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180 Degree Longitude Passes Through Us
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From a single line you can draw a wall -- or a bridge.
This is one of those dramas that leave me with a lot of feelings and with many thoughts, none of which I am able to express in words.I often give some insight of what I think a drama is about, what I believe its core themes are. I won't do so here, I think this is one you should go in as blind as possible.
But maybe as an advice for those who think about watching this drama, this is what you should *not* expect:
* fluffy, steamy or whirlwind romance,
* kissing or sex
Instead, you *will* get this:
* a slow paced drama about grief, about loss, about trans-generational trauma,
* a drama that focuses on the relationships between four people, one of them dead,
* many dialogue-heavy scenes,
* a slow reveal of what exactly happened in the past and what it means for the present,
* complex relationships,
* an ending that you will have to decide whether it is a happy one,
* excellent acting, minimal sets, and extremely intentional camera angles,
* metaphors,
* and did I say that this is slow? It's slow. And the story is not in what is happening, it is in what the characters are feeling and what they have to say (or choose not to say). And in that, it doesn't feel slow at all -- every short dialogue, every camera view is filled with meaning.
Don't expect a "BL", don't expect a drama that is focused only on a love story between two men.
The story is at least as much about the triangle between the mother, the father and the father's best friend as it is about the relationship between mother and son -- and the lines that can divide or connect them.
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What will you sacrifice to make your loved ones happy?
What might be important to know:* This is not an action/crime series.
Yes, there are some action scenes. And yes, there is a crime ring, drug smuggling and a murder case. But it's not at the centre of the plot. The main characters are even only marginally involved -- but the crime sub plot majorly influences certain reactions and decisions.
* This is not (only) a fluffy rom-com.
Actually, after the meet-cute and the scenes when Min follows Q in episode 1 and the preview for epiosde 2, I was convinced that this would be a shallow rom-com full of tropes and over-the-top Thai humour.
It IS very fluffy at times, very cute, with two soft boys who fall deeply in love with each other. But it is not only that.
In its core, the drama explores a much deeper question: How much will you sacrifice for the people you love?
Will you sacrifice your money, your health, your prospects in life? Your life itself? Will you do things you would never do otherwise? Will you sacrifice your own happiness?
And are these sacrifices you make -- are they the right choices? Will they make the other person happy?
I love how these questions are slowly asked and how they are answered differently over the course of the series. Both Min and Q search for the right way to achieve happiness for their loved ones -- with twists and turns, with laughter and tears. As the audience, we get to slowly learn about their lives and history, what made them who they are now and how traumatic events in their lives have shaped their views.
The script is well-written in that regard, there are no dragging parts, and the events of the present and the past are told in a way that they make a cohesive whole.
There are several inconsistencies, both in the writing and the execution. Just to mention some of the most obvious: the scene in front of Q's house in episode 7 would have had more impact if the actors hadn't swapped places for the close-ups, which brought me out of the immersion into an extremely emotional scene. I don't understand why Min's bedroom was restored to its original state after Min had taken care to rearrange everything in episode 2. Also, Min was shown as speaking English very badly (ep. 1), but later, he has no problems with instructing tourists at the surfing school.
One major flaw in the writing is the character of "James". I think he should have been two characters -- because he both has connections to the criminal underground (which are never explained nor explored, and Yada or indeed anyone else doesn't even really seem to know or notice him) and he is this good friend and mentor for Min with connections in the film industry, who is supposed to be extremely likeable and trustworthy? It would not have been hard to write a second character for the criminal connected side (another stuntman, maybe?), and keep James for the rest.
Mhen was unfortunately a bit bland as a character, he was never able to become more than "little brother who is ill and loves his older brother very much" -- and though Ohm Thipakorn obviously tried his best, he was not able to give his character much more colour. (Also, how does he get a heart transplant that quickly?)
Throughout the series, it's never clear how much time has passed, so that some scenes seem to happen very fast after another, when it's probably not the case -- a flaw a lot of Thai BLs seem to share.
But I can overlook these flaws because of the solid technical execution and mainly because the script gets the emotions right, and knows how to tie them together with the main theme of the drama, -- and because of the acting. Both Ohm Pawat and Leng Thanaphon are very convincing in their roles. They were able to make me feel with their characters, to be immersed in their story and to believe their emotions.
Leng surprised me, because I was a bit sceptical if a rookie would be able to portray a character that is at odds with himself and with the world -- and indeed, especially in the beginning, when Q is trying to show one kind of emotions to the outside, while he has opposite emotions on the inside, Leng reaches his limits fast. In his defense, these scenes would have been a challenge for more experienced actors, too.
Overall, I find, again, that it's best to follow a drama's story without preconceptions about what it "should" be, but instead listen to what the writer, the director and the actors are showing us -- and here, they showed us a story about how traumatic experiences can shape your world. They showed us a story about about devotion, about love between parent and child, between brothers, between lovers and what it means to make another person truly happy.
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A conflict based on miscomminucation, the inability to face your own insecurities, or external influences that stop one of the two main characters to act and resolve the conflict on time: This all has been done before in many, many dramas and novels. So, in order to stand out, you need to be meticulous in the writing and in the execution. The crew for this production was not.
There was much potential in the imagery -- the sterile house vs. the perfectly manicured garden, which Ha Yeonwoo crashes into, vs. the wide spaces of nature. There was good potential in the non-linear story-telling, so that we only get to know of their back story bit by bit. There was some potential in the meta-narrative where the feelings of our protagonists are mirrored in the feelings of the fictional couple.
Unfortunately, none of it was used well. It starts with the writing itself: The meta-narrative and non-linear story-telling interfered with each other and reduced the potential significance of each. Parts of the flashbacks seem at odds with each other -- at first there was something about a sweater, and later about a kiss; and both times I had the impression that this was the last time they had seen each other. Some scenes in the later part added nothing to the story (like when they broke into the museum) -- and considering that the whole runtime is just under two hours, the screen writer should have asked themselves: What story do I want to tell?
And in my opinion, the screenplay is the base for everything else -- if it already doesn't work, then the rest will struggle.
The thing is that "the rest" also doesn't work well. The cinematographer had an eye for nature shots (those were great) -- but that was it. The house, the garden and the world outside had interesting lines and light to use. None of it had any significance on screen.
Scenes were edited to be too long or ended abruptly. Microphones were seen on screen. At times, there were some audio issues. And let's not talk about the "kiss" in the "rain" at the end. (Not that I don't mind closed-mouth kisses per se, but here the camera held and held, until it felt awakward for everybody.)
Most of the time, the actors tried to save the mess, and I do think that their abilities were the only thing that made me sit through this film. But even they dropped the ball near the end -- if you are that uncomfortable kissing your (male) colleague, then you should make sure to either not act in a production that requires kissing or at least make sure that it's not as obvious in the finished product.
Overall, I have the impression that most of the crew didn't want to be there and rushed through everything just to get it done. I wonder if they are able to take pride in the product?
Was it good?
No. There was potential but none of it was used.
Did I like it?
I liked two aspects; the rest was ... meh. It was short, though.
Would I recommend it?
No.
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It felt as if it was two different dramas -- one that ran for about two thirds of the total and another that started around the end of episode 7 or 8.
The drama starts like quite a few Japanese detective dramas do: An eccentric main character, often a genius, accompagnied by one or two equally eccentric (or very straight-laced) side-kicks solve a "case of the week" , often with a twist or using unusual methods. Their "lair" is appropriately colourful and chaotic, the way the first few cases are laid out follows the pattern of traditional mystery dramas.
And I do love this kind of mystery drama, I liked 99.9 Criminal Lawyer, The Locked Room Murders, and more.
But Inheritance Detective failed to connect me with the team members. It neither develops their quirks well enough for them to really become a running gag (for example Tomonaga is supposed to often speak very quietly, so that nobody can understand him, which is used only occasionally in the earlier episodes, and never in the later ones. Haie himself eats dry coffee beans when he takes on a case, but it's never explained why or at least commented on or, I don't know, *something*, he just does.)
The drama's cases are neither good detective cases, where the audience can either guess along or be astonished at the genius detective's abilities, nor are they connected by a common thread (except by inheritance and wills), unlike the themes of "identity" and "mother-child-relationships" in Don't Call it Mystery.
I could have followed either direction -- comedy, mystery, philosophy -- but this drama failed to evolve any of these possibilities to a depth I could have been satisfied with.
And then the "showdown" with the real villain started, and it felt as if I watched a completely different drama. Any hint of levity was gone, characters suddenly seemed to change (from antagonists to supporters), and it felt like a revenge thriller or court drama, complete with seemingly life-threatening situations.
But this too was never developed deeply enough, even the villain stayed one-dimensional, the speech Haie gives in court near the end felt more contrived than moving -- mainly because I wasn't invested in anything.
Actually, I went through the first five episodes like a breeze, slowed down later, and the last episode took me long enough that I watched both seasons of Minato's Laundromat (which were at least not boring, just frustrating), *and* 8 episodes of Monster Next Door in the meantime.
And it's a real shame that the script was so bad, because the main actors were brilliant. I almost didn't recognize Akaso Eiji, he completely disappeared behind his role.
I think, based on the actors' abilities, I could have loved the team -- but not with this script.
However, there *is* one thing in the script I loved: When Haie tries to sideline his female sidekick "for her safety" (not his male sidekick), she doesn't let him, but involves herself again without his consent or even knowledge.
Was it good? -- It had some good ideas, but wasn't consistent in theme or tone. The actors were brilliant.
Did I like it? -- I would have given the first part a 7/10 or the second part a 6/10 -- but put together, no.
Would I recommend it? -- No. Neither to mystery nor to thriller aficionados.
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Short and Sweet
"My Damn Business" is a short, tropey-but-sweet romance drama, that could happen "next door to you".With "My Damn Business", GND studio (formerly Guy Next Door) have released their second multi-episode mini drama. Before this one, "Fake Buddies" was released as seven loosely connected episodes, and before "Fake Buddies", they only made short comedic skits.
It's maybe also a good idea to keep in mind that they posted a note on YouTube in summer 2024 (unfortunately deleted by now), in which they mentioned that the "channel is run by three people who handle all the content creation".
So, GND Studio is very much a small start-up, with extremely limited ressources and even less experience with longer dramas.
As with "Fake Buddies", they used their experience with the short form and with working with a minuscule budget to their advantage:
1. They chose a plot that did not require a lot of actors, only few simple sets, and that could be told in a few short scenes.
2. Each episode was comprised of one simple and short story arc, which could begin and end within the same episode -- and still moved the relationship forward.
Other things I noticed:
* I mostly like the chosen background music -- especially the percussion piece in the first episode but also the melancholic piano piece. The jazzy tune at the bar was a bit annoying but we've heard worse.
* The company is called GND International.
* Acting, wrinting and editing came together to create a story that gets to the point quickly but is still slow enough in the important moments for the emotions to unfold.
* One thing that should have been made clearer for the viewers was the intention of Han U Jin in the first two episodes. I think quite a few viewers (me included) felt his actions toward Yoon Su An were too much -- when it was just his extremely awkward way of flirting, where he tried to use any opneing he saw to get closer to Yoon Su An.
* Both Han U Jin and Yoon Su An were a bit awkward, fumbled interactions, and still managed to solve their issues in the end by expressing their concerns and desires. Apart from their too good looks, they really felt like two "guys next door" to me.
With an overall runtime of just over an hour, this drama is a quick sweet snack in between longer and heavier dramas.
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This review may contain spoilers
"Mr Unlucky Has No Choice but to Kiss" is a series that has both a title that is too long and episodes that are too short.Or maybe the episodes are just long enough -- long enough to develop a light-hearted story that makes us fall in love with the main characters and get to know the side characters. Dragging it out would not have helped, in my opinion.
This is what makes the show outstanding:
* The acting for Fukuhara's character is on point. I love how the actor can go from fake high-pitched cuteness when covering up his bad luck to real joy when something goes right, to his inner monologues complaining about his bad luck, to his real self when talking to Shinomiya.
* I like how the professor's lectures fit into the developing relationship. Also, from what I know of psychology, the theories presented are actual theories.
* It is astounding how the people working on this show have developed the supporting characters so well that I feel like I know them, even though they get very little screen time.
* The attention to detail in both the acting and the sets makes this show worth watching more than once (or twice. Or three times.)
* I am also glad that the issue of consent is so prominent in the story. (Especially as it's a point of concern in some other BLs.) Not only is it discussed several times, but the characters follow through to the end -- even to the frustration of the character who said no. The sudden kiss in episode 1 is also discussed later. (So, actually, the title is wrong. Fukuhara Kouta does have a choice to kiss!)
I also love how they showed that Fukuhara with his bouts of bad luck and Shinomiya with his incredible good luck both stand apart from the people around them. Now that they have found their counterpart who can bring balance to their lives, they will be able to open up to others and live as normal people among them.
I must admit that the nature in the background always confuses me a bit, as the story is set in April, but the nature looks like autumn -- but that might be because the whole colour palette tends towards brown and orange?
All in all, I highly recommend this series. It's fluffy and sweet, something nice to watch when you need a pick-me-up.
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After the owner of a Japanese publishing house has died, a power struggle ensues. Hayami is appointed as the managing editor of the magazine Trinity by one side -- and editor Takano is also caught up in this, even though she just wants to publish well-written and interesting serialized novels. Both will try to save Trinity in their own ways.
The writing is tight -- every dialogue has meaning, so this is not a casual watch. It took me a while to get who is who and who wants what, which is important because this is very much character-driven, I had to rewind some scenes in the first half hour.
The characters' motivations and ambitions are only revealed by what they say, or don't say; sometimes by their actions -- and a lot of it means you have to read between the lines. The movie's title -- 騙し絵の牙 -- Fang of Deception -- or, the official English title Fangs of Fiction -- hints that at least of these characters may be hiding secret motivations.
There are several plot twists in the end, one of which I did not anticipate at all, but, in hindsight, made a lot of sense.
Also, I want to point out that the office sets, like in many other Japanese productions, are excellent! For example, I love how cramped and busy the editors'room of Trinity is, the mountains of paperwork of every available surface. The space of the much revered Kunpu Reviews, in contrast, looks much more organized and still as realistically used.
Fangs of Fiction is both really funny and shows us the contemporary struggles (of the publishing industry) at the same time. Both the external struggle as a traditional company against the new online world, and the more internal struggle about traditional values and old styles of story-telling versus modern innovation and showing more diversity in stories (I loved the cameos of the disabled and the old model and of Ladybeard.)
It also subtly touches on issues of how women are treated in fiction: The main female editor is constantly trying to point out how outdated the depictions of female protagonists in the fictional novels are -- and is instantly shut down by her male companion. I am glad to see that the female protagonist in this movie is at least as important as the male main character -- and how she found her own successful way of dealing with the issues of the publishing world in these modern times.
Recommended! Maybe you'll find more subtle deceptions when you watch the movie, I'm sure I did not catch them all.
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This review may contain spoilers
pure crack
Are you familiar with the term "crack fic" from fan fiction? This is like that -- as if the writer asked: what are the most common tropes for BL stories to get two guys together, and how can I put all of them in one show?Here's some of the tropes:
forced cohabitation
only one bed
tutor -- student
a fujoshi
a love rival who makes one of them realize his feelings
caring for the ill love interest
sharing food
childhood bully to lover
gay for you
This show is silly, with intentionally exaggerated acting (bordering on slapstick) and camera work, and no plot besides the aforementioned tropes.
If you are not a fan of silliness and suggestive scenes that never actually get anywhere, then this is not for you. If, on the other hand, you are willing to laugh at your own love of BL and are also a fan of silly slapsticky situations, then what are you waiting for?
Also, it might be of interest to know that this is all about the phase BEFORE one of them finally realizes the attraction to the other, so there's no actual relationship here.
In a traditional broadcast setting, this show would fit perfectly at the end of a more serious BL drama.
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One main reason for this is the main male character, Lee Ahn, who I thoroughly disliked. He is cocky and self-assured without having any abilities to support it -- and it feels that he thinks it's enough that he is himself and has this psychometry to be allowed to flaunt rules.
Another is the romance, which felt forced and superfluous. Is it not enough to share the same traumatic childhood exerience? To have the same goal? Why does it have to be romance, when partners and eventual friends would have made enough sense?
I did not feel any sexual or romantic attraction between them. For the longest time, Jae In seemed to be more annoyed than romantically interested.
They wouldn't do a romance arc if the young people had the same gender, so why force this into a good mystery?
Because the mystery plot was quite good otherwise -- the storyline of the dangerous stranger whose identity is slowly revealed and how he connects to the mysterious Kang Seong Mo was delightfully muddied by the storyline about corporate fraud.
It seemed that we knew everything already in episodes 11 to 13 or so (which is also part of why I had trouble continuing at that point) -- but then there's a surprising plot twist!
(The story telling though was a bit too slow in the last episodes.)
Kang Seong Mo was by far the most interesting character, and his actor subtly portrayed his emotions -- emotionless robot, even though it seems to the other characters, he is not. Without him, I would probably not have made it through the drama.
An honourable mention for Jae In -- one of the few female characters in a drama who can hold her own -- yes, she "needs" to be saved by the male lead at least once, but other than that, she is indispensible to the plot, and actually more competent than Lee Ahn.
Overall, it's not bad -- just not something I liked. If you don't mind romance in your mysteries, cocky male characters and slow pacing, then it might be for you.
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When I started this, I had, once again, no idea what would await me -- I like choosing things based on the title and the poster. After the first episode, I still had no idea, except that there seemed to be ghosts? But was it comedy? Tragedy? Supernatural mystery?
As it turned out, it was all of them. And the ghosts were ... something very special. I don't want to spoil anything, but the ghosts are (with one exception) not the classic spirits of the deceased.
The horror element in this series is minimal, there is some gore in the first episode -- but later there is no such thing anymore.
In the presentation and the way the serious themes were mixed up with the comedy -- and how the important bits of character development were at times almost hidden by the comedy, it reminded me of the Thai way of telling stories about the human condition. And in its core, this story is very much about the human heart; about the desire to belong, the love people have for family (parents-child-relationships specifically play a large role here), the hole that remains when a loved one is gone.
The screenplay develops this theme slowly, but with intent. I didn't feel that there was a misstep or that it lacked anything. Grief was bundled into laughter and that softened the hard parts of the story -- more than once, I found myself crying gently and laughing softly at the same time.
We mainly follow Pu Yiyong's journey, who must find out how to handle his new powers, and at the same time, struggles with grief and guilt, since he believes that it's his fault that his family was involved in the accident. He forms a trio with two other characters: a young police women with an abrasive personality and his one-time victim of school bullying, a young man who now studies medicine. I loved the dynamics of the group, who all have some growing-up to do (and in that, the series also includes a coming-of-age element). And I love most that there is not even a hint of romance between them! (And it's obvious that the writer is aware of how unusual that is; they included comments from other characters who seem to think that there is something going on either between Pu Yiyong and the young woman or between him and the yong student -- and all three react with confusion each time.)
Was it good?
Yes, the screenplay was solid, the balance between comedy and serious was good, and the actors and editors did a great job.
Did I like it?
A lot! I love stories like this that mix supernatural mystery, comedy and underpin issues of the human heart.
Would I recommend it?
I would, yes.
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Too much and not enough, no middle here.
I understand why fans of "Bed Friend" were angry about "The Middleman's Love". This might be set in the same universe as the dark-ish "Bed Friend", but the genre couldn't be more different. What's more, the series isn't even very good as a stand-alone comedy.If you have read enough fanfics, you might be familiar with a specific type: A fan decides they want a fluffy feel-good happy-ending with some elements of crack for their "fav charrie" -- and why not throw in some cross-over characters or OCs in there as well? -- and then to their own astonishment the fic suddenly has plot? And they don't quite know what to do with it, so they decide to throw in another few comedy scenes and a sex scene or two and call it a day.
This is what "The Middleman's Love" feels like.
We get the OOC scenes of a ghost hunt and a "company sports day" with children's party games; we get the catchphrases and the OTT humour, we get a lot of snacks, we get a "workplace" that is a joke and has no bearing at all on the story, and so on and so forth -- and then, suddenly, character backstory and angst? Which breaks the style and the established rules of the story.
What doesn't help is that director Cheewin Thanamin wasn't able to create a vision from the mess of a script. He re-uses elements from his previous dramas; for example the animation from Why R U? or the over-acting from YYY or Toh's character design from Secret Crush On You or the background music from Bed Friend, whether it fits or not. But he does not manage to make it a cohesive whole. In the beginning, he chose to use elements of parody and over-done narration, like when Jade and Mai "ride" in the obviously parked car or in the day-dream sequences, as well as the use of the "mandee" logo for the company. But then he switches the style to that of an average rom-com later on, while he still tries to keep Jade's over-the-top character.
That the sex scenes neither have any kind of narrative function nor round out the characters' relationship dynamics (on the contrary, they break them completely) is only the over-ripe cherry on top.
I wish that both the screen writers and the director had committed to one singular vison and style for this drama. Either go completely overboard with everything and make something unique or follow the title of a "คนกลาง", "a middle/mediocre man", and make Jade really an absolutely ordinary, unremarkable and middling man. The latter also would have had its own potential for a good and special story, be it comedy or serious drama, in its own right.
One positive thing that can be said is that Yim, who plays Jade, does his utmost to fill the role. He doesn't hold back and obviously is not afraid to look ridiculous, which is a must-do for his role. Unfortunately, he is neither directed with good vision (see above) nor coached well enough to use his whole body for the comedy; and it does not help that (for whatever reason) he doesn't move all his facial muscles to the extent needed, so his Jade doesn't reach the kind of physical comedy that would have been required for the series to work.
There is not much to say about the other actors -- none of the roles required much acting skill, even for a romance.
Was it good?
It had some good elements for a crack fic or a parody but didn't dare to go all the way. Both the script and the style of direction muddied any potential vision.
Did I like it?
I didn't think of dropping the drama, so it wasn't that bad for me. But I also would not say I enjoyed most of it.
Who would I recommend it to?
I wouldn't.
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Young Love with three Sweethearts
Oh, what sweethearts these three teenagers are! This is a love-triangle done right, and the film hits all the highs and lows of a first love.And this is a story with one of the narratives I love: The "ugly duckling" doesn't change.
Takeo is, while well liked by guys, shunned by girls at every turn. His appearance and his deep voice -- the first image that came into my head when I saw him was one of a middle ranked yakuza -- is definitely not what teenage girls look for in their next crush.
The film makes is very, very clear in the first minutes, however, that this boy is a complete sweetheart, a loyal friend, and a gentle soul. From his many rejections in the past, his confidence regarding love is non-existent and he thinks his crush on Yamato is hopeless; and still he puts on a smile and tries to make his friend and his crush happy.
And this is why the film works so well; the three main actors convey the feelings with apparent ease -- when their characters smile with a broken heart, when they try to stay calm but would rather break down and cry; it's all there to see.
The humour is over-the-top as for most adaptations of comedy manga, but sprinkled throughout, and never laughs at the characters.
One little thing I loved a lot was how the writer let the mother causally accept the possibility of her son dating a man. Progressive mums, yay! Also, I love how they hinted that Suna's feelings might be not quite the platonic friendship he would like us to believe. I hated the after-credits scene though, it broke the style of humour and the characterizations of Takeo and Suna, so if you see Suna's characters the way I do, you might want to give the after-credits scene a miss.
Was it good?
Yes, both actors and writers knew what they were doing, and they told us a beautiful story about young love and friendship.
Did I like it?
Absolutely.
Who would I recommend it to?
People who want to watch a different kind of coming-of-age / young love story.
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This film is not a rom-com. It's a rom-com parody.
And the film makes very, very clear from the first few minutes in that it is a parody -- the "heroine" looks at herself and the people around her as if they were in a story. The exaggerated acting in the typical Japanese comedy style paired with stereotypical extras (like the thuggish bullies or the canteen cook) as well as the constant fourth-wall-breaking are another clue -- and then the story tones the physical comedy down in the second half but still proceeds to follow every single beat of an average rom-com: With a light twist, like when the "summer" date is filmed in the middle of winter. And they follow this concept until the very last scenes, with the hundereds of lanterns and the kitschy snowfall, and then tie it up with an uplifting message.And yet, they somehow smuggled in some very real character growth. The aggressive playboy, who pursued the heroine "just because" and initiated a sudden and unwelcome kiss, learns to let go. The shy and awkward girl learns to stand up for herself, not with lies and deceit but with honesty and integrity. The "hero" learns to make a decision and commit to it. And the "heroine"? She learns that love doesn't just happen because she wants it to.
Maybe the writer and the crew were too good at that, so that MDLers caught real feelings and thus don't understand that this is supposed to be a parody?
Was it good?
Yes! It starts out as a physical comedy where absolutely everything is exaggerated, and ends up with real feelings.
Did I like it?
I did! I was hesitant to watch another youth focused het romance but I am glad I did.
Who would I recommend it to?
To people who get on with the exaggerated Japanese style of comedy. And to those who are able to understand how a parody works.
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Neither the character dynamics (excitable puppy vs. cold cat / country mouse vs. city mouse) nor the backstory (controlling father, betrayal by lover, thwarted dreams) are in any way new. The setting is an appropriately romanticized village, complete with stereotypical overly friendly villagers and out-of-season fresh fruit and vegetables. Wounds heal quickly without scars; the surroundings don't change with the progressing in-universe time.
And yet, it works.
The story, tropey as it is, takes its time to develop Seon Yul's character from being closed-off and exhausted to a confident young man who has found his own way of life. Events around him fit neatly into the narrative, and everything resolves without becoming too cheesy.
Ye Chan's antics are the eye-catcher of the series (and another proof why you should hire actors who know what they are doing -- according to MDL, the actor Yoon Do Jin is a stage actor in SKorea), and the main aspect that elevates this rom-com above the average. Yoon Do Jin gives his character an endearing quality, child-like but not childish, with unexpected words of wisdom, delivered with perfect innocence. In contrast, Do Won ("Seon Yul") gives us a subtle performance of a jaded man that you need to look closer to see. Both of them balance each other quite nicely.
Technically, I find this to be a solid production; I am not a fan of the sung OST but overall the background music fit well with the rest. I wish they had used the countryside to more effect -- most of the time it was just there -- but we all know that in reality, country life looks nowhere near as idyllic as on screen.
Was it good?
It was a solid, if predictable, rom-com with well delivered performances.
Did I like it?
Yes, and I even have rewatched it a few times.
Who would I recommend it to?
To someone who is looking for a rom-com with comedy elements, with a relatively short runtime.
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Raising a child gives the whole village a headache
"เลี้ยงเด็กหนึ่งคน ปวดหวัทั้งหมู่บ้าน" -- "Raising a child gives the whole village a headache" ... and raising an adult even more.The Thai title "เกิด / แก่ / เจ็บ / โต" is a very good indicator for this series' themes: "เกิด แก่ เจ็บ ตาย" -- "birth, age, sickness, death" is the fundamental aspect of life in Buddhism. Everybody will experience these four things in life. So, when the Thai title says "birth, age, sickness, growing up" instead, the "death" part and the relation to Buddhist teachings is already implied. The producer tells us: This is a story about life itself.
However, the title goes a step further and inserts "growing up". Both main characters, the man in his sixties and the 17-year-old girl, have a lot of growing up to do, and the only way of doing this is by listening, understanding, mutual respect, and within a community.
For me, "เกิด / แก่ / เจ็บ / โต" was an interesting watch for the cultural lessons it had. How do Thai people speak about dying and death? What changes bring the modern times to family values and intergenerational relationships in a society that is traditionally very clear about roles of family members?
Its intended main theme, I think, was about broken parent-child-relations, about the value of community and family, whether by blood or by choice, and about the importance of listening with respect, regardless of age. And I think that they did a good job with this overall; except in some parts where it got a bit too preachy for my taste, and some of the ending was too feel-good when one secondary character reformed too fast while another gave forgiveness a bit too easily.
That being said, I had feared that *everything* would be resolved neatly, which was not the case, because this too is life: Not everybody will grow up, not every attempt at reconciliation will work out. I just think that it could have been even more realistic without diminishing the feel-good happy ending for our main cast if it had stayed a bit more open-ended.
The story telling was a bit too slow at times and, together with the heavy-handed message, I never felt the urgent need to watch the next episode immediately.
The screenplay was mostly solidly written -- I love the progression of the two main characters, and also how Nok's backstory was revealed slowly. I would have liked it if the supporting characters had been fleshed out more; Pha was a bit too good and too understanding at times, and the trio of our lovely grannies deserved more than to be the background chorus, too. I think the story would have worked as an ensemble cast, maybe even better than it does now.
It's also maybe of note that the screenplay does the usual Thai way of mixing comedic bits and serious messages, which might take a bit of getting used to. There is just enough romance that I can't put the drama in my "No romance!" list -- but both couples make sense within the narrative and the character progression, so it's all fine.
What made this drama was the general production quality, the setting in a lower class environment and the outstanding abilities of the actors. I loved the interactions between Nok and Jan, of course, but also the actors of supporting characters like Omsin and Jojo were excellent in their roles.
Was it good?
I think it was. The production quality was high, the actors were excellent. The message was delivered a bit too heavy-handed at times, and part of the ending felt slightly undeserved.
Did I like it?
I didn't love it so much that I devoured the drama; but I am glad I watched it.
Who would I recommend it to?
To people who an watch a slow, slice-of-life-adjacent drama. And to those who are interested to understand how Thai people view life and death.
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