2
7
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I usually don't like cats. But the picture looked cute and the series is short, so I thought, why not?What I liked:
* I loved the male lead's acting -- his face was so expressive, and made his emotions, whether spoken or not, very clear to the audience, without being exaggerated.
* Loved the best friend and the editor -- they were supportive and gave some much needed comic relief at times.
* Bok Gil's voice acting was spot on.
* All of the actors were great, and they all did what they could with their roles.
* I also liked the general idea of the story -- a young, traumatized man who finds solace in his pet and during the development of the story the ability to move on. I also loved how during the first six episodes, everything seems to go wrong, and the male lead has to juggle all of these demands plus his worry about his cat. In this, the series is a wonderful slice of life drama. And for the most part, things fit well together -- with the exception of the female lead.
So, before I talk about her, let's count for a minute. When the traumatic event in male lead's life happens, he is a high school teenager, so between 16 and 18 years old. A year later, he finds Bok Gil and lives with her for seven years, until the present day. So, he is probably between 24 and 26 years old. He definitely has finished his university education. The female lead is, according to her, the same age as him.
And now to the "What I did not like" part of my review:
I think who ever wrote the script did not do well in writing the female lead's character.
In the first half, or rather, three-quarters, she is dramatically emotional, clinging to every cat she sees and bawling her heart out. She does not know boundaries, courteous distance or privacy but rather barges into the male lead's life, even though he tells her to stay away several times. This behaviour would have fit better with a teenager, not with a woman in her mid-twenties. If she had been a teenager, I would have liked that better than what we got. It would have fit the story better, and the writers would also not have forced another lukewarm heterosexual romance down our throats.
(They could have left out the romance aspect regardless, since it only played a minuscule role in the story. I really don't know why writers think their dramas must have a (het) romance.)
One explanation for her behaviour could be that she was so traumatized by her illness and the disappearance of her own cat at the same time, that she now acts that way. If so, the show should have gone deeper into her past, into her life and that could have given her a real character development. Instead, she mainly serves as the catalyst for the male lead's character development instead of getting her own character progression, which unfortunately happens all too often in all kinds of dramas.
All of this, plus the completely uneccessary love-triangle, made this drama hard to watch. The slice-of-life storyline was nice, and you'll probably enjoy the cat scenes, if you are seriously into cats.
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Most of us who have already passed the age of fourty will probably concur that this age does feel like a threshold. Whether your kids are starting to leave home (or will do so soon) or your parents start to need your help (or pass away even) -- suddenly, you notice that you are no longer young and chances are that the years ahead will be fewer than the years already behind.Add to that the comfortable days you are living -- you finally settled into your job and know your role, days have a predictable routine. You think you know yourself, what you want and what you fear.
Youth seems like a dim memory, something you are no longer allowed to have.
But Kozue is lucky. He gets a Togawa, and is able to rediscover his own self, and find new passion for life (and for love). This story is told concisely, never rushed. No scene, no line of dialogue, no gesture is unecessary. Both leads and the supporting actors act with precision.
Browns and greys, shades and dim lighting are contrasted with bright spring greens and the lovely crisp spring sun -- Colours, light and shadows play an important role in this drama, if you care to look for it.
Follow the colour, the sets, the acting, which gets increasingly tight, tense and even oppressive -- the tension rises, until Togawa reaches his breaking point -- and it seems as if things are broken. Everything is grey and brownish again, but changed. Spots of light and colour show how Nozue's life has already changed -- but wouldn't it be brighter and livelier with Togawa in it?
Even after watching this lovely series more than a few times, I haven't found anything that I don't like -- it's that excellent!
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[Edit: I have since found out why: There is a special job called "food stylist". With the Japanese eye for details, it's no miracle that they excel at it! https://en.jff.jpf.go.jp/article/namiijima2021/]
Most of us probably know that bartender stereotype -- that you can come to him and tell him all your worries. In this series, this is exactly what happens in each episode: A customer finds their way into the little bar, and with the help of canned food, mixed drinks and the gentle smile of the bartender people tell their worries and find a way forward.
I loved the stories the customers brought into the bar, they were mainly real-life problems, that we as the audience might also have. These problems were not alway solved to perfection, but the customers always went home with a sense of hope for the future.
I also liked how the customers' stories tied into the lives of the three main protagonists and helped them find their own path forward.
Overall, the pacing is slow, which I found appropriate to the setting of a small bar. The set (which is almost only the bar and the street directly in front of it) fits the story, and the mood -- slightly run down, looking towards an end, but still lovingly maintained.
If you like something different, slow-paced and down-to-earth, with great food and drinks, then this is for you.
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tropes all around
Screenwriter: How many tropes would you like?Producer: YES.
This is a fun, tropey little love story, which has fast become one of my to-go-series if I need a pick-me-up.
What I liked:
* This drama makes heavy use of the one trope I can never get enough of: mutual pining with a side of miscommunication; while still keeping just to this side of frustrating.
* I loved watching the facial expressions of Kaneda -- he's so repressed, and when things overwhelm him, his emotions either explode out of him or he completely shuts down, which the actor portrays really well.
* Both Kaneda and Yanase try to respect the other's boundaries (or what they think the other's boundaries are). This is on one hand really nice to see: I really hate this trope of the pushy "top", who pressures his partner into things (and this is one of the things the drama does better than the oringinal manga). Yanase pulls back after that kiss in the first episode since he thinks "It's not like that", that probably Kaneda is straight and is not interested in anything sexual, he also pulls back any other kind of physical touch, since Kaneda very clearly said he does not want it.
* On the other hand, in later episodes, both believe that there are boundaries where there are none, adding to the miscommunication.
* The first half of the drama makes time for Kaneda's feelings to evolve from professional admiration to hero worship to something more balanced. At times it's a bit too subtle, but if you look at Kaneda's facial expressions and the way he talks to his Senpai, I think you can see it clearly.
* I also like these two last episodes (did I mention that I am a sucker for mutual pining?), I feel they make the relationship more balanced. Both have "leveled up" in their profession, and Kaneda does not only need any help anymore, he even has his own Kouhai! We finally get to see more of Yanase's feelings, and how he also has a hard time to express himself. Now it's him who speaks first, if a bit obliquely, of his feelings.
There are only two things that could have been better:
* Kaneda's hair really does not fit his face, a bit shorter or at least a bit darker would have been better.
* I would have loved to see more of how Yanase's feelings evolved, we only get to see glimpses, which is a bit unfortunate.
All in all, I love this drama, and can wholeheartedly recommend it to anyone who likes a bit of mutual pining!
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"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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The drama's main theme is a small, declining business with a tradition of 100 years that fights against financial pressures, the bank, a behemoth of a business rival etc. etc. There are some earnest speeches with a lot of pathos and "ganbarimasu" -- I feel as if every main character has a similar story of failure (a patent that has not been picked up, a declining business, failed interviews, sports injuries) and it's a story about being the underdog who takes second chances they don't actually have.
It's very David ("heart and soul", the people are what's important, hard work and tenacity makes you successful) versus Goliath (money won't make you happy and shouldn't be your goal in business life), and the general outcome is quite predictable.
The acting was top-notch, and the overall quality great; even after just a few minutes of the first episode I started to care about the little tabi factory and its people, which made me watch the entire thing. Nevertheless, I found that the episodes were structured too similarly, so they got a bit repetetive, with one or two main obstacles, that are solved during the episode, and at the end there's a joyful "We made it", at times with an added a glimpse of the next problem. There were about three musical pieces that were mostly uplifting in nature, which also got a bit boring.
Something I liked is that there were more people in their fifties than younger characters.
I was annoyed by the implicit misogyny -- none of the female characters had any role but to say supporting things to the men; anything that pushed the plot forward was done by men. And, when the older son doesn't want to inherit the business, nobody even asks if maybe the daughter might want to?
One thing that I found rather unrealistic:
A person, who invents a whole new material and builds the machine to produce it with his own hands, and then holds a patent -- wouldn't he rigorously test his invention early on, to understand which influence all of the variables of production have? It seems that after Iiyama had invented one working verson procedure, he called it a day?
(Also, a mechanical engineering, material engineering and electrical engineering are different fields of expertise! Does Daichi have three degrees?)
I was also some other plot points I found a bit strange. For example: There's a fire, and a machine is destroyed -- and there's no insurance? Not even a small one? Also, why do neither Iiyama nor Miyazawa ever try to negotiate when they get offers they don't want to take -- only in the second to last episode Miyazawa gives a counter offer.
All in all, it was entertaining, and I'm glad to have watched an example of the dramas based on the successful Japanese "business novel" genre. If I do watch another one, then maybe a story by another author though.
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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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"The world is complicated and ambiguous. In this world, we mix and connect."
Have you ever looked at a Wimmelbilderbuch? These are books for children, where every page depicts a scene -- a market, a school, a street, a park -- with lots of people. You look at each person and discover a bit about them. Then you turn the page, and there's a new scene. Sometimes you'll meet some of the same people, and can continue their stories. Sometimes, there are new people. On some of these pages, the little people meet (or miss each other by seconds), which changes their course for the next pages. At the end, you close the book, but the stories about the people will never be finished.This show is much like that. We get to see episodes of the lives of several teenagers, glimpse into the wide universe of their thoughts and emotions, turn the page -- and someting new might happen. That something new is more often than not hilariously surreal in this show, but -- like in other Japanese Dramas -- deeper than it seems at first glance.
Release all your preconceptions about how dramas are supposed to work, and look closely.
Look at another person, really look beyond what's immediately visible; listen to them, and you may find that you are Captivated, by them.
"Even so, you'd throw yourself into the world, in secret, with all your might, in an ambiguous form, in a complicated straight line."
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The target audience is definitely much younger than me, but I liked it.
Technical aspects of the production were fine. Overall, the acting was good, especially since the actors are all really young. Directing was fine also -- I always have an eye on how ensemble scenes are done, and I did not notice anything missing here.
There are quite a lot of songs in the series, which is appropriate, since it's about a band -- not too many (and that's coming from me, who thinks that there's too much singing in Disney movies), and all of them fitting the band's general vibe and the plot.
Regarding the plot, it is a slow burn with lots of pining, and I tend to love this trope. Yes, it's a bit ridiculous at times, and also a bit cheesy, but that makes the series so charming. Even though some more serious issues are addressed, it's never high-stakes for the audience.
A lot of the good tropes are used liberally, some are there just to be subverted (an episode at the beach, but the young people get only five minutes to actually enjoy it?) -- and there are none of the trope I hate (e.g. miscommunication because some character is lying, love triangles, traumatic childhood experiences, jealous female characters...).
I also loved that there's so much time dedicated to the bandmates' friendship and the highs and lows they go through as the school year progresses. They are all young boys who enjoy life, and are not ashamed to act silly when they feel like it.
The parents also got some character development, and enough time to show it.
There really only two very minor points that could have been better:
a) I wish there were more female roles. I know it's a BL, and BLs have to have a majority of male characters, but why not have a girl in the band? Or a female Kajorn? Or female MCs? Or a female Yak? (Though, I admit, the last one is maybe a bit more difficult.)
b) I would have liked to see a bit more story for Tinn, whose main role is to support Gun, his love interest. He does have his own insecurities, his own questions about his future -- it's all already there, just underdeveloped and glossed over.
One last thing, because I waited for it but it never came: There is absolutely none of that old and tired top/bottom-dynamic in this show! None of the boys have any characteristics that trope would demand (difference in age, status, experience, body type etc.), none of the "pushy top" and "reluctant bottom", their body language and whole demeanor are always "typical boy" and touches are very much mutual and equal in reciprocation. I hope we'll get to see more of this kind of relationship dynamic in future Thai BL shows.
(They even make fun of the trope at the end when they talk about ship names!)
So that was a very nice surprise.
All in all, the show is light-hearted and funny, even silly at times, with great friendships -- it made me smile throughout the whole series. So I recommend it as something to watch on gloomy days. Characters don't take themselves too serious, and the audience should do the same.
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Excellent drama with one flaw
THE STORY:I started this thinking that we'd get to see detective stories, where I could solve cases together with the heroes. The cases were, although interesting, not of that sort. They all made sense, but the audience often only got to see the clues at the time Li Lianhua or Fang Duobing revealed them to their co-characters. The cases themselves were overshadowed by the overarching plot relatively early, so for me, they did not have too much merit by themselves, and only served as a vehicle to move the story forward.
The overarching story wasn't that complicated, we got to guess the main villain quite early, and some of the plot twists weren't that twisty for me.
(Also, the main plot point -- evil people from a defeated foreign country try to overthrow the mighty and just and overall better [China] and fail -- is typical Chinese nationalist fare.)
What makes the story interesting, is the journey of Li Lianhua, both in the past, which is revealed to us in increments, and in the present -- Li Lianhua, who is terminally ill and is pulled into the Jianhu after ten years of solitude, whose journey is one of finding closure, of forgiving or avenging, of finding meaning in life and death.
A plus, for me, is also that the series has little romance -- most of it finds it conclusion within three episodes or so around episode 20 (they decide their romance will stay in the past only). Unfortunately, most female characters' motivation still circles around love, more on that see below.
The story unfolds over 36 episodes, which never drag or feel rushed. The series kept my interest throughout -- the pacing was always just right.
THE CHARACTERS:
Li Lianhua is a wonderfully human character. He is flawed, he lies, he deceives but still seems to be a person who has his values he lives by. He is a miracle doctor and a horrible cook. He is someone who pushes others away, and it's never quite clear if it's to protect the other person or himself. He is selfish in his last decision, and at the same time sacrifices his life (essence) for others over and over again. Li Lianhua is world-weary but can still find solace in the little joys in life and seems to believe that most people are ultimately good.
Li Xiangyi was young and inexperienced. He trusted wholeheartedly -- but also judged hard. He thought he was the most important person in the sect -- and died because of it.
I also loved the other two main characters -- loved their banter, of course. They both had their distinct personalities and unique goals. Fang Doubing and Di Feisheng had good character development -- more time to show their personalities and their inner life would have been even better.
The one thing that irked me for the most part of the series was the portrayal of the female characters. Their motivations mainly circled around "love" (or a version thereof), and usually, they had no agency without a man. Let's look at the four most prominent women:
Jiao Li Qiao: Her motivation for anything is to get Di Feisheng as her husband. That's it.
Qiao Wan Mian: She is important as the past love interest of Li Xiangyi, who waited for ten years for him. Later, she gets a bit more agency, but it remains half-hearted. Has she left Zijin or not? Why does she take his Sect leader token but does not take on the role herself? (He is obviously still the sect leader later.)
Master He (Fang doubig's mother): She's the only woman without an interest in pursuing another man; the only one who is shown with significant skills who can contribute to the fight. She is also the only married woman, and the only middle-aged woman, so it's probably just that she's "too old" to be a potential love interest who can be heroically disregarded.
The princess: Her interest in marrying Fang Doubing is somewhat understandable -- as a princess she lives a highly regulated life, and probably knows that the only chance to get a bit of freedom is as a married woman. (Of course, her interest has to take a backseat next to her fiancé's desires.)
There's also the young girl who we first meet when she disguises herself as a man -- she could have easily been a cunning woman with a network of informants or a vast library. But no! She always gets her information from her grandfather and she is allowed to bring Li Lianhua to her brother for treatment.
That's enough of a rant for this review. Let's close with another excellent aspect:
THE ACTING:
I did not find one actor unsatisfying. The minor characters were all right throughout.
All three main characters were portrayed incredibly well. Especially Chen Yi (Li Lianhua) who needed to show his multi-layered personality without words had excellent micro-expressions. Di Feisheng is probably more interesting than the script itself has provided because Xiao Xun Yao manages to hint for underlying emotions of his character from the first second we get to see him on screen.
And a special mention has to go to Rain Wang (Jiao Li Qiao), who, despite her single-trait character, shows how chillingly deranged Jiao Li Qiao has become over the course of the series.
OVERALL:
This is, despite the one flaw, a series that tells a story about friendship, betrayal and revenge -- and a man who just wants to have a quiet death.
Recommended!
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This is so short, it was possible to watch it to the end, without getting too annoyed.What I liked:
* Jang Eui Soo's (Chef Choi) acting. He did what he could with his script.
* The waiter and the sous chef were not just there but had their own characteristics, at least as much as they could within the short time.
What I did not like:
* Almost everything else. Examples:
* Empty scenery: Empty restaurant, empty beach, empty luna park... Where are the people?
* Overexposure does not make scenes romantic if there are no feelings. Same with montage + music.
* I think the main problem is that the script was faster than my emotions while watching. We have the rivalry / antagonistic beaviour in the beginning, that's okay. But when chef Choi acts like an arse during the first meeting and is shown to be the one who will maybe end Chef Yoon's employment, we, as the audience, need something to empathize with Chef Choi. We did not actually get it. I still don't know why Chef Yoon would fall in love with him.
* I have no idea why Laura (the restaurant's owner) wants to get rid of Chef Yoon. She says she wants to expand (he doesn't) but he's the one whose dishes people like?
* There's not enough restaurant and kitchen scenes -- show us how they work together, how they get closer doing their work.
* If the restaurant's so busy that Laura wants to expand, why are there no customers, why do the two main leads have enough time to hang around beaches and amusement parks and so on?
Both the world building and the relationship building is severely lacking in this movie. If I can empathize with the waiter and the sous chef more than with the couple, then something is very, very wrong.
It wasn't bad enough to stop me watching, but there wasn't anything to like it either.
Not recommended.
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So, if you want to choose, I think the movie is a bit too long to watch it in one sitting (it's easier to find your place again in a series). Forthe series, I found the flashing light and the electric noise at the start of each episode grating, especially when I have a headache.
Things I liked:
* To do an "enemy-to-lovers-trope" is not easy. You can easily draw things out too long or have a power imbalance -- if the relationship reads more as "bullying" than as "mutual antagonism" it's really hard for me to understand how they would ever end up as lovers. (Looking at you, Make Our Days Count) But here, it ends relatively early, both give as good as they get -- and especially Jang Jae Young as the first instigator backs off when he realizes that he's crossed the line.
* I also loved Chu Sang Woo's character, which reads as somewhere on the autism spectrum for me. It's done better that in the original material, imo.
* The supporting characters were great in rounding out the story.
Things I did not like:
* I think I'd have liked to see the discussion about excavators and the subsequent drawing of one on Chu Sangwoo's arm (rather than the ugly veggie thing).
Overall, the pacing was good, and even if the general storyline was predictable (which is par for the course in romance dramas), the journey of both protagonists was lovely to follow.
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Making the world a better place by lovingly preparing one dish at a time.
There's not much plot, apart from the last two episodes. But that doesn't matter, it's just about people cooking, serving and eating different, mostly Japanese dishes.Really, if you're waiting for an explanation for why there's a connection between the worlds, or how the owner can buy things in our world with currency from the other world, you'll be disappointed.
The whole thing is a thinly disguised food appreciation show, with some loveable characters who do the appreciation.
I was reminded of Wakako Zake.
Bonus points for the German, the texts that were readable had actually decent German. (If I wanted to nitpick, I'd mention that the Fraktur font needs a "long s" at the beginning and in the middle of a syllable instead of the "round s" (only used at the end of a syllable), but I won't.)
The isekai the tavern connects to has elements of different centuries -- for example: references to a northern God whose name sounds a lot like "Oden" (early middle ages, maybe around 6th cent.) or the buildings in the town (late middle ages to early renaissance, so ca. 14th to 16th cent.) or the clothing (somewhere in the 17th and 18th cent.) or the mention of Kartoffeln as main staple of food (late 18th and 19th cent.) and the Fraktur font (mainly late 19th and early 20th cent.) -- so it's not medieval, but firmly in the realm of fantasy.
If you just want to see how some Japanese-style food can make a society a bit better, and want to relax watching people enjoy this food while bickering a bit, then this might be for you.
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Who is it you love?
Do you really love the person as they are or is it just an image you have made of that person in your head?What I liked:
* I loved the development of the author's character. He went from very much self-assured, narcissistic, and someone who is sure that his love story will finally come to the end he wished for three hundred years ago to a very much shocked, insecure person whose world has been turned upside down, and at last to someone who is starting to learn that there are always two people in a relationship with their own thoughts and feelings.
* The author's actor showed all of these emotions well, sometimes dramatically, and completely unashamed to be seen. I can hardly believe that this was Jin Gun's first drama.
* In contrast to the author, Ha Yeon knows what he wants very well and he is not afraid to go for it. This makes for an interesting dynamic.
What I did not like:
* I wish we would have got to see more of the second life. It was always flashbacks to the same scene. How long had they known each other then? How did they meet? What was their relationship like?
I think if we knew more about this time, the question the modern Ha Yeon asks -- Which Ha Yeon do you love? -- would have made more sense to more people in the audience.
I suppose that, in both of their lives, they did not have much time together in mundane situations (it was obviously a time of strife and struggle in their second life, and in the first they did not even get to speak as someone else than slave and lady), and that's why Yeon Seok had this image of "Ha Yeon" of someone who is not goofy, but rather refined -- who knows how the first two Ha Yeons really were?
Is it love if you only know the other person's facade that they show to the public?
It would have been nice if the show had more time to explore this question in greater depth.
Still, the story we get to see is cute, well acted, and we get to see some character development.
Recommended!
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All in all, it did not wholly deliver on its promise.
The premise I liked, four young people who have to come to a decision and their own standing point regarding their position towards platonic and romantic relationships -- and issues of belonging to a group versus being who you are. Even the love triangle made sense within these topics.
The execution, though, is stilted and at times too slow.
These are definitely directing choices, not the problems of the actors -- as soon as they get to do something, they start to shine.
For example, I don't understand why the actors stand right in front of each other in most conversations, with their arms hanging down without movement (and the whole drama is conversation-heavy) -- alternatively, they talk while walking next to each other at a snail's pace. I suppose the director wanted to convey some kind of awkwardness -- which is a good idea, since the characters definitely don't feel comfortable for most of the time, but it just gets boring after a while.
Also, the characters (with the exception of Namgoong) all have similar mannerisms (or, if I want to be a bit mean, the same mannerisms) -- including the teacher, which I mistook for another student in several scenes.
There were also some minor issues:
* At times, the background music did not quite fit the mood -- I'm also not a fan of the "plink-plink"-kind of music.
* The scene with the adult toys in the beginning was never resolved, and did not fit in with the rest of the story.
* I could have done without the kiss at the end -- it feels as if the writers or the director said: Oh, the audience also wants a kiss, so lets add it somewhere. A hug or some light cuddling, or even sitting very close to each other would have fit the overall mood better.
* I'm also not too sure about the female character, but since she had her own story arc and character development, I'll let it slide.
The plot itself, with its theme of exploration and the awkwardness of navigating relationships in adolescenece, is fine, and surely of interest to many. It's just that the way the series is brought to the screen cannot convey all the depth and the emotion it wanted.
Maybe if the creators had been clearer of the intended audience and made some bolder choices for directing according to that, it would have been more on point.
Overall, I found it okay to watch, but not worth a second time.
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