The time has come to talk about all of the delicious details of Deep In. Be aware - this post has spoilers.
This show is dripping in industry commentary, meaningful dialogue, parallels, all kinds of symbolism, and the one that is easiest to spot...visual storytelling.
As the blinding light attests, Zhen Xin's been gone on Zhang Zhun from the beginning.
Whether it's an appropriately placed neon sign...
A subtle clue to whose story we're telling.
Or a swarm of symbolic smoking examples...
This show has obviously had its details thought out. I've held back on posting, mostly because I wanted to see how the details carried through. And...I didn't want to risk ending up in the extremely sleep deprived state I did during When It Rains 😅. There really is SO much there to write about that it was a very real danger for me.
The thing most people have already clocked is the transitions between the actors and the characters they play where the aspect ratio (and coloring) shift so that's where we'll start.
There is much to consider based on when the letterboxing (i.e. black bars on top and bottom) appears.
We have letterboxing in the opening shot of episode 1. This becomes important when we come back to the finale. The wind chime shown here is the same as the one the novel readers have in their room. As we find out in the finale, the movie is a version of their story.
But for the rest of the first two episodes, such as when Zhang Zhun is auditioning or when Zhang Zhun is "proving" he can act to the one that wants his role, we do not have it.
We instead have the shots of "seeing the characters through the camera" while the actors themselves are not fully immersed...
And they're doing what they personally want (although director very much doesn't mind banking on that as long as it works).
Director does realize they have personal feelings involved...it's why he makes a move to separate them.
The first time letterboxing appears again is in Episode 3.
This is after the drunken encounter where Zhang Zhun calls him Fang Chi while off set and Zhen Xin takes problematic pictures.
One could argue that this is the split in the road where the line becomes drawn and they now have their "own story" and "the characters" - especially for Zhang Zhun. We see confirmation of that in the finale episode where Zhang Zhun confesses that this is when he realized he had crossed the line.
In any case, from this point on - the aspect ratio transitions and color grading are used to show a strong distinction between when the actors are fully immersed into their characters or when they're letting their own feelings bleed through. The framing suggests that they are separate stories. Even if there were parallels, the love/relationship of the actors was real and distinct from their characters.
Now it's not all smooth sailing. Even in episode 3 - the very next scene, they are back filming in full screen with the characters only on camera. And the assistant makes note that they don't seem to be getting along.
I actually love it, because the director notes that they ARE actors. Even if their personal feelings are there, the characters are seen on screen.
It's a sign that the letterboxing is FOR US. It's a guide for the audience to get a gauge of what's happening mentally for Zhen Xin and Zhang Zhun. They are still professionals. People successfully act all the time even when their personal feelings don't match the character.
From episode 4, we pretty much consistently have the letterboxing when they are in character. On one hand, it's practical. The movie scenes start getting really long. But we should still notice when there are exceptions...b/c that tells us about the actors' story.
In episode 4 - we're full screen when Zhang Zhun calls Zhen Xin's name while filming a tough, emotional scene.
The characters are on camera, but they are personally affected by filming this scene.
In episode 5, they start in character
But the feeling transitions and it becomes personal.
Zhen Xin is well aware that he wasn't acting at that point. It's shown repeatedly in dialogue that he's always been aware of the difference.
In episode 6, Zhang Zhun gets pulled really far into character. Zhen Xin follows him as a form of comfort and talks to him about when they first filmed together on the other set. In that flashback, it's full screen. Because that was about them, not Fang Chi and Gao Zhun or the characters in the other show.
In episode 7, we get full screen once Feng Yun Ting (Zhen Xin's girlfriend) has come on set.
In this case, there is no camera "seeing the characters" and director cuts because it's not right. Their personal feelings are interfering too much.
However, this also works in a type of reverse. In episode 9, the director isn't happy with how they portrayed the scene.
But the letterboxing is there.
They WERE in character. They WERE acting as they thought their character should. However, they had a different vision than the director.
It's a great reminder that we all bring our personal experiences and viewpoints to the table when we interpret and create art.
Which brings us to the final episode with two notable things.
We have a long movie sequence with the letterboxing.
But when filming the final scene, we're full screen.
It's a parallel to the audition - complete with curtains. If the first scene was them was a greeting with Zhen Xin welcoming Zhang Zhun into his space, then this scene is them saying goodbye. Personal feelings are very present.
Putting my clown car theory of Zhang Zhun's thinking bread aside, after many months and numerous symbols and callbacks that made my heart sing with joy...
We get to the final kiss on the stage of the movie premiere.
The scene within the credits is full screen showing that this kiss was between the actors and about their feelings.
But the same kiss was shown prior to the credits with a transition into letterboxing...
Because the actors are also characters in a book.
A story within a story that is really a type of loop 😅. Man, I love a show that gives me plenty to ponder and chew on.
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