Still 2Gether: A Damage Control or How 2 Save Your Series
This season was clearly done to save this series after lackluster finale/final third of season 1. It very obviously addresses most of the complaints and comments we as viewers had while watching the original series and brings back everything we loved at the beginning.And you know what? I liked it! I had a good time watching this!
Thanks to this bonus season, the first season of 2Gether wont leave such a bad taste in my mouth anymore, because i know this exists!
This is the first time in my life that i have seen such an attempt to save a piece of media that went downhill. And i honestly respect it, no matter if the driving force behind this season were money or actual genuine effort to save this series that stems from love for the source material. We could discuss their intentions ad infinitum but simple existence of this bonus season means they care about it.
The story was simple but entertaining. Besides damage control, the script focused on all the things we as viewers enjoyed - be it silly comedy or cute moments (or doubled-down on things the writer very obviously stood behind such as distinct TineWat love language). There were quite some plot holes or cheap plot set-ups like the two club rooms being directly next to each other or Tine missing Wat super hard after like… a week of separation. There are still some glaring issues from season 1, if you want to nitpick.
But lets just be generous for now and overlook these for a sake of general entertainment.
Acting was good and i think the overall cast chemistry was improved in this series. My only complaint is that some of the characters became caricatures of themselves at some point but at the same time it was, again, probably necessary evil so the series could be so entertaining.
I hope Still2Gether will become a case-study for any upcoming series. Not in a way that i want to see a shitty s1 followed by a damage control special season ever again but because im sure there are many ways a filmographer can learn from success, fall and eventual redemption that was 2gether the series as a whole.
My rating is probably a bit too high but i unexpectedly enjoyed this bonus series and i appreciate the amount of thought that went into “saving” 2Gether as a series.
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"She'll thrive, and through her a family will endure."
In her 2007 novel “The Sweet Far Thing”, Libba Bray has says, “There is an ancient tribal proverb I once heard in India. It says that before we can see properly we must first shed our tears to clear the way.” Indeed, our past is what holds us back from things that we wish to accomplish, but what matters is how we learn, acknowledge and grow as better human beings from it. We are healed of a suffering only by experiencing it to the entire. There is no beauty in sadness, no honour in suffering, no growth in fear and no relief in hate; it’s just a waste of perfectly good happiness. “Pachinko” depicts all that through the saga of a family over generations."Pachinko (パチンコ)" is a Japanese gambling device resembling a pinball machine but with automatic payoff as in a gambling slot machine (merriam-webster). Pachinko parlors are widespread in Japan, and, mostly owned by Korean immigrants, and usually also feature a number of slot machines so these premises resemble and operate similarly to western casinos. Modern pachinko machines have both mechanical & digital components. As stated by the writer, Pachinko, in the show, is depicted as a metaphor to life, when it's very unfair to go ahead, but you still continue to play, because you can't turn back or give up either. Pachinko is a game of chance and survival, both figuratively and literally.
Created by Soo Hugh and co-directed by Justin Chon & Kogonada, "Pachinko (2022) is an American show from Apple TV+, adapted from the original book of the same title authored by prominent Korean-American writer Lee Min Jin, released in 2017. Co-produced by 3 companies: Media Res, A Han.Bok Dream and Blue Marble Pictures, it's a 4 year long project, that started with Apple Inc. acquiring the bid for the series in 2018. The production took 7 months for casting and all of the cast were in fact auditioned and chosen, as informe by the team. The filimng started in October 2020, and was done in different phases, at different locations, and in fact different countries (South Korea, Japan, USA and Canada), that ended in April 2021. Reportedly, the showrunner Hugh has the objective of creating 4 seasons in total, which gives us the idea that the show we just finished is apparently one-fourth of the original novel.
"Pachinko (2022)" follows the mettlesome multigenerational chronicle of a single family, in parallel, who are immigrants of Japanese invasion & colonization in Korea. Their pursuit for survival and happiness, with hopes & dreams have led them to prosper and thrive over decades though their foregone days of sufferings and scars from the past remain fresh in their hearts. The show presents stories from different timelines from 1910 to 1989.
Kim Sun Ja (later Baek Sun Ja/Bando Nobuko) is played by 3 actors: Jeon Yu-na (childhood), Kim Min Ha (teeange), Youn Yuh Jung (Old), whom the author keeps at the centre of everything that takes place throughout. Steven Noh plays Pastor Baek Yi Sak (Sun Ja's husband) while Soji Arai (Korean name: Park So Hee) is in the role of Baek Mo Se/Bando Mozasu (Sun Ja's son) and Jung In Ji takes part as Yang Jin (Sunja’s mother). Ko Han Su (Lee Min Ho) is a cold-hearted fishmonger with a dark past and plays an important fuelling factor that impacts Sunja’s life. Baek Yo Seb (Han Joon Woo) and Choi/Baek Kyung Hee (Jung Eun Chae) are brother & sister-in law of Sunja, respectively. Baek Solomon (adult: Jin Ha and young: Yoon Kyung Ho) is Sunja’s grandson from Mozasu, who is an efficient employee in a top corporate bank in New York. Etsuko (Kaho Minami) is Mozasu’s girlfriend whereas Naomi (Anna Sawai) is Solomon’s collegue.
The opening was the highlight of the TV series and definitely a favourite. While looking at the opening credits, it’s unclear whether this is a Korean, Japanese or Western drama; the main cast members gathered in a scintillating & evocatively coloured pachinko parlour as if it were a paradise, dancing to "Let's Live for Today" by The Grass Roots. This is the only time the actors from different timelines intersect, which was mainly due to Hugh’s love for opening credits.
“A child is coming. This one will thrive, I assure you. And through her, a family will endure.” : describing the birth of Sunja, the central character, this line epitomizes the pneuma of Pachinko’s premiere. In contrast to the book, which is ordered chronologically from the 1930s to the late 1980s, the filmmakers of this series made a bold change. The nonlinear construction of time in the series jumps between past and present.
“Pachinko” tells us a spellbinding story of colonialism & subcultural nationalism, war & peace, love & loss, and victory & sorrow, exclusively from a meta-historical human perspective. The historical accuracy and the detailed representation of adversities experienced by the people of Korea, due to the brutal consequences of a ruler's greed, is of immense value and definitely deserve all the noble words that exist in the world. From making aware the contemporary generation about their history to generating nostalgia & cognizance in viewers by enabling them to look back and consider the affinities between realities of different times, Pachinko does all that, if not more.
Enumeration of Sunja’s journey particularly feels nostalgic yet melancholic as it serves as a reminder of the wartime and post-war stories of 1st generation Koreans and their descendants. The nuance of these memories, however, forces us to acknowledge what they’d, in truth, gone through in the course of history and how it affects the current Zainichi Korean generation. It also shows us how resilient and strong people can be despite what life throws at them. Though the cornerstone essence of the story remains the same, adapting it into live-action demanded some changes, and these changes are brought forward from the development of the series; you can clearly experience it if you have read the book already.
In "Pachinko," the representation of Solomon goes with the complicated colonial history his grandmother navigated first-hand and the reverberations of which he continues to grapple with as an adult. This also captures his links with the Korean heritage, and both challenges and intertwines with his Japanese upbringing. Indeed, Solomon is the 2nd most focused character in the drama, for the latest time period portrays the saga of him trying his best to become a corporate slave, while his links with the foregone history of his family’s sufferings hold him back and enables him to make decisions, unsuitable for his career and his ambitions.
“Pachinko” is magnificently and aesthetically recountable, particularly while illustrating 1910s Korea. Shots filled with dusty hanboks of the Koreans and pristine uniforms of the Japanese are entirely accurate to their time period. The show is filled with panoramic landscape shots of golden grain fields, dense yet bright forests, diaphanous water bodies and inky oceans. The opaque and uncanny fish market and dark-timbered boarding house are fascinating to extents. The combination of both pitch & pale hue, with varied compelling colour palettes, provides immense pleasure to the viewers and its enormous production values which has resulted in stupefying cinematic values, can be witnessed and heartfelt, from the very beginning of the show. The camera beautifully captures the vast sea separating two countries: Korea and Japan, and their highrises, with the movements remaining easy on the eye. The meticulous set designing, development of premise and eventually bringing them to life, have paid off.
The use of sound and language is also beguiling and bewitching. The use of the comoosed sounds and themes in “Pachinko” is perhaps the most heart-felt since they possess the power that enables the viewers to connect to different time periods, accurately. Various instrumentals composed bring about the souls of the essential contexts that the author and makers have attempted to project upon the audience. Sometimes it pulls the heartstrings to levels, but for most of its parts, the background scores are caliginous, shadows, weighty and substantial.
Reportedly, Hugh also took care of the character outlooks in an effort of using beauty im order to create a timeless period piece. The extensive studies with collection of photographs and clips of the contemporary time was a great help for illustrating appropriate hairstyle and makeup; starting from looks to attires, everything was developed with sincere attention which is obviously reflected in the show.
“Pachinko” offers us a reality check on the assumption that the age of globalization may make life easier. It shows how globalization can also push us further away from our roots and ancestors. This story is truly extraordinary and unique, and one that should not be watched as a typical migration story. In “Pachinko,” identity is not defined in terms of binary codes. Each story is different, and each individual is different in spite of their shared historical experience. This has enabled Hugh to go for a standalone episode, portraying the life of Hansu, through a terrifyingly real incident. Hugh’s research also led her to the Kantō earthquake, which hit the Tokyo-Yokahama area on September 1, 1923, with the magnitude of 7.9. The impact of the disaster was massive, with a death toll of aprox. 140,000. What stimulated as a consequence, was the spread of rumours about the Korean immigrants adding to the destruction and trying to overpower Japanese, turning them to scapegoats, which led to massacres, which was unforeseen and heart-wretching. According to several unanimous reports, an estimate of 6,000 Koreans were killed as a result. Nevertheless, Lee Min Ho gives the best of his career in this and honestly it's the first time I liked his acting, he has improved, indeed.
I think I have already thrown light upon the direction and related tasks throughout, in my piece, like sound editing, cinematography, setup design as well as composing, etc. The directors Justin Chon & Kogonada have done their job with great care and their efforts are visible. The rest members of the team should also be credited their due words of appreciation. Congratulations of creating a masterpiece.
Writing the show, for Hugh, hasn’t been just about bringing the epic of the Zainichi family onto the screen, exceedingly, she has attempted to a great deal to showcase their thorough experiences & emotions in accuracy and get the facts right. Her immense research and fact-checking has also enabled her to get her script reviewed by 20 or more historians, including those specializing in Japanese history, Korean history, and colonization. Its notable that their opinions and voices were unanimous and this has surely helped to elevate the quality.
Exceptionally, in the finale, the opening credit is performed by the Korean pop Pansori (traditional) band LEENALCHI, which recreates the same song by modifying the lyrics with Hangul.
My most favourite quote from the show is:
"Even if you're scared, let's be scared together. If we do that, won't we gain some strength?"
You must look forward to the ending of the finale episode, for it shows us the interviews from several Zainichi Korean Women, currently residing in Japan and their stories of suffering, tolerance, resilience and resistance. The 5 minutes long edited clip is enough to move your heart and make you cry.
Final Remarks... Pachinko is a brilliant tribute to the resilience & forbearance of survivors from an era of oppression on small lands, that was not often discussed, previously. It is a very complex part of history which ties in with one of the best shows to have been brought to life. The grandeur of Pachinko is, in many ways and on many levels, a reminder of how time can affect our lives. It sort of redefines the standard of a story that can move millions of hearts. Pachinko is the life-altering story that should have been brought to screen much earlier. Please go ahead :)
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1Ask me no questions, and I'll tell you no lies.
Mysterious Lotus Casebook is a dark 江湖/jiānghú story about the ultimately futile aspirations and obsessions of the martial world. In an epic battle for supremacy, Di Feisheng of the dark Jinyuan Alliance challenges Li Xiangyi, the leader of the righteous Sigu sect. Both men disappear from the martial world afterwards, leaving a vacuum at the top and their sects in disarray.Ten years later, aspiring young detective Fang Duobing comes across Li Lianhua, a famous itinerant doctor whom he is convinced is a quack. Determined to expose him, he attaches himself to Li Lianhua as inextricably as a wad of chewing gum in his hair. They run into Di Feisheng, who immediately recognises in him his old nemesis Li Xiangyi. The two old rivals remorselessly keep Fang Duobing in the dark as they try to figure out who sabotaged their fight and search for Li Xiangyi's deceased sect brother Shan Gudao's corpse. An unlikely friendship develops as they work together to solve a series of strangely connected jiānghú cases.
Plot wise, this drama is solid but dry and unremarkable. The cases all unfold at a fast pace and are easy to follow, but do not engage audience participation. They are simply plants for clues to a treasure hunt for artefacts that unlock the main conspiracy. Despite a hint of the supernatural, the cases fall short of chilling or suspenseful. The hidden mastermind behind the main conspiracy is pretty obvious and revealed fairly early on, and even the ironic twist at the end is not much of a surprise. Both villains are one-dimensional jiānghú archetypes driven by vanity and delusions of grandeur. Wang Herun's scarily convincing portrayal of the Saintess of the insane cackle elevated the role beyond its one-dimensional character blueprint.
\What makes this drama a success are fascinating main character designs, strong rapport among the three leads, the scintillating dialogues, and well-choreographed and exciting action sequences. The real mystery is about who Li Xiangyi was and why he was killed. The answers are at surface trivial. Li Xiangyi was perched at the top of the martial arts world as the world's best swordsman and leader of the righteous sects. This made him the envy and natural target of virtually everyone. However, Li Xiangyi was far from the perfect hero of Fang Doubing's idealistic imagination. In fact, he was a self-absorbed, pompous ass who believed the universe revolved around him and his worldview. His swordsmanship is matched by a brilliant, cynical mind and a razor-sharp tongue that, according to poor Ai'man, can slay a person with a few words. If there is one thing lacking in Cheng Yi's otherwise stellar performance, it is that his Xiangyi is too empathetic. This masks his many flaws and hides how insufferable and difficult he was as a person. It took me awhile to realise that his sect had some inkling who Li Lianhua really was but they refused to recognise him because they just did not want Li Xiangyi to come back.
As for Li Lianhua, he is just a shard, a detached, sickly, disillusioned and world-weary remnant of the glorious Li Xiangyi. Cheng Yi really compels with his heart rending expression of this facet of the character singing his swan song without a shred of self pity. I lived for the sudden bursts of energy or sheer willpower that momentarily revives the breathtaking, dazzling and dizzying swordsmanship that propelled Li Xiangyi to dominate wuling. Only to all too rapidly diminish back into Li Lianhua again, a wickedly unapolagetic compulsive liar whose mantra is clearly, "Ask me no questions, and I'll tell you no lies." This is how he keeps everyone, and especially the hapless Fang Doubing, at arm's length; to avoid new personal entanglements. Fang Doubing (which literally means "sickly") is a parody character, the typical naive, high-minded, young adventurer raring to make a difference in the martial world. The dialogue is well written and humorously illustrates how grudgingly Li Lianhua is moved by this pesty young detective and tacitly accepts him as his successor. However, this kind of clichéd relationship dynamic of the clueless sidekick that elevates the brilliant sleuth is too common and quickly becomes boring. Li Lianhua's lies to Fang Doubing went on for too long to the point it became cruel and unnecessary. Their relationship is over explored and shortchanges the more interesting relationship in the drama.
What disappoints me most is that the writers opted to very cursorily explore the more complex and interesting relationship between Di Feisheng and Li Lianhua. Di Feisheng is the most layered villain in this story; that rare antagonist who transforms into a protagonist. Like Li Xiangyi, he rises to the top of his sect through sheer martial prowess rather than by winning hearts and minds. They are enemies who become friends, both betrayed and searching for answers. But his story is sidelined for much of the drama, his backstory is rushed, and his relationship with Li Lianhua does not really get a chance to develop and grow. Yet the best moments of this drama, are when all three of them are together, like a found family.
I like that this ends with an action-packed finale and satisfying final confrontations with the antagonists. But as for the plot, the best reveal is when Fang Doubing figures out who Li Lianhua is, which isn't really a revelation to the viewer. And I can't really pinpoint when the plot reaches its climax, as none of the high points make a strong impression. As for the ending, it is fitting but not as definitive as I would have liked. Most of Li Lianhua's journey is about putting his affairs in order and offering closure to those he cared for; to help them move on from Li Xiangyi who in all the ways that mattered died ten years ago. Yet Li Lianhua continues to string poor Fang Doubing (and us) along, which is too cruel and inconsistent with the drama's core message about letting go of past attachments and moving on. These kinds of endings that try to please all audiences really annoy me. I still enjoyed this superbly well written drama, immensely even though I think it had the potential to be much better. For me, this is an excellent 8.5/10.0 and a highly recommended watch.
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What started off as just your normal cliche' filled K-drama, appeared to be a pretty decent story. It seemed it could possibly surprise you a bit, and then you set yourself up with great expectations. Then, out of nowhere, the storyline starts to fall apart at the seams. It's like the writer wrote themselves into a corner just after the first five episodes. All this talent from actors... wasted on pathetic dialogue and pointless scenes. But worst of all, it went from just your usual amount of cliches to being riddled with cliches. Could they possibly get anymore in? Was there a contest for Drama With Most Cliches happening somewhere????
You remember in Dragonball Z how there would be almost like 5 minutes of the characters doing nothing but standing around staring at one another? Yea, that sucks. You know how 1 song plays on the radio 7 times in one day? Yea, but imagine that 1 song playing 7 times within just an hour... every... episode. A horrible, horrible song. No wait, a horrible, horrible chorus of a song THAT DOESN'T EVEN MAKE SENSE. A chorus of a song that will haunt you in your dreams and make you want to punch your computer screen as soon at you hear its impending arrival. Love cannot be the "moment" of anything!!! It's an emotion, damn you!
Something strange happened, though, and it's that I came to completely root for the bad character. This had nothing to do with how the story went, but with how well Kim Woo Bin played his character. If there would be any reason I'd have to recommend to you, dear reader, to watch this, It would be him. The chemistry between the two main characters was non-existent, and Park Shin Hye proved herself (at least to me) to have been a very poor casting selection for the role as she was dull and brought nothing to it. Lee Min Ho seemed to do much better in scenes with every other cast member besides her. Actually, most of the other actors showed fairly good effort in trying to work with what they were given. However, none of it can quite come together for the supporting roles if the main ones are so bad off.
Outside of Kim Woo Bin, other unexpected thefts of the spotlight for this show were: Krystal Jung as Lee Bo Na; the wonderful dynamics between Kim Sung Ryung as Han Ki Ae and Kim Mi Kyung as Park Hui Nam; and Choi Jin Hyuk as the crown bearer Kim Won.
If you decide to watch this, go in with no expectations at all and understanding it will be hard to quit even if you find yourself hating it. It is, indeed, an addictive drug with bad side effects. You've been warned
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Satisfying and Rewarding
I started this review while ongoing and now it’s done, I’m editing my final analysis.Cast: From main leads to supporting, I think this one is well chosen.
Li Xian (Mai Dong) -i give him credit for choosing works that makes his acting credible. Seen him in go go squid and meet yourself. With this third one, he’s secured a spot in my top seven list of male Chinese actors. He brings out the character he plays so well you just admire it. He’s the cold, serious, never smiles mortician…until Jie.
Zhou Tong (Z Jie)- is an incredible versatile actress with a colorful array of roles with big actors. She’s unfiltered, unabashedly comfortable in this role which makes her character so endearing. She has a handicap but it doesn’t stop her from pursuing her dreams, and a love in MaiDong.
Wan Peng (Xiaxia) has a minor role as bestie of Jie. Loved her in My girlfriend is an alien. Here’s she’s almost unrecognizable with her matured new (to me) look. Beautiful.
The rest of cast are so good each putting in their best to compliment and complete this storytelling.
Writing is very good. So many poignant points about life. It really makes you think. FL had lots of insecurities and there are some parts she may seem toxic even. What I like though is how ideal relationships should be. One part she said something totally out of place that really hurt ML. Immediately though she sought his forgiveness, explaining her why’s. I think for many who haven’t had love lives may be turned off automatically after this incident but those of us who have can relate that it’s relationship building in progress. This couple did make progress, big time.
I think it’s unique that the main guy is a make up artist of the deceased. The portrayal of the handling of others loved ones makes me appreciate those who do these acts. These artists are in the background, hardly thought of, recognized. This gives an enlightenment of sort. Definitely an appreciated work.
There’s so many thoughtful lines that goes along that gives us so much feels. “Life is full of different destinations. Eventually you’ll go the grave”. “People buy special urns or beautiful tombstone to make their loved one standout. Those are just illusions. Once you’re dead, you’re dead. Nothing more outstanding than that. Therefore, live the best life you can, while you can”.
This drama is for the matured thinkers. It’s written well, and acted well. As for romance? You got to see it to believe it. It’s exactly as how two people who have just fallen in love act. Finally we see that true warmth of love through eye connections, touches, real hugs, and kisses. Definitely modern display of love. Kissing in public? What? No fish kisses either. Chemistry is sizzling I’m piqued whether it’s acting or real. lol. They did well. Appreciate their work.
It takes an explosive incident to put the decision at rest. Together forever we will be. Done. Very well done.
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I’m seated.
sometimes you just forget what good quality is when it comes to Thai BL shows. I’m not trying to knock other shows, and of course there are some great quality Thai BLs out there. But sometimes everything just falls into place in a way you weren’t expecting.so, I’m not one to write reviews before a series is over; however, Jack & Joker knocked my socks off. not just with storyline, but quality as well. in the first episode we are getting back stories of the MCs… or shall I say their villain origin stories and honestly I. AM. HERE. FOR. It. I might be the problem, but I love a good red flag, anti hero story and even though we are only just starting this journey I believe that’s what we are going to get.
I’m seated. this to me is KinnPorsche level quality, and I am foaming at the mouth wanting more.
oh Joker, the anti hero we didn’t know we wanted has becoming something we need.
I can already see this being my top Thai BL of the year which is wild since I didn’t think anything would dethrone my stand in, yet here we are.
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If ghost stories lie within your watching preferences, perhaps you would have a better time with Hotel Del Luna. As for myself, I was not a fan of the overall plot. It came off as a tad too shallow. For one, there’s a severe imbalance between plot filler (which is how I classify every individual ghost’s story, each of which occupies 80% of each episode) and the truly interesting main plot, which falls off to the wayside. Unless you enjoy brief appearances of random guest ghosts, you’ll probably end up like me: sitting through over an hour’s worth of time per episode, helplessly asking when the Hong Sisters will address Man Wol’s story—which is rarely, until you cross the halfway point of the entire show. What the writers do with Man Wol’s history when it is addressed feels lackluster, if only due to all the unnecessary time buildup prior to it.
The real problem is that we are hardly given reasons to care about each visiting ghost in any major emotional capacity. Although they have interesting stories, it’s a bit like walking down a city sidewalk: you see someone with a pretty wardrobe, “ooh” at it for a second, and then forget your appreciative impressions of it an hour later. Maybe it seems as if I’m being coldhearted, but as much as the Hong Sisters try to emphasize that these ghosts were human with human sufferings, the way the show frequently relies on shock value and horror elements over the ghosts’ pain and healing resulted in me not being able to build true sympathy for these souls. Imagine repeating this apathy for every episode: it’s exhausting trying to force an emotional connection.
The only saving grace of Hotel Del Luna is Man Wol. The way IU presents her character’s conflicting ego and heart is as poignant as it is mysterious, and she executes the identity of a CEO with a low economic IQ with hilarity. Had it not been for this quirkiness of Man Wol’s character, I would not have stuck around until the end. And that’s despite my love for Yeo Jin Goo: though his acting is excellent as always, Chan Sung is a perfect example of a supporting character who hides behind the guise of being a “main character.” There’s only one protagonist in this story, her name being Man Wol. There’s nothing wrong with this, but it is a bit of a letdown that everyone else has the potential to be equally interesting, yet doesn’t get nearly enough development. Chan Sung, for example, is a nobody—beyond pushing Man Wol to address her emotional wounds, he doesn’t possess the individualism that a lead character should have. This means that while the interactions between him and Man Wol may be compelling to watch, the moment that you isolate Chan Sung away from her, he devolves into a character who’s mediocre at best and painfully boring at worst. Seeing as I view Chan Sung like this, that should give you a pretty good idea of what I think of the other supporting characters: meh.
That all being said, I can see the reasons behind the hype. I just wouldn’t say that they’re justified: gorgeous cinematography, a cast list riddled with famous names, and an amazing soundtrack are all great assets to have within a drama. If future shows could continue Hotel Del Luna’s ability to create an effective atmosphere, I would have zero complaints. But what use is all of that if the show at its core doesn’t match up to the level of its decorations? Hotel Del Luna is almost sadly entertaining in that it may be fun in the moment, but doesn’t leave a deep enough impression to be phenomenal.
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"The Prisoner of Beauty" is my Roman Empire!"
The Prisoner of Beauty" is my Roman Empire! I thought "Eternal Love" was my most rewatched C-drama (9 times and counting) & then "My Journey to you" & "General's Lady (6 times each), but nope… "Prisoner of Beauty" said, “Hold my fan.” This one snatched the crown, burned the palace, and declared itself emperor of my "Imma watching it till i learn by heart even the ending credits" list!I'm already on my 4th rewatch in less than 15 days and still fully unhinged. At this point, the play button is filing a restraining order.
The couple’s chemistry? It’s chemistrying harder than Marie Curie in a radioactive lab with no gloves. 🧪 Someone call the drama hazmat team — I’m melting. Their dynamic is enemies-to-lovers-to-obsession-to-I’d-burn-the-empire-for-you. Their eye contact alone has more tension than the entire Ming dynasty!
Song Zu Er as The female lead? STUNNING. She was smart, strong, graceful, and gave regal savage energy. She matched his fire beat for beat — no wallflower, no pushover, just pure elegance with a blade behind her smile.
Together, they were a power couple for the ages — like Mr. & Mrs. Smith if it were set in a palace with revenge plots, stolen glances, and OSTs that end lives.
And Liu Yuning as the male lead??
PLEASE. He didn’t just raise the bar — he burned it, buried it under dramatic OSTs, and then whispered devastating lines in that deep voice while it rained on my standards’ funeral. 😭
He’s 6'3" of brooding stares, lethal elegance, and poetry in motion. His acting? Criminally underrated. His voice? Illegal in at least 7 provinces. His presence? Main character energy so intense, it bends gravity. Every scene he’s in feels like a historical thirst trap wrapped in silk and trauma!
And listen — I don’t know who keeps calling this tall, tragic, sharp-jawed king “ugly,” but I hope your pillow is always warm, your rice undercooked, your earphones tangled, your stream stuck at 99%, and your fave drama ends on a cliffhanger that never resolves!
Not everyone needs to look like a cookie-cutter, AI-generated, flower-boy idol with 17 filters. By international standards, he’s a fine, handsome man — tall, expressive, with charisma that eats the camera alive. And the voice? That’s not just a voice. That’s a weapon of mass seduction. He’s got that "You’ll think about me even in your next life" energy. If that’s “ugly,” then I don’t want “pretty.” I want epic. Tragic. Dangerous.
If anyone calls him “ugly” again, I will Liam Neeson them — I have a very particular set of skills. 😤
I will find you. And I will educate you. With a playlist. And screenshots. And 30-minute character arcs broken down with timestamps.
Now go sit in the corner and think about your life while I rewatch The Prisoner of Beauty for the 5th time and cry into my fan.
If Eternal Love was my comfort drama over the years… then Prisoner of Beauty is my emotional support fever dream.
I’m not watching anymore — I’m studying. Writing a thesis. Citing sources. Defending a dissertation in front of a panel of palace eunuchs while Liu Yuning sings in the background and I spiral! ♥
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Absolutely Beautiful
I LOVED this series! I know unrequited love is very common in BL’s, but this one just hit different! And the actors!! Not only did they do a PHENOMENAL job, they are HOOTTT!!! Like, seriously. Super hot. My new BL bias is YU!!! (Sorry Mew and Saint!) Zhou Shu Yi (YU) and Gao Shi De’s (Sam Lin) chemistry is off the charts in this series! The pacing was absolutely perfect, not too slow, not too rushed. I don’t want to give any spoilers, so I won’t get into the specifics of the plot. This series is about a boy who has been secretly in love with another boy for years, and even instigates a love/hate relationship just to be close to him. Pretty bold move! The chemistry is FIRE, while also managing to be super sweet, soft, and cute. Sometimes in the same scene!! This series is REALLY well made, the storyline is awesome, the actors are phenomenal, and it has that perfect mix of sizzle and sweet! I DEFINITELY recommend watching this series! Seriously. It’s epic.Was this review helpful to you?
As a European, single, career woman in my 30's I have come to expect certain things from my life and people around me.
1. Respect from colleagues for all the hard work I put in
2. Understanding that the hard work has left little room for dating
3. Evenings spent watching dramas because of the aforementioned hard work and singlehood
I started watching "The woman who still wants to marry" because I heard it was going to feature single career women in their 30's and noona-love...
Finally!, I thought. Women I can relate to.
And who doesn't like the added bonus of bit of escapism, in the form of gorgeous young men falling for older women? Yum!
Boy, was I in for a rude awakening.
I'm not oblivious to the fact that, in Korea and Japan, unmarried women over the age of 25 are considered "Christmas Cake". Something that goes bad after the 25th. (Horrible expression btw. Just horrible!)
The previous noona-love dramas I've seen have mostly focused on the woman's inner struggle. Angst and denial of her unsuitable feelings, and so on.
She may have gotten sideways glances while flaunting her young lover publically. But that's about it.
Never mind that this would never happen in real life. Drama magic and suspension of disbelief achieved. Squeee!
In "The woman who still wants to marry", however, our two noonas are bombarded by hair-raising amounts of malicious gossip, disapproving parents and disrespectful colleagues.
The amount of shit that these poor women have to put up with is really disheartening.
If this piece of drama fiction is any reflection on how smart and driven women are treated in Korea... then I have found a whole new level of understanding for all those older and successful über-bitches we tend to see as villains in dramas. No wonder they'd eventually become cold as ice - if this is how they've been treated since their 30's.
While the romance is a big part of this drama. (Two lovely noona-love stories, no less.) The adversities these women face, simply because of their age and ambition, leave such a bitter after taste that it many times overshadows the sweetness of the romance.
I would ask someone who is considering watching this these 3 questions:
1. Are you under 30?
2. Is seeing Kim Bum fall in love pretty much your sole motivation for watching?
3. Do you normally not have problems suspending disbelief when it comes to ill treatment of women?
If your answer to the above questions is a resounding "Yes", then you'll probably enjoy this drama.
If your answer is "No", then you may want to look elsewhere for your escapist drama fix... or at least watch with an awareness of these issues.
I don't regret watching this drama. If for nothing else; Kim Bum pulls off one of the best "grand gesture"-scenes in recent memory. I finally get why women swoon over him now. I do.
It does make me sad though - to think that there are places in the world where it doesn't matter how hard you work to prove yourself. If you are a woman and over 30; you are supposed... no, demanded!... to give up your job and become a stay at home mom. Whether that life appeals, fulfills or excites you in the slightest. That's your duty.
Even if you marry Kim Bum - it would be nice to know you have a choice. Right?
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This review may contain spoilers
***May contain spoilers***I love this movie, cute, lovely, bittersweet, relatable, all rolled into one. I love movies that talks about the reality of loving someone and yet having a dreams and this two conflicts each other and that you have to choose one and regretting at the end. I love the two leads, the acting sre excellent. You can see the transitions as they grow and mature. What makes this a beautiful, is that how the storytelling is just honestly being told. I cried, it is sad, it's painful. God, I feel them, the love in the family is so real!
We really need to constantly remind ourselves that we need to express and demonstrate our love and care to the people we love. This movie just provided a realization that we need to express our love no matter how. The additional scenes of real people saying all kinds of emotions that they cannot tell to their loved ones or lost love, I am just having goosebumps.
Great movie to watch. Soundtracks is excellent especially at the end. Highly recommended.
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Beautiful Gong Shim began as a drama with infinite promise in the rom-com area. The two main characters are quirky and at first glance, you just expect a cute little romance that you can enjoy without much thought. I'll also point out that the first few episodes included some of the most ridiculously funny moments I've ever experienced in any drama, so my expectations were incredibly high as the rest of the episodes came out.
A little past halfway through it, though, the plot tried way too hard to be serious and suspenseful, thus losing its initial humorous merits. The feeling is somewhat like listening to your grandparents tell stories: at first, you're pretty interested, but it quickly gets boring, yet you feel an obligation to sit there until the very last word. I stopped finding things to laugh at. The romantic moments were less rewarding in the midst of the mess of the conspiracy plot the writers drew up for no apparent reason. The characters deteriorated and lost every trait that made them unique.
If there were one redeeming aspect of this drama, I'd have to say that it's Nam Goong Min. Usually a professional in depicting a psycho serial killer in other dramas, this time he's the lead male with a fair amount of goofballness. He was a joy to watch, but his character was not spared in the enormous *let's-make-everyone-generic* massacre. Everyone else fulfilled their roles nicely, but Goong Min's really the star of this show. (Which is interesting, as I thought the directors would give Minah more of a spotlight but she really dropped off the radar late into the drama. I could say less of the wig they made her wear though.)
The music was fun; there were multiple tracks that cheered me up along the way and altogether, they were nice to listen to.
In general, I'd recommend watching maybe the first ten episodes, if not less. The beginning is worth watching, as it puts a smile on your face pretty frequently. It's just the second half that becomes appallingly boring (trust me, you probably wouldn't even miss anything if you skipped straight to the last episode as soon as the story even starts to drag).
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Not your usual RomCom, yet a love triangle on top of a socially critical labour dispute mission
The protagonist's name "Byeon Hyeok" means "revolution". The wordy title "Revolutionary Love" already hints that this is about a Romance. But this title also contains the second plot line: the love that leads him to revolution - to resistance and struggle for the rights of irregular workers in the company of a powerful Jaebeol. One way or another, Byeon Hyeok is at the center of events - as the eldest son of Jaebeol of the Gangsu Group, who is in love and choses the barricades (and new ways) within the corporate culture of his father's business group.Basically, the topic of such a labor dispute is rather socially critical and highly explosive, because there is practically no legal representation for the irregular part-time workers in South Korea. The number of non-regular employees is four times higher than among the other OECD member states. Employment relationship is not well protected. There is no union representation. Irregular employees usually only receive about half the wages of a permanent employee. The time limit is barely a year. Since the Asian crisis, this form of employment has proven to be cost-saving and convenient for small and large companies, so that it has been retained on a large scale to this day. "Revolutionary Love" cleverly focuses on this aspect of the South Korean working world as this critical topic is sort of camouflaged with a lot of slapstick and speed on the humorous note ... and of course there is the romance...
The role of Byeon Hyeok is a showpiece for Choi Si-won, who, with his wide array of physical, wordless visual grimaces and gestures, softens the actually frustrating labour dimension by Korean standards to a level that makes it accessible to the masses on public cable TV (and 'permissible' for the powerful). At the same time, Choi Si-won has the necessary sincerity to also show his sensitive side and create space for the closeness of a romantic relationship. In contrast to the comedic character of Byeon Hyeok is his 'friend' Kwon Jae-hoon, whose leitmotif ´seriousness´ can hardly be surpassed. In between, the head of the "revolution" whirls: the street smart Baek Joon.
"Revolutionary Love" is a KDrama that is often underestimated by Western viewers in its ambitious socio-critical and labour policy claims. It knows how to touch with the protagonists' love triangle despite the labour dispute mission. Yet, be aware, it is not your usual RomCom.
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“Don’t judge a book by its cover.” We’ve probably all heard that line at some point. Likewise, you should NEVER judge a drama by its synopsis.
When I first read the synopsis, I didn’t think the drama seemed worth my time. I mean, okay, so there’s two completely different cops, milkshake-drinking killers who are twins and an abnormal President and local triad. So what?
However, once I actually starting watching (due to a phase of boredom), this drama absolutely blew my mind!
The cast was great; everyone played their role well and I thought that Vic (as Chen Zai Tian) and Mark (as Wu Ying Xiong) were very strong foils of each other. Indeed, they were “different as day and night.”
All the characters had their own reasons and their own stories which caused them to be who they were and act the way they did.
The music was very fitting, especially the opening and ending themes. They were very “powerful” and I thought that suited the mood of the whole drama.
In general, this drama can only be described by “there’s more to it than meets the eye.” It’s not just about two very different police officers or anything as ‘simple and plain’ as that. As the English title says, it’s (about) “Black & White.”
For me, everything seemed to happen so subtly that by the time I realized it, it had already hit me in the face. The minute I thought I had everything more or less figured out, I was shown pretty quickly that I was wrong. Dead wrong.
I wasn’t expecting anything when I started watching it but by the time I finished watching it, I didn’t know what to expect anymore. That’s probably why I liked it so much – it’s just so different. It’s also not much of a romance-drama possibly because focusing too much on the romance would’ve reduced the impact of their REAL message, but that in a way kept the whole series at a ‘practical’ level because it didn’t have to take time out to build and establish romantic-fantasies on the side. I absolutely loved the themes, ideas, concepts that this drama presented to me. To say any more would just give everything away.
(After watching, I thought “maybe that’s why the synopsis was so bad. To say any more would have suggested something about the true intentions of this drama.”)
So in the end, all I can say is this:
This drama isn’t just about that little handful of characters mentioned in the synopsis. Rather, I felt that it was about much, much more.
The most important part of it for me were definitely the underlying themes that came out of it all, but that’s really just something you have to see and figure out on your own. It had a huge impact on the way I think, but it may or may not do the same for you.
It’s about “Black & White.” But what do you think this “Black & White” is about?
-Please keep in mind that this is all based on personal opinion.-
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