: see the 'family rules', the stern character he, however unwillingly, shares with his father) that is also a 'heroic' jieitai soldier is a bold choice - one that is bound to invite some criticism. And not only from me, I assure you.
As for the 'Crash Landing on you' references: they're there. Her rescue? The fact that she's involved in the fashion industry, and he's an (at first glance) inflexible military man? You don't have to go excavate into the family background of the characters to make the comparison.
Last but not least. Who we are and at what point we are in our lives gives us different perspectives and influences a lot our (affective) approach to a cultural product. I am a woman in my thirties living in Japan, and very tired of having to constantly justify my life decisions to everyone here. It's really exhausting to be living somewhere where people expect you to be married in your twenties, and assume that, you being a woman, having a husband and children is basically your biological destiny.
So, from my point of view, whatever her psychological background, Keiko yelling at her ex to give her back five years of her life should also be reproaching herself for having just assumed he wanted to get married - and never having had a serious conversation about marriage with him in the course of their relationship.
That said. Happy for you you're enjoying it! I really wanted to like it but the truth is that the only marriage and divorce plots on Japanese television I ever appreciate are from Sakamoto Yuuji's scripts. I should have known this was not going to agree with me.
I love both of the mains, but Keiko is not a great actress to begin with, and the script is also not doing her any favors (her character is a bit of a jdrama stereotype, esp. of the workplace romance genre: nice to everybody, but old-fashioned and stubborn practically only when it comes to romance - and practically flat in any other respect). Eita too looks like he's struggling to play his part convincingly, but I don't blame him: rather than a real person Obara seems like a Japanese adaptation of "Crash Landing on You"'s Ri Jun Hyuk, one that does not withstand the translation very well.
So well, I got annoyed at the scriptwriter because: yup, it's 'Reiwa', and it's time you write a female lead who does not care if she's not married at 33. And because: blending two brands of toxic masculinities does not make them neutralize each other, it just doubles the unpleasantness.
So yes, I think I'm done with this lol
There were some brief moments that were a bit overacted, but the drama is well-written and very promising.
Most of all, I appreciate the fact that Kasumi got rid of those terrible bangs and with them (mostly) of that affected cutesiness of hers lol.
Tuesday will be now my favorite day of the week.
Also, that 100 days my prince cast cameo (lol)
Rather than the writing per se, however, the acting was what was excellent. Won Jin Ah was really centered. Rowoon was also unexpectedly settled in such a mature role. And the score deserves a thumbs up too!
Frankly, while the dystopian aspect of Love Alarm itself is interesting, the actual plot of both seasons is flimsy as hell. I watched season 1 nodding to Tearliner's OST and mostly falling asleep during the useless angst of a love triangle that seemed to exist for no reason at all if not to keep the angst loop spinning.
Season 2 changes little of the above, but the characters are a little more mature and less unsufferable, so kudos. I enjoyed it more than the first because of that.
...I just wished for more DukGu, the only interesting character of this mess.