I chanced upon a tweet from the screenwriter Shimo Ayumi, who graciously shared the cover of the script for episode 6. Bearing the title "Udon," the episode's name is both unpretentious and heartwarming. It explores Minoru's family tradition of savoring udon as a soothing remedy for colds and subtly hints at their potential future practice of commemorating Christmas, gathered around a bowl of udon. Though a figment of my imagination, I find the title to be charming and imbued with significance.
In the never-ending saga of star-crossed lovers, our protagonist Phu finds himself ensnared in a romantic quagmire that would make even Shakespeare scratch his head. Unable to tame his amorous desires for his friend Nan, Phu vanishes like a lovestruck Houdini, leaving Nan to search for him with the determination of a love-struck Sherlock Holmes.
Years later, fate, that mischievous puppeteer, reunites them as business partners, their friendship blossoming like a titanic bromance. But as luck would have it, Nan's colleague throws a wrench in the works by confessing their feelings to Nan, only to be rejected faster than a Hollywood screenplay. Phu, ever the wallflower, watches from the wings, unable to muster the courage to make his move.
But wait, there's more! In a plot twist that would rival a daytime soap opera, Phu's long-lost stepbrother, a mystery man of epic proportions, enters the fray and confesses his love to Nan. This finally pushes Phu to the brink, and he breaks character, confessing his love to Nan with all the subtlety of a bull in a china shop, sealing the deal with a kiss.
This convoluted tale of love, loss, and surprise siblings has more twists than a pretzel factory and enough cringe to make even the most seasoned rom-com aficionado blush. Grab your popcorn, folks, because this rollercoaster of emotion is one wild ride you won't want to miss!
In the delicate interplay of emotions, Minoru and Yutaka became united by a tender thread of warmth encircling my heart.
Without declarations or formalities, their lives seamlessly blended in a serene symphony. The mere act of selecting Christmas presents highlighted their unspoken connection.
Tane's interference threatened to sabotage Minoru's plan to ask Yutaka out, but Yutaka's timely fever unexpectedly granted them an intimate moment.
Episode 6 resonated deeply, as Tane's genuine concern for Yutaka's well-being showcased his maturation. Once, his youth hindered his understanding of grief and loss, but now he genuinely cares for his loved ones, including Yutaka.
I thought I was alone. He is not very likable. Too overdramatic and emotional.
No, you’re not 🙂
Pat's melodramatic antics and over-the-top emotions, far from being endearing, transform him into a character that's difficult to embrace with open arms.
While I'm quite smitten with Force's dashing appearance and physique, leading me to hit replay on his scenes, I must say that every time he stretches his arms to embrace Cher, it's as if he's channeling the grace of a malfunctioning robot.
I can bear with all the minor quirks of this show, but the real deal-breaker is my futile attempt to warm up to Pat's character. Alas, after four episodes, I threw in the towel.
As the weather warms in May, this show offers a refreshing respite, enveloping the audience in a pleasant atmosphere.
Minoru and Yutaka, each grappling with their own troubles, appear more mature than their peers. Their unspoken bond provides comfort, setting this story apart from typical BL dramas.
Tane is a skillful presence weaving between the two, acting not just as a supporting character, but as the bridge connecting Minoru and Yutaka. He is a lovable addition to the narrative.
Yutaka proves to be a more fitting partner for Minoru than an inexperienced girl. When Yutaka and Tane step away to change clothes, the scene provides a sense of relief, easing the stress of a long week.
Forcing employees to apologize to each other in front of you like children is not a good idea because it can be demeaning, unprofessional, and ineffective in resolving the conflict. Such an approach may damage relationships and create resentment between the parties involved, while also negatively impacting team dynamics and trust in your leadership. Instead, a focus on facilitating open communication and problem-solving between the conflicting parties will foster a healthier work environment and lead to more effective conflict resolution.
For one you used the wrong name for Souta and second it is just episode 3 of 12 😑 it would be weird if he suddenly…
Well, color me embarrassed! Thanks for the save on the name blunder, you're like a guardian angel!
But back to the topic at hand, I'm not sure if they're giving off more sparks than a wet match or if it's just general friendliness. I don't expect them to start canoodling anytime soon, but let’s get this ship sailing. 😀
As of now, it remains unclear whether Futa and Mahiro share a bona fide mutual attraction. Mahiro seemingly identifies as gay, yet he has not openly disclosed his sexuality. He exhibits a guarded and vigilant demeanor towards Futa, perhaps as a result of previous heartache. Futa, on the other hand, seems concerned about Mahiro's interactions with a woman, making it difficult to discern whether he has genuinely developed feelings for Mahiro. The unfolding of the narrative feels somewhat protracted and drawn-out.
Honest question to people who know the culture. I noticed it’s a common trope for parents to either bring in…
Living in Japan for 5 years, I've noticed that my relatives here are super open when it comes to discussing family matters. I've never actually met someone in a situation like Yutaka's, but I think it could be possible, just not a common thing.
This trope, often seen in Japanese and Thai dramas, isn't unique to these cultures or their media. Sure, it can happen in real life, but it's pretty rare. Most of the time, parents loop their kids in on big family decisions like adoption or remarriage, making sure everyone's ready for the change.
That said, every family's different, right? Some parents might bring in a new family member without giving their kids a heads-up. This can happen in any culture, but some places might see it more often because of cultural norms or expectations.
So, to sum it up, even though this trope pops up more in Japanese and Thai dramas, it's not just limited to them. You can find it in other media and real-life situations all around the world.
In episode 4, we are introduced to Yutaka's unpleasant childhood memories through flashbacks, as well as his fond memories of spending time with Tane and Minoru. The episode also highlights Minoru's careful and detailed observations of Yutaka, suggesting a strong emotional connection between the two.
I really appreciate the acting of both actors in the show. The way Yutaka withdraws and disengages from the world around him, and focuses solely on his thoughts and emotions, is portrayed very convincingly. Similarly, Minoru's attraction to Yutaka and his desire to be near him and get to know him is also well acted and feels very genuine.
So, have you ever seen that scene in episode 9 where Cher goes to pick up Gun from the bar because he's way too drunk to leave on his own? I've also seen a similar scene in a Korean BL show, where a bartender calls a man to come pick up his roommate. It got me thinking about the legalities of a bartender or bar owner looking into a customer's phone without their permission. As far as I know, it's not legal, even if the customer is drunk. Instead, bartenders should encourage the customer to call a friend or family member to pick them up or offer to call a taxi or ride-sharing service for them. Some bars even have policies in place to provide safe rides home for customers who have had too much to drink.
On a related note, I've noticed that some scenes in shows and movies where drunk characters slur their speech can be a bit of a turn-off, especially if the character is someone you find attractive, like Force. But did you know that it's not necessary for Asian actors, or any actors of any race, to slur their speech to portray a drunk character? While it's a common symptom of alcohol intoxication, it's not specific to any particular ethnicity. The decision to have a character slur their speech when drunk is a creative choice made by the writers and actors. Personally, I find the scenes of intoxication in BL shows to be tedious and cringey.
To me it is the directing because even the bullies and Pat's friends are over the top.
It's possible that the directing could be contributing to the overacting, as you've suggested. In some cases, a director may want their actors to exaggerate their performances to heighten the drama or comedy of the scene. However, it's also possible that the actors themselves are responsible for their over-the-top portrayals. Ultimately, it's up to the director and the actors to work together to create a cohesive and balanced performance.
Overacting can detract from the realism of a performance and undermine the authenticity of the office setting, which is a shame.
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Years later, fate, that mischievous puppeteer, reunites them as business partners, their friendship blossoming like a titanic bromance. But as luck would have it, Nan's colleague throws a wrench in the works by confessing their feelings to Nan, only to be rejected faster than a Hollywood screenplay. Phu, ever the wallflower, watches from the wings, unable to muster the courage to make his move.
But wait, there's more! In a plot twist that would rival a daytime soap opera, Phu's long-lost stepbrother, a mystery man of epic proportions, enters the fray and confesses his love to Nan. This finally pushes Phu to the brink, and he breaks character, confessing his love to Nan with all the subtlety of a bull in a china shop, sealing the deal with a kiss.
This convoluted tale of love, loss, and surprise siblings has more twists than a pretzel factory and enough cringe to make even the most seasoned rom-com aficionado blush. Grab your popcorn, folks, because this rollercoaster of emotion is one wild ride you won't want to miss!
Without declarations or formalities, their lives seamlessly blended in a serene symphony. The mere act of selecting Christmas presents highlighted their unspoken connection.
Tane's interference threatened to sabotage Minoru's plan to ask Yutaka out, but Yutaka's timely fever unexpectedly granted them an intimate moment.
Episode 6 resonated deeply, as Tane's genuine concern for Yutaka's well-being showcased his maturation. Once, his youth hindered his understanding of grief and loss, but now he genuinely cares for his loved ones, including Yutaka.
Pat's melodramatic antics and over-the-top emotions, far from being endearing, transform him into a character that's difficult to embrace with open arms.
Minoru and Yutaka, each grappling with their own troubles, appear more mature than their peers. Their unspoken bond provides comfort, setting this story apart from typical BL dramas.
Tane is a skillful presence weaving between the two, acting not just as a supporting character, but as the bridge connecting Minoru and Yutaka. He is a lovable addition to the narrative.
Yutaka proves to be a more fitting partner for Minoru than an inexperienced girl. When Yutaka and Tane step away to change clothes, the scene provides a sense of relief, easing the stress of a long week.
Forcing employees to apologize to each other in front of you like children is not a good idea because it can be demeaning, unprofessional, and ineffective in resolving the conflict. Such an approach may damage relationships and create resentment between the parties involved, while also negatively impacting team dynamics and trust in your leadership. Instead, a focus on facilitating open communication and problem-solving between the conflicting parties will foster a healthier work environment and lead to more effective conflict resolution.
But back to the topic at hand, I'm not sure if they're giving off more sparks than a wet match or if it's just general friendliness. I don't expect them to start canoodling anytime soon, but let’s get this ship sailing. 😀
It should be Shouta, not Futa!
This trope, often seen in Japanese and Thai dramas, isn't unique to these cultures or their media. Sure, it can happen in real life, but it's pretty rare. Most of the time, parents loop their kids in on big family decisions like adoption or remarriage, making sure everyone's ready for the change.
That said, every family's different, right? Some parents might bring in a new family member without giving their kids a heads-up. This can happen in any culture, but some places might see it more often because of cultural norms or expectations.
So, to sum it up, even though this trope pops up more in Japanese and Thai dramas, it's not just limited to them. You can find it in other media and real-life situations all around the world.
I really appreciate the acting of both actors in the show. The way Yutaka withdraws and disengages from the world around him, and focuses solely on his thoughts and emotions, is portrayed very convincingly. Similarly, Minoru's attraction to Yutaka and his desire to be near him and get to know him is also well acted and feels very genuine.
On a related note, I've noticed that some scenes in shows and movies where drunk characters slur their speech can be a bit of a turn-off, especially if the character is someone you find attractive, like Force. But did you know that it's not necessary for Asian actors, or any actors of any race, to slur their speech to portray a drunk character? While it's a common symptom of alcohol intoxication, it's not specific to any particular ethnicity. The decision to have a character slur their speech when drunk is a creative choice made by the writers and actors. Personally, I find the scenes of intoxication in BL shows to be tedious and cringey.
I also agree that his inability to cry may hinder his ability to convey certain emotions effectively.
And there are many ways for actors to convey emotion without resorting to crying. Right? 😅
Overacting can detract from the realism of a performance and undermine the authenticity of the office setting, which is a shame.