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elderflowergin · 8 months

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A little rant about MBC My Dearest, purity and men who weaponise it:

(Trigger warning: sexual assault, rape as a war crime)

Fusion sageuk or not, this world has some set rules around purity, even in the relatively loosey-goosey Neuggeunri, where women and men can and do commingle, chat and meet in groups. The last barbarian invasion hangs over them; the old ladies in Gil-chae’s hometown tell the girls that death is better than allowing the barbarians to touch you and that if they do, you should kill yourself for the sake of said purity. Death is preferable to lost purity in this time/place; that’s firmly established from the beginning of the show. (It’s reinforced midway when Injo’s court reports of women who jumped off cliffs into the sea at Ganghwa rather than be taken by barbarians, no doubt perceived not as an avoidance of pain and torture, but a praiseworthy act designed to retain and restore purity).

Gil-chae and Eun-ae have to grapple with this when Eun-ae is attacked by a barbarian. Eun-ae was violated and felt violated by what happened. They know what they are supposed to do, what the old ladies told them to do; and yet Gil-chae holds Eun-ae close and says, nothing happened. We were hurt and our clothes were torn because we rolled down a mountain. Nothing happened to us. She rewrote that story, in the face of everything that said Eun-ae didn’t deserve to live anymore. Consummate survival requires rewriting stories, even the ones that are the hardest to paper over.

Because it appears again in Hanyang, in relative peacetime, when Eun-ae feels she cannot accept Yeon-jun’s proposal, because even if Gil-chae rewrote that story, it’s harder to reconfigure shame when it’s under the skin, when it’s attached to the thing that makes you valuable as a woman. Yeon-jun may never know what it took for his future wife to survive, and that ignorance too, is a privilege. But Eun-ae knows, and perceives her value differently now than before. It’s Gil-chae who persuades her again, who reminds her that they rewrote this story together, two women who survived against all odds.

In this postwar, still somewhat vulnerable time, the possibility is high that there are assault survivors around, just as there are women who may have had to sell their bodies to feed their families, or broken any number of rules around purity for survival. It’s foreseeable that women survivors have been through or seen unimaginable things happen to other women, to their friends and have experienced it themselves. I’m not saying this to undersell the general trauma of war on men - just to say that war crimes hurt women in a very different, very intensely long-lasting way* as compared to theatres of war and fighting.

All of this to say: it didn’t take Jang Hyeon very long to go from “you’re not as pure as you think you are for loving a taken man” a few episodes ago to “you couldn’t live without a man for a day? If you were going to give it away you might as well come to me at least once.” I am truly horrified that he pretty much gets away with it; Gil-chae moves with the punch and gets in a hit of her own, but that’s a bone-chilling thing to tell a woman, any woman. It would be a terrible thing to say to a woman now, let alone in a time when that mattered so much to women, let alone in a time and place where it was forcibly taken from so many women, many of whom died so it wouldn’t be.

This callous attitude continues later when she’s run away with him and they’re in a room for the night. She tentatively asks about marriage, saying that it would be hard for her, since she’s almost a married woman, and people would consider her “used”. (Her fiancé later tells Yeon-jun that he is permitted to kill his partner and the adulterous lover, so this isn’t a gossip without consequence.) In essence, Gil-chae put her life on the line for a man who still says “Husband, no. I am your servant and my body is yours”, a promise that carries little substantive meaning in their world. Marriage isn’t a luxury good that she’s asking for as a whim. It’s what protects Gil-chae and her family from harm; it’s what will allow her sister to find a suitable match later on.)

Jang Hyeon is shown from the start as a man of his own ideas, someone who who doesn’t truck with traditional Joseon morality. He can and does reinvent rules for himself, and clearly doesn’t think that much of notions of purity, but he’s fine using them against Gil-chae.

Yes, Jang Hyeon saved her life during the war, but Jang Hyeon also had the choice of participating or not, the luxury of stepping back if he so chose. Gil-chae had no such luxury, no such choice, an open target on the run. He no doubt understands that the barbarians are raping women, that to survive as a woman is fraught, that sex has become fraught. To use purity to attack a woman he claims to love, to reduce her momentarily the way those old women did - to express his anger by lashing out in this way, in a way calculated to hurt, to violently pierce at the foundation of what it means to be a woman in this time and place is a cruelty that is hard to countenance. It’s telling that his anger at her leads him there, that it escalated with all that time, because he knows that’s what hurts. He knows it’s valuable, knows it hurts when he strikes at it, and yet will do little to protect it for her. I don’t know if there’s any amount of growth that will change this, whether it’s something he can change at all.

There are many upsetting things about this episode, but Gil-chae’s choice to stay at the end is the least upsetting part of it, and the most conceivable, intelligent choice she could have made in the face of a man who - in her perspective - can only offer her fervent words and a feverish gaze, things that will not feed her family or protect her reputation, her business or her heart.

#*there is literature out there on this topic #in case anyone wants to read about rape as a war crime #but i wanted to put that in context #as well as his statements #okay off to daydream about the modern au fixit #mbc my dearest #my dearest #eta: the term should be rape as a weapon of war #although it is also a war crime #as more recent definitions of it go #gin text posts

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achiara · 8 months

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#mbc my dearest #my dearest #namgoong min #kim yoon woo #kdramanetwork #gif #mine #look what that hands focused shot made me do #open vs and ps for the first time in forever #after i thought i officially retired from this giffing business #anyway can we talk about hands #and how there was no reason to make it look so...so personal #the first time i watched it i didn't even realize he was passing him a secret message and i was ready to bite my fist lol #also i really need ryang eum to stop looking at him like /that/#it makes me feel unwell

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gidaryeong · 4 months

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2023 drama roundup

Unchained Love: I still hum the unhinged flute intro on a regular basis, easily my fave intro of 2023! I didn't actually finish the show due to dwindling interest, but for the first 14 episodes or so I took a keen pleasure in it (and it made me go on a eunuch webnovel spree, expertly curated by @mercipourleslivres). I love it when heroines are allowed to be truly funny, rather than just quirky or ditzy. Also appreciate the goofy Lamp Prince turning into a brutal incel tyrant the moment he got power.

Six Flying Dragons: I don't think I can write anything succinct enough for the roundup format so I direct you to my "my sfd tag" if you want to access my enthused livetweeting. Show of all times, lives were changed.

Tree with Deep Roots: I literally can't think of a better topic for a tv show than Sejong the Great constructing hangul together with his band of nerds, one of whom he has a weirdly intense, vaguely erotic relationship with. Han Suk-kyu carried this entire show on his trembling shoulders. What an actor! What range!!! It was such a treat to watch him smugly debate his ministers, roleplay a farmer, and hiss half-mad soliloquies to himself in the dark. It took nuance and depth to portray the kind of inner conflicts and generational trauma that Sejong battles in the background of this drama. To be honest I didn't always enjoy the Milbon subplot which I felt got repetitive, and often found myself wanting to fast-forward the wuxia scenes. In a better world the show would have centered the whip-smart palace maids and their alphabet workshops. But I will definitely rewatch this soon. And maybe also write a fix-it where Sejong and Soo-yi fuck idk.

Quartet: Cute little murder mystery about a found family of freaks, liked it a lot.

My Country: The New Age: As entertaining as ever. Very fun to rewatch this back to back with Tree with Deep Roots, since Jang Hyuk plays diametrically opposite characters with the same vigor and commitment.

Gone with the Rain: Sometimes you watch something which you understand is technically a masterpiece but it doesn't do anything for you, and sometimes you watch a piece of campy silly fun and it makes you tingle with joy. This was the latter category for me. I liked the first and middle parts enough to make up for the lukewarm fizzle of an ending.

The Autumn Ballad: Has some fucked up elements that are difficult to stomach, but the parts that are good are really good.

Not Others: Bingeable! But imo they could have cut out the stalker/murder cases and just focused on the excellent family drama.

The Matchmakers: This surprisingly swooped in towards the end of the year as my favorite comedy of 2023, all thanks to a rec by @haraxvati. I adore Cho Yi-hyun in this role!!! She is so hot as a shrewd matchmaker with a fake mole and a twinkle in her eye. Love the virgin prince with his yearning-induced panic attacks (Rowoon didn't work for me in The King's Affection in a quite similar role, but he's so much weirder and lamer here, which is something I like in a man). I am obsessed with the side plot of the crossdressing romance novelist and the solemn police officer who is trying to capture her and ends up giving her free home renovations and smouldering looks instead. Also, Park Ji-Young and Lee Hae-Young are two of my favorite villain actors on their own, and here they are married!! Still have a few episodes to go, but I intend to binge them as soon as I post this.

Dramas I dropped or paused:

Our Blossoming Youth: I shipped the heroine and her cute maidservant a little too much to bear the dull prince they stuck her with. But I might rewatch it some day bc I want to write a Sherlock Holmes fic for the girls.

Little Women: A real disappointment, because I love Louisa May Alcott and I love Jeong Seo-kyeong. Once again, letting the women kiss might have solved much of it.

Island: Casting Kim Nam-gil as an expressionless cool-guy action hero offends me personally. (Yes Song of the Bandits I'm giving you the stinky eye also.) But Lee Da-hee and Cha Eun-woo were delightful!

See you in my 19th life: I couldn't, even for my most darling Shin Hye-sun, go beyond episode 1. There's something about a kid dating another kid even though she's a literal adult inside her brain that I can't really vibe with.

My Dearest: I do intend to finish this, but I lost the thread after the first half. It got a little too dark for me I think.

#you'll get my moving and minglan recaps in the 2024 roundup because i haven't finished them yet #(i like minglan too much to binge it and my husband won't let me watch either show without him)#unchained love #six flying dragons #tree with deep roots #quartet #my country: the new age #gone with the rain #the autumn ballad #not others #the matchmakers #our blossoming youth #tvn little women #tving island #see you in my 19th life #mbc my dearest #2023 recap #kdrama

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cere-mon-ials · 4 months

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2023 in kdramas

*that i finished

**in order of how deep and lasting the brainrot was/is from barely a smidge to stitched to my soul

[12] I figured See You In My 19th Life would be trying when I couldn’t understand why an extraordinary individual in her 18th life—18 incredible lives lived over some of history’s most happening centuries—would fixate on one pesky schoolboy. I bought it because (a) Shin Hye-sun was selling it (b) the show tried to make it clear that while she remembered her past lives, it is not the same as living the one she is in. So when the young Ju-won meets Seo-ha, she is still a 12-year-old who happens to fall for a 9-year-old, except she has heightened emotional maturity.

The plot follows Ju-won, who is reincarnated as Ban Ji-eum, her 19th life after her 18th was cut short in a car accident with Seo-ha. Then, the show fumbles its own logic, unable to choose if the real gift is living in the present or remembering how we got there. We are told that Ji-eum is determined to fix the life she didn’t get to live as Ju-won and because Ju-won’s family and Seo-ha are still alive, that’s who she seeks out. She also finds a dear one from her 17th life. The twist is that the 18th life was meant to be a fated reincarnation of two lovers, who in their time—the first life—were wronged. In the end, when the sins are atoned for, Ji-eum loses the memories of her past lives. She is Ji-eum, smart and talented, daughter of an abusive man and born destitute, free of karmic obligations. But who is this Ji-eum? Who does she love? Why are the memories of everyone who knew her as the extraordinary Ju-won/Ji-eum so valuable and hers isn’t? Milquetoast writing and a genuine lack of interesting characters in the rest of the show.

[11] I didn’t finish the first season of Dr. Romantic because I had a violent reaction (derogatory) to Yoo Yeon-seok’s character. I went straight to the additional episode ft. Kim Hye-soo who is ~flails~ and warmed up to this fantastic ensemble, thanks to a YYS-less sequel. Season 3 is ambitious and follows the raggity crew of overworked doctors in a country hospital now coping with its expansion into an elite trauma centre. The show does neither this premise nor the incredible cast they managed to bring back together (at least four of who could demand three times what they were paid in S2) any real justice. It had all the ingredients and an emotional core that is most pleasing to me. Seriously, it was so good: in reaching for the Michelin stars of healthcare, ostensibly Kim Sabu’s legacy, both he and his colleagues find that they may need to reassess what he taught them. Look at the implications. Doldam is a hospital that has run for two seasons on the strength of close-knit interpersonal relationships in ways (some might accuse) hazardous to professional codes. Something's gotta give.

DRR S3 does not trust the emotional tensions that these ideas can provoke and instead, throws in spectacle after spectacle. A bloodbath on a ship carrying illegal migrants, a raging forest fire, a building collapse. And there are villains, written as yangs to yings, in a main character's father played by an actual trash person, and then groan a politician. I mean, the vagaries of ill fortune and death is right there. Isn’t that enough? Makes you wonder just how did Lee-Shin partnership accomplish what they did with HosPlay. Someone who loves DRR’s characters will sit through it. But it’s junk food.

[10] Lee Bo-young is a force in Agency. It's a tried and tested formula: a brilliant creative person with abandonment issues in fantastic clothes. I enjoyed the snippy dialogues, peppered with refreshing metaphor and irony reminiscent of vintage Hollywood flicks. The writing isn’t confident about what it wants to say about an ambitious single woman in a workplace (and other women too including working mothers, women who find no need in dressing up to do their jobs, expert women who still have to struggle when they want to build something). But perhaps you, like me, can let it pass. It is not ideal to fetch a real answer to women’s struggles amidst capitalist excess.

[9] Our Blooming Youth begins with a cursed prince (Park Hyung-sik) and a noblewoman (Jeon So-nee) accused of murdering her entire family joining hands to free each other. Lurking behind is a national conspiracy spearheaded by several degenerate officials who wish to erase a people and their history—interesting that OBY and My Dearest later in the year featured the most marginalised being branded as traitors. The prince and noblewoman (cross-dressed as a eunuch of course) are joined by four young individuals who feel a sense of duty. I adored this band and their shenanigans. The show is kind to the youth in question, to their capacity to chase freedom and friendship. I was moved by such love for characters in this story about nationhood as an ongoing project.

But enjoying OBY means reading in between the lines because the show doesn’t know what to do with its 20-episode length or the depth of its interest in the scars of unacknowledged genocide. I felt impatient and unfulfilled more times than I’d like. I wish OBY was more meaty because it had the opportunity to be radical and chose to be inoffensive. Hyung-sik, very dear to me. So-nee, GOSH. I have loved her since Encounter (2018) and she fills a frame like nobody’s business. If there is such a thing as female gaze, she’s got it. I caught her in the little I watched of Soulmate (2023) recently. A marvel, just like Kim Da-mi.

[8] One Day Off is whimsical and celebrates the mundane in eight chapters following the wanderings of a school teacher, played by the luminous Lee Na-young. Japanese entertainment does discovering minor joys and its everydayness so well that it’s a genre in itself. I have seen it in a handful Korean variety shows too. As a drama, this is new to me and ODO felt special. It giveth in multitudes taking us to a monastery, an art exhibit, a film festival, a planetarium, many bakeries. At other times, it puts us in the middle of a rainy day and ancestral rites and a bus station where the teacher is stuck with condescending boomers. It's lovely.

[7] King The Land benefitted from low expectations of prestige. Junho lovers were tuning in to see him frolic after his Baeksang-winning performance as King Jeongjo, I can’t speak for Yoon-A lovers. The makers wanted to bank on these beloved actors and there is minimal friction between who they are and what they play on-screen. Junho, handsome, rich, kind. Yoon-A, pretty, hardworking, warm. There is a good chance that this show was part of a joint marketing campaign by Dior and Estee Lauder. And also, possibly, Thailand's tourism department. KTL is classic popcorn, easy on the eyes, easy on the mind (save for that irritatingly stupid arc with the ‘Arab prince’), designed to be innocuous. Here’s the thing, though: the cast and crew were not messing around with that dough. They chose to inject this fan + consumer service with an earnest desire to entertain missers of fluff romance. Lee Junho, permanent resident of my heart.

[6] Going in with low expectations helped when I watched My ID is Gangnam Beauty too. Kang Mi-rae is starting college with a new face, having shed her old one at the surgeon’s table because of life-long bullying at being conventionally unattractive. But Mi-rae now has to deal with gossip and judgement about the extents she has gone for what’s deemed as a vanity project. When Mi-rae says that it matters what people think of her, I can't object. It’s because Gangnam Beauty tells a story about familiar feelings and yet, it is also defiantly about Mi-rae. You can walk with her but you’re aware that not all of us walk in her precise shoes, and it’s not about measuring who’s having it worse either. I loved watching her settle into her skin, remaining compassionate in whatever is the opposite of noble idiocy.

Very sweet romance. I may not have noticed Cha Eun-woo if I hadn’t been derailed to the hilt by him in Island—also a show I finished but you will not find it on this list For Reasons.

[5] I wanted to love My Dearest a lot more. It was promising what with Namgoong Min as the perfect Lee Jang-hyun and Ahn Eun-jin as the perfect Yoo Gil-chae. NGM’s ability to smirk in a way that elicits both a punch and a blush is unparalleled. He owns the role of clever playboy merchant who sees the rules of polite society as impositions and who values human life above platitudes. AEJ's Gil-chae is stubborn and witty and audacious and has no interest in anything that distracts her from her desires. I loved them, and that became one of my problems when Part 1 ended. NGM is the perfect Jang-hyun and AEJ is the perfect Gil-chae but I wasn’t able to root for their romance. I never quite got over how the desire that they shared, which war put a damper on before it got a chance to bloom, gets cheapened at the end of Part 1—please read @elderflowergin's excellent post about this. In Part 2, that conversation isn’t adequately addressed but I was there to watch these two actors earn their Baeksang nominations. I found myself willing to move with the tides when Jang-hyun and Gil-chae let each other in after they learn to devote themselves to the people who make their community.

I cannot fault MD, however, on its commentary about how war disrupts ordinary life. There is nothing more moving in the show than the Joseon slaves in Qing singing their songs and harvesting rice, yearning for home while the King and his scholars commit to preserving standing and write these countrymen off. It’s a sharp critique of an upper class that delude themselves about their importance. MD is courageous enough to say that the nation does owe something to its people and the nation must prove itself worthy of sacrifice before it can demand such a thing. I haven’t stopped feeling the pangs of this love letter to a people and their land. The first seven episodes, set during the invasion and in the early days of the Joseon surrender, is real television. It’s what I watch sageuks for.

What else? Great telling of Crown Prince So-hyeons’s story. Lee Chung-ah is captivating. MD would have risen in my heart and on this list if it were more attentive to Ryang-eum. Double amnesia was comically exhausting to watch but I do feel generous now. The first time round Jang-hyun regains his memory because of a tangible article that proved Gil-chae’s love for him. The second time he traces back the arc of his life that spawned enduring memories of love and dreams. He’s not looking to retrieve what he doesn’t know he has lost. He knows he has lost and he is piecing together what he can. That’s a bold note to conclude on by makers who have risen to question the state of a nation in the hands of incompetence and cruelty and obscene pride. The racism is unsurprising—I wish this meant that I had better tolerance for it. I also wish the story knew better than to push Eun-hye to the sidelines. My favourite scene is Gil-chae finding Jang-hyun clawing to life by a string on a pile of corpses and proceeding to play dead while holding him tight to escape.

[4] I kept tuning in to Moving week after week despite my reservations about high school life, superheroes, and gore because it is a feat of storytelling. A rewarding first act, an absorbing second, and a near perfect third. It’s a compelling story on its own about superhero parents who will go to any lengths to protect their superhero children. But it’s also poignant in how it tackles passive peace.

Critiques of the state’s abuse of power often turn fangless in the face of this idea about national security, the notion that secures our future. Writers fumble because they feel forced to provide an alternative: how else do we protect what we must? Moving kills the question by letting you see past that what (national security) and takes you to a who (our children, our literal future). It dismantles the illusions with its central stage as a highly-surveilled school where undercover secret agents observe and train gifted children. The litmus test isn’t going to be the abstraction of a nation. It’s going to be whether our children can grow up, can learn, can be free to be who they want to be, irrespective of talents they may or may not possess.

A state which can’t imagine freedom as such is a failed state and a failed state resorts to joining hands with those who have every interest in keeping us from seeing that we do in fact want the same things as our neighbours. The real world bleeds in when the story of two Koreas becomes apparent. It’s acutely observed in a way that’s trope-y but perhaps not untrue. But the show is more interested in the shared Koreanness, in their love for their children, and for the unimpeachable desire to make their lives better.

Park Hee-soon had me hugging myself from his first frame to the last. Electrifying performance. Han Hyo-joo, oh my god.

[3] My Lovely Boxer was made for me. It’s about Gwon-sook (Kim So-hye), a boxing prodigy who disappeared from public eye after failing to show up for a championship game and Tae-young (Lee Sang-yeob), a ruthless sports agent at the cross hairs of matchfixing. Tae-young has messes to clean, payments to make, and he finds Gwon-sook to bring her back to the limelight for one final game to lose. Gwon-sook wants nothing to do with the sport and Tae-young promises that if disappearing for good is what she wants, then this plan would work for her too. It’s exactly as angsty as it sounds.

The show works because it doesn’t touch a thing that it isn’t willing to gnaw into. It doesn’t merely dangle matchfixing as plot omen—it explores the emotional and economic damages for the sportsmen with heft. Gwon-sook feels no love for boxing but she isn’t the only boxer in the world and that feeling is hardly universal. One of my favourite characters this year is Ah-reum, the opponent of that championship game for which Gwon-sook didn’t show up. That day, Gwon-sook may have chosen to leave the game for self-preservation but she also took away Ah-reum’s right to fair play. MLB is at its best when it navigates Gwon-sook seeking Ah-reum’s forgiveness because therein lies sportsmanship and what it means to tirelessly push your body for a shot at the ring. It’s an exhilarating journey with these two girls because (a) you want Ah-reum to have her moment (b) you don’t want Gwon-sook to lose and let the matchfixing bookers pocket money (c) you begin to wish Gwon-sook could win because she is too good. The stakes are delicious because the bookers are also a tad bit murderous and the final match had me at the edge of my seat.

Lee Sang-yeob was a shock to my system with his intense stare and a thespian interpretation of a man in shades of grey. Sexy bitch. I want to see Kim So-hye and Shin Se-kyung play sisters one day.

[2] Into The Ring tops my list of kdrama romcoms. Nana is a star and the fact that Se-ra cannot walk straight to save her life makes me giggle. She is blunt in the wrong ways, sharp in the wrong ways, and honest in all the right ways. Her heart is big and she has a sense of service to the people around her as though she really believes she was raised by a village. I loved Se-ra’s parents who reminded me of my own in their warmth and clownery. Park Sung-hoon’s Gong-myung is the dream guy: competent at work, loser in everything else. There’s only one kind of valid workplace romance and it’s this: accidentally becoming an elected representative and your childhood nerd friend volunteering to be your secretary to cover your ass. Perfect, no notes.

I happened to be reading Sara Ahmed’s Complaint! around the same time and I think it made me love the show's take on political action more. This is where Se-ra begins, just her and her complaint diary. That early episode where it dawns on her that she wants this job as much as she needs it got to me. There’s much to love in a show that is okay with however small a population she represents, as long as they are fun about joy and serious about justice.

[1] At the outset, Call It Love sounded like the makjang I avoid—a relationship between a woman and the son of her father’s mistress? Turns out, it's possible to tell that story like an accomplished spare poem with meticulously composed frames overdoing headroom and pared down dialogues. In effect, CIL is beautiful to look at and inviting to spend time with. This is kdrama caviar. Debut writer Kim Ga-eun has a gift for writing loneliness and solitude as not mutually exclusive to being a loved and loving person. She’s drawn comparisons to the extraordinary Park Hae-young who is the master at this sorcery. To my mind, the comparisons hold merit in subject but they operate with different intentions and styles. I hope they meet one day and I get to be a fly on the wall.

I was struck by how Lee Sung-kyung played Woo-joo as the responsible middle child, the one most burdened by the timing of her family’s collapse. The show is about her revenge but often, you see her struggle with the coldness this demands of her. She cannot resist what comes easiest to her and that’s her ability to see people having bad times as a reflection of the times, not the people. It's why she can forgive the aggrieved man who harms her, and why she tidies Dong-jin’s ex’s house while the ex is recouping from the heartbreak of losing the same man she is falling in love with.

No one has gotten the allure of the quiet guy, the shy guy, the good guy who is too awkward to be nice like Kim Young-kwang has. Dong-jin knows he has to work very hard to keep up with the pace of the world. He knows his mind but is afraid to impose it, because he doesn’t think it matters and because he doesn’t want to be a bother. Young-kwang just gets that line between clarity and low-esteem. I will never forget his teary eyes and total submission to loving Woo-joo in the single word he lets out with a hitched exhale. He slouches a lot but he will look you in the eye when he has to say something he doesn’t want to repeat. I loved him for that dignity. Special kisses to him for ditching neck ties.

It is true pleasure to see two male leads, majestic and towering in physique, composed to look tiny and frail. At one point, the costume department steps up Woo-joo’s wardrobe as her feelings intensify and it doesn't come across as a makeover. It is presented as the ordinary consequence of paying attention. I loved everything and everyone. The siblings. The ex-girlfriend, the bad mother and also, the generous & kinda clueless one. The stepfather who lingered, the best friends, the loyal & competent manager lady. Favourite kiss.

I am currently watching four dramas: A Good Day To Be A Dog (cute & fun), My Demon (silly & fun), Park's Marriage Contract (testing my patience), and Tell Me That You Love Me (relishing but for some reason not investing). I missed Not Others and The Eighth Sense when they were airing and they are the two shows from 2023 that I am adding to my watchlist. I am looking forward to 2024 because we seem to be getting at least one release from several greats and beauties. See you then! I hope no one emails you for the rest of the year and you eat well.