ring

This is more meta but it also lends the Father an unreal quality from the outset, past the obvious father figure presentation and lending him a distinct holiness. He remembers all his boys, he can recall not just names but personality, and the proof to back it up is in this simple interaction. It makes Tanrak immediately more accessible, not only does he want to see his parents but his model of faith is someone displaying genuine care, a figure whos guided him for years and prioritizes these kids at the centre of his teaching. It also lends an immediate sense of dread, he remembers Barth so easily, but he could never forget Tanrak. I think its really smart to have him presented this way, it's easier to stand firm in rebellion when everything is against you, it is much shakier once youve received not only care, but a purpose and vision behind denying yourself.

seven screenwriters on a project is one thing, but most of gmmtvs 2024/2025 lineup have felt sterile beyond measure, and a lot of it is because theyre trying really hard to appeal to GL/BL audiences First. The main market for GMMTV is teenagers and young adults, and their shows function as idol dramas. I don't think that works well with telling adult stories, which is what they tried to do here. so much of the drama ended up simplistic, as if only drummed up to create shock factor and conversation, and even with all that runtime both min and preaw felt very undercooked in a supposed ensemble, while krisbaipor were prolonged fanservice, stuff that really screams exec input. just unfortunate all around, considering how excited all the production teams and actresses seemed to be for it.

sometimes i see discourse that tries to pin internalized homophobia as something that can be overcome through bravery alone, when in reality so many people are held back by the structures surrounding them. it is not always possible to be brave, it is not easy to "get over" experiences, and its callous and unkind to so many people still struggling to act as if depictions of queerness like moonlight are regressive.

For another example in My Sassy Girl, Jun Jihyuns Girl is an exemplar of brashness and recklessness that was directly transgressive to the status quo and expectations of femininity at the time. Compared to a modern landscape where many women in a leading role must be Strong, without really interrogating what that means or even making slight gestures at the increasingly patriarchal and misogynist chokeholds stifling South Korea. You can't keep trying to reignite sparks without understanding why people found certain material compelling in the first place!