Deep In

blurred lines

Overall: I have mixed feeling with this one. 12 episodes about 35 minutes (plus long end credits and bonus scene at the very end of each episode 1, 2, 4, 7, 9, 12 were my favorites). Aired on GTV YouTube Channel (ep 1 free, 2 onward for channel members?) https://www.youtube.com/watch?v=oRZsDVs7WAo (available in Africa, Southeast Asia and some countries in the Middle East); GagaOOLala (not available in the Americas, Europe, Middle East, Oceania, India, Japan or Korea); Viki viki.com/tv/41593c-deep-in and Heavenly (for S. Korea)

Content Warning (for the series): non con touching, punch, rape/dub con sex (drunk), non con kissing, non con recording/sharing, unwanted outing, homophobia, slap, manipulation, slurs

Content Warnings (for the series they were filming): therapist/patient relationship, trauma, mental health struggles, rape (shown, not between the MLs), attempted rape, self-harm, attempted murder, choking, blood, manipulation, punches, non con recording/sharing, victim blaming, drugging, threatened suicide

Watch Suggestions (to take out most content warnings and focus on sweet/steamy parts)
- watch episodes 1 and 2
- start episode 3 at 4:10
- skip episode 4
- episode 5 watch beginning-5:10
- start episode 6 at 12 minutes
- episode 7 watch beginning-14:25, 26:30-29:30
- episode 8 watch 7:50-10, 15:40-25:10, 28:30-31:45
- episode 9 watch16:20-23:25, 29:30-32:25
- skip episode 10
- episode 11 watch 7-9:30, 20:40-22:30, 33:10-end
- episode 12 watch 22-25 and 35:55-end

What I Liked
- chemistry/tension
- intimate scenes done well
- easy to understand premise
- non cliche female character
- one character wanted to fight for their relationship

Room For Improvement
- that both MLs had girlfriends and it felt like a gay for you trope
- love rivals
- the drunk sex/rape, it had the fictional 'active participant but later so drunk couldn't remember' trope
- too much time spent on the series within the series, also fast cuts (the black margins on the top and bottom of the screen are different as a way to tell)
- character in the series called the police
- time jump
- after all of that I was disappointed in what a character did in public

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My mind is fried and my moral compass is broken, but my heart is completely captivated.

Let’s be honest: as BL viewers, we have been completely conditioned by the industry to seek out comforting, sanitized fairy tales. We are used to flawless characters, predictable conflicts, and idealized romances where everything feels safe and wrapped in a neat little bow.

Deep In doesn't just step outside that boundary—it shatters the entire foundation of the genre
I have never felt this intensely complicated or morally conflicted while watching a series.

For the first time, a drama forces us to sit face-to-face with the raw, messy, and downright ugly realities of human behavior and choices. Watching the toxic underbelly of the entertainment industry collide with the terrifying phenomenon of 'character bleeding' leaves you completely stripped of your emotional armor.

You are forced to navigate a profound moral dilemma—feeling deeply unsettled by the characters' destructive real-world choices, yet entirely captivated by their consuming, inevitable chemistry.The level of psychological depth on display here is unprecedented. It refuses to offer easy answers, choosing instead to respect the audience's intelligence by leaving us in a dazed, contemplative state. Every single frame forces you to question where the performance ends and genuine identity begins.

I must give massive, unparalleled credit to the brilliant writer, the visionary director, and the phenomenal actors (my babies: Ollie and Shu Yuan) who laid their absolute souls bare for this performance. They didn't just deliver a romance; they orchestrated a cultural reset that has completely rewired how I view BL. If you are tired of the same perfect formulas and want a series that will genuinely challenge your mind and heart, this 12-episode masterpiece is it.

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Deep In the story. Deeper in their feelings.

I had been looking forward to Deep In ever since it was announced, and somehow it still managed to exceed my expectations.
On paper, the premise sounds relatively simple. Zhang Zhun and Zhen Xin are two young actors cast as the leads in a BL drama. One plays the brilliant Dr. Fang Chi, the other his patient, Gao Zhun. As filming progresses, they become increasingly immersed in their roles, and the emotions they portray on screen begin to seep into their real lives. Suddenly, rehearsals no longer feel like rehearsals, every glance carries a different meaning, and the line between performance and reality slowly disappears. What starts as acting evolves into something far more complicated—filled with longing, confusion, obsession, and feelings neither of them knows how to define.

The "drama within the drama" concept is easily my favorite aspect of the series.
We constantly switch between the fictional drama—where they become Dr. Fang Chi and Gao Zhun—and the behind-the-scenes reality of filming. Normally, this kind of structure can become confusing, but here it's executed beautifully. Every transition serves a purpose. As the episodes progress, you almost stop noticing whether you're watching the characters or the actors because, little by little, neither can they.

That psychological blur is what kept me completely hooked.
Then there are the performances.
I honestly couldn't believe how young the two leads are. Ollie and Shu Yuan deliver performances that feel incredibly confident and emotionally nuanced. They don't rely on exaggerated expressions or dramatic monologues to sell their emotions.
Their chemistry is, without question, one of the strongest I've seen in a Chinese BL.
It never feels manufactured for fan service. Instead, it develops naturally through stolen glances, awkward silences, quiet conversations, and the growing uncertainty of two people who can no longer separate their characters' feelings from their own.

And yes... I have to mention that snow scene.
There's no grand declaration of love, no dramatic speech. Instead, everything is conveyed through silence, trembling voices, teary eyes, and one simple sentence that says more than "I love you" ever could. It felt intimate, painfully honest, and incredibly cinematic. I genuinely rewatched it several times before moving on.

The pacing is another reason why I enjoyed the drama so much. Every episode left me wanting more, and Fridays genuinely became something to look forward to. I also loved that the post-credit scenes weren't just bonus fan service—they often added meaningful little moments that made the characters feel even more real.
If you enjoy slow-burn romance, psychological tension, blurred realities, and stories that trust their audience, this is a series I couldn't recommend more.

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The tension is very good but the movie filming part is skippable

The chemistry between the two actors are extremely amazing. Ollie is super hot in the series as well. Given that they are newbies in acting, I think their acting are great. Their real life story line is really good to watch. However, one down side, I think the movie story line is really cliche and awkward. It’s super long (like half of the series) and boring, like watching two separate stories in a series, constantly changing between their movie and real life. I skipped lots of the movie part as I can’t handle it anymore.

Their chemistry outside the series is really good as well. Their lives every week is a must watch. Hope they’ll collab again, this couple is so cute together.

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Deep In — Where Does the Performance End?

Doing a sophisticated psychological BL is difficult even for experienced actors. For actors with limited screen experience, it should be nearly impossible. That is why Ollie and Li Shuyuan surprised me so much in Deep In. I don't know how intensively they trained for these roles, but they were sensational. They weren't simply asked to create romantic chemistry. They had to play actors who were themselves playing two emotionally damaged men, while constantly changing the meaning behind every look, touch and line. Ollie plays established star Zhen Xin, while Li Shuyuan plays Zhang Zhun, a struggling performer who finally receives an opportunity to become a leading actor. Inside the film they are making, they become Fang Chi, a psychiatrist, and Gao Zhun, his deeply troubled patient. As rehearsals and filming become increasingly intimate, neither man can clearly identify which emotions belong to the characters and which belong to themselves.

That is the basic story. But understanding what is happening is much harder. Deep In constantly moves between the series, the film being produced inside the series, rehearsals, memories and private moments that sometimes feel like extensions of the performance. A glance may come from Zhen Xin or Fang Chi. A frightened reaction may belong to Zhang Zhun or Gao Zhun. Even the actors themselves eventually use their fictional characters as protection because expressing love through a script is safer than admitting it in real life. This confusion is exactly what makes the story so fascinating. When feelings become mixed with acting, where is the line? When two people spend weeks touching each other, sleeping near each other and recreating emotional intimacy, can they simply hear “cut” and return to normal? And when one of them already had feelings connected to a meeting seven years earlier, was the film really what created the attraction, or merely what finally gave it permission to appear? The story inside the story makes that question even more powerful.

Zhen Xin and Zhang Zhun are presented as straight actors filming a psychologically intense BL. They are encouraged to cross physical and emotional boundaries because the production wants authenticity, yet they are expected to switch those emotions off as soon as filming ends. They can desire each other as Fang Chi and Gao Zhun. They just aren't supposed to love each other as Zhen Xin and Zhang Zhun. That contradiction says a lot about the entertainment industry. Actors are expected to sell romance, intimacy and fantasy, but their own feelings remain controlled by contracts, agencies, families and public expectations. They are pushed together when their chemistry can produce attention and money, then separated the moment their relationship threatens the image created for them. They stop being treated as people. They become products.

The pressure feels particularly cruel because celebrities are already expected to sacrifice part of their private lives. Add a same-sex relationship, an enormous audience and people whose income depends on maintaining a carefully constructed public image, and love becomes something dangerous. What can they do? Fight for something that could damage both careers, or surrender before everyone around them decides on their behalf?

Qin Yao, the flamboyant and visibly queer-coded agency executive, became one of the most interesting supporting characters for me. While almost everyone else sees the leads through their commercial value, Qin Yao seems to understand what constant performance and concealment can do to a person. The character may appear theatrical, but that theatricality hides a much deeper awareness of the world the two actors are trapped inside. Ollie and Li Shuyuan carry all of this remarkably well. Ollie was already known primarily as an idol and performer before taking his first major acting role here, while Li Shuyuan was also introduced to many viewers without a long, established dramatic filmography. Giving them four overlapping identities to manage was an enormous risk.

Yet they rarely lose control of the characters. Ollie makes Zhen Xin appear confident, provocative and sometimes almost aggressive, while allowing small moments of insecurity to show underneath. Li Shuyuan has the quieter and perhaps even more difficult role. Zhang Zhun is cautious and restrained, while Gao Zhun carries a more visible psychological fragility. Li had to show both men without turning either of them into a completely separate performance. Most importantly, they make the transitions believable. Sometimes the only indication that something has changed is a look in their eyes or the way one of them suddenly holds his body. That requires far more precision than a conventional romance, where every emotional development is explained through dialogue.

However, that is also where my main criticism begins. The production sometimes makes the boundaries so unclear that the viewer doesn't feel intrigued but simply lost. I understand the intention. We are supposed to share the characters' uncertainty and question whether we are watching a performance, a rehearsal, a memory or reality. But confusion only works when the audience eventually receives enough information to reinterpret what it has seen. Here, missing even a small detail can make an entire sequence difficult to follow. Watching the series slowly over several weeks would make that problem even worse. This is the kind of drama that almost demands to be watched in one sitting, or at least over a very short period, because every scene depends on remembering small changes in behaviour and context. A subtle visual language could have helped. A different camera lens, aspect ratio, colour treatment, sound design or filming style could have separated the movie scenes from reality without completely removing the ambiguity. Instead, the production sometimes gives the viewer no clue at all, forcing us to continue watching without understanding where we currently are. That doesn't make the series bad. It simply prevents me from calling it perfect.

Final Thought

Deep In is one of the most ambitious BLs I have watched this year. It is not only about two actors falling in love while filming a BL. It is about what happens when acting becomes the only socially acceptable place for that love to exist. It questions whether feelings can remain fictional once the people performing them begin to need each other, and whether a celebrity can ever choose love freely when so many people consider his life their property. Ollie and Li Shuyuan were given roles that could easily have overwhelmed far more experienced actors. Instead, they delivered performances filled with tension, vulnerability and uncertainty, making the emotional confusion feel deliberate even when the narrative structure became difficult to follow. I cannot give it a perfect score because the line between fiction and reality occasionally disappears too completely. Still, perhaps the fact that I want to watch it again—to understand the details I missed and reconsider which feelings belonged to whom—is proof that the series achieved exactly what it wanted.

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IDK yet

* note: the story works for me (at places), the execution not so much (the acting is wooden around the edges for my taste, possible reasons: work with actors, highly probably actors' age), the music is beautiful - and does not blend with acting; it is 2 levels stronger as if wonting to rely what the acting itself doesn't; still solid enough to not stop watching

Edit: So finally, I went to inspect the series thoroughly, and I came to these conclusions:

1) What I mentioned in the initial post of this review - wooden acting - it is used for the melodramatic movie within the series, which, from a technical side, is maybe not done as smoothly as it could be, but I don't mind it as much as I would, if it was in the series itself (it is there, but sparsely, which is good).

2) The original material for the series is tragic if you take it from a real-life perspective. And I believe once it gets into live action, it gets way more fairly inspected than if it stayed only in written words. As it is, from what I have heard, it is the worst of the hell of a situations you would want to fall into if it were happening in real life. And no, it is no excuse that tragic things happened in real life, because if it is a self-reflective work that works with how tragic stuff in real life is, then it would never fall into certain specific traps that it did fall into in here.

And don't get me wrong, there is no shame to the author, because I still believe it has its place in a fictional world. But I must stress here: it is not copy-paste, role-model behavior, it is not something you should excuse if it happenes to you in real life, it is not something you should romanticize in your real life, and it is not something you should accept in your real life. It is definitely not something you should internalize or look up to. As long as you take it as a metaphor, as a symbol non-translatable into real life and not as a representation of anything, we are fine.

3) Construction-wise, it was obviously done by someone older who does understand the craft. I just must admire how incredibly smoothly it works if you watch all of the episodes together. There is zero room for any filler content. It is absolutely like they knew what was going on at all times. Logic-wise, it makes sense; even the story within a story is perfectly done. It's very smooth, very portable, very page-turner-ish, and very digestible.

Where it leaves room for improvement is still acting, and one of the reasons why there is room for the acting to improve is, I would say, thanks to the actors' very young age. It did get into my experience of what I was watching, I'm not going to lie, and at the same time, I must admire to what level and to what capacity the acting already is as it is (...good).

But in this specific circumstance, we must take into consideration what type of material we were dealing with: non-consensual sex, very dangerous types of behavior, rape, and other various very bad human things that you are definitely going to portray differently if you are 20 and if you are 35.

And then again, don't get me wrong, there is a drastic difference, in my perspective, in how you are going to portray university students as a 20-something and as a 30-something. But the impact of portraying students at different ages, and the impact of portraying doctors who are supposed to take care of mental health issues, are going to be drastically different. A person is not going to happen to be a doctor anywhere before 26, if not around 30 years old; to get a degree, you need to be old enough to treat people. On top of that, a doctor who obviously has severe mental issues himself (btw, including supervision was ingenious, grown up idea, great to let people see that even as a doctor who takes care of you as a patient, they are not left alone on all of these things, in fact, they must undergo this in order to do their work, and to fo it right. They absolutelly need supervision and peer supervision) - these things are going to be drastically different.

You definitely can do stuff a little differently as someone who is an adult and has much more perspective on the settings, but the implications and executions will vary much less and the depth is gonna be somewhere entirelly different no matter if you're 20yo acftor or 50yo actor. But as a 20-year-old, you cannot really give all of the necessary emotion-wise insight to a doctor who has all of these experiences himself when he is 15 years older than you.

And I would be very careful about undermining the series if someone were replying to my complaints about this with the argument that we are supposed to tell romance stories, not educational stories or whatever stories. There is something you should see once you get older that you cannot see when you are young, and the twist here is mostly responsibility.

And while they have done many beautiful things in the series, I would say the department of responsibility was severely left behind from the doctor's side. While everything around him grew up — the doctor and author with it — he as a character remained at his age range (20 - and should be much older). (Now, to clarify the confusion - the character was written like that, the actor portrayed him lie that. The character did not allow the actor and his actions to grow up, restricting him. If hewas written differently, if actor was able to rewrite him, it could be easily added those 6 + years in behavior and in thinking both.)

And for some strange reason, in this specific case, I cannot just wave my hand and say, "It's fine, it's just fiction." But at the same time, it's perfectly fine with me, and I have no issues if you decide to go with this simplified route of "it is just fiction" and not scratch that deeply into it. I can even understand why you would be unwilling to go deeper into this.

4) Just to make it perfectly clear, in both actors I have seen wooden-type acting, but at the same time, I have seen that it was very disproportionate because at some points they were way ahead of their age in acting, and at the same time, somewhere they were wooden in their reactions. I would say it applies to both actors. I would say I am leaning more towards wooden acting in the case of Shu Yuan. But it is served in such a way that I can write it off by saying it was done for the character that was supposed to be melodramatic in the movie within the series, so we are covered there.

5) Part of why I was so disappointed that it was supposed to end last week is probably that I thought and felt like this series deserved a longer scale, because we were delivered only around 30 minutes per episode and we had only 12 episodes, which is very much like lower-budget Thai series. I would definitely say there was room for delivering more if we had more time.

But because it's Chinese, somehow we managed to do it relatively short, yet relatively complex, yet relatively deeply intelligent, yet relatively layered — and I am fine with that combination. I actually love it. I just feel that it deserved way more space than it was given.

6) What I enjoyed the most and was the most happy with were the differences between the actors within the series versus the characters within the movie, and how we had this puzzle and the shifted perceptions of it and shifted perspectives of it.

How one of them villan in the movie was a good friend in real life. How someone wanted the role of the main actor, and then, when we were watching the movie, they were actually a character that wanted the main lead. And in real life, how they acknowledged that there were some skills in the main lead that he did not see and would not have shown if he were one of the main characters in the series. Etc.

7) I would say the script and the way the story was told was in lot of ways very satisfying. So is the choice of costumes; that's really nice. I would maybe opt for different colors within the actors' age range and different colors for the stories, just because I feel like the deep atmosphere that it is setting is kind of between their acting skills and acting range.

As in, they cannot pull it as gloomy as the darker furniture and coloring gets, nor as "cold" as it gets, because at some points it is really a very passionate story. And we are constantly trying to drown it in dark colors — why? Well, I know why; that is just a rhetorical question.

Also, I'm not so sure, technique-wise, why series that tend to work with very dark colors — as in gray, white light, and a black or dark color scale — have such a misery about abandoning it and using contrast.

I mean, in *Deep In*, there is at least some attempt at switching from light, like the gold lights, to yellow warm lights. Aka, the white lights are like the therapy room, versus the warm yellow light, which is like the hotel room during the night when they spent time together.

But for the contrast's sake, I would abandon this color grading and color scale altogether. Even in *Justice in the Dark*, I have so frequently seen scenes that could have been lightened and brightened way more than they were, and they just refuse to get rid of the constantly dark colors. At places, it was very suitable, and that is an example, by the way, where I would say it worked perfectly well and was justified.

And/or — but even there, I would say that there was this great disproportion in overusing it, and they did not really do enough justice to make a contrast for these very dark atmospheric scenes with something that screams light and brightness.

I think, texture-wise, this was not a problem for me in *Fangs of Fortune*, I cannot now pinpoint why it was not an issue there. Obviously, the creators there work very much with visual storytelling, and it just shows, and it's perfect in a sense.

And I wouldn't even say they managed to balance the darkness with contrast, as in making something that is incredibly bleak and dark and uses heavy atmosphere and heavy colors to translate this on screen. They don't use the opposite contrasts to balance it out, but for some reason, it might not be an issue there.

It might be because the storytelling from A to Z is kind of a very dark atmosphere too, but it kind of makes sense, and it's smooth, and it gets the impact all together. There is no reason there that would force you out of it, while I would say in *Deep In* and *Justice in the Dark*, it was kind of annoying in places because they pushed it unnecessarily everywhere, even where it did not belong anymore.

Another thing and reason why I think *Fangs of Fortune* uses something many series don't is that I get that if you have a dark, heavy atmosphere with a low-quality budget, and you want to convey the darkness and heaviness through dark colors, it might look laughable if you all of a sudden use baby, bright and light colors. You want to avoid parody-impression.

I think series like *KinnPorche* or *Payback* could balance it ideally. They might have overused the dark tones and made it fierce, but they interchange them with, again, warm other colors heavily saturated lights. And if you cannot switch into a palette of light colors because it would simply not fit the storytelling overall, you have the option to use deep, dark colors but across the whole spectrum.

In *Payback*, what struck me the most were these cuts where we go out of something incredibly deep and dark into darker red, dark green, dark purple, the KinnPorsche series again using yellow light, as in like a rising or falling sun, and green and purple — still heavy, but colorful colors, you know.

So, if you cannot switch to light colors, it's fine, but make it somehow visually diferentiated by using something that gets you out of the constant gray cloud you put on the screen. Using vivacious red, green, purple, and yellow on the darker side of the color spectrum can tone and balance it out perfectly.

And then all of these other bleak, dark gray, dark brown moments will make sense and bigger impacts, and it will fit way better than if you just use this one monotone type of color grading.

8) I have to admit I'm in love with the original soundtrack for the series, which is another reason why I did not want this to end so soon after I started watching it properly, just because the initial credits and now the final song for it, *Tiger in My Love*, were so beautiful. And I just love the sneak peaks after the song; that was ingenious (and wicked).

I also appreciate that they decided not to force the ML to create the lyrics for the OST. Not only because this is overdone already, but also I feel like if you have an actor who is 20, it's way wiser and it adds layers as time goes by if someone older writes the lyrics for them to sing. I might be completely wrong, and the creator of the lyrics might be — I don't know — maybe 15. Kids these days are relentlessly intelligent and bright, and experienced, of course. However, whatever it is, I really love that song.

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THIS SERIES IS SOO GOODD

I enjoyed every episode it's sooo good like the actors and actresses are soo goood looking the plot, the story, etc. all soo good they had a budget very well spent.

The story flow was also good I need to see more asap very good series ☺️👍

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Romance That Would Happen Between Two Actors on Set

Two “straight” actors, mind you, but this show is telling the story well.

Four episodes in, and there are a lot of things that makes this a good CBL so far. The story, the acting, the chemistry, the sexual tension, and the insane visuals.

So far, I’m liking the progression, but we all know a CBL cannot exist without something like a “red flag” that would have viewers questioning the whole romance dynamic (and this has that too) but I want to see how the romance would develop between these two “straight” actors. (I put “straight” in quote because it’s questionable so far, they could be latent biromantic/bisexual) but I’ll leave it here to avoid spoilers.

All in all, leave your hesitations and give this a watch! It’s good so far and you won’t hate it.

(PS - I’ll edit my review as I watch as usual)

Edit 01: After watching episode three, I have to say CBLs are notorious for featuring morally dark characters and I’m just never a big fan of that. There are some things that shouldn’t be represented even in fiction.

Not sure how I feel about this new episode, but I’ll keep watching.

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Some story started to happen and unfold, and then in the third episode we watch the series that they are filming, who is interested in the series, we are interested in the two of them.
And the appearance of a senior who shouts, roars and yells... why is that character in the series? You start very well and then you screw up,

Yes.. it would be best if the ratings were up to 100, so if you give all 100, give some reality, so many omissions and mistakes, and according to you, every series is for Oscar!!!

There is no BL series here, but a series of how I recorded the series ?!?!? Stupidity

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L’idea (forse) giusta nel drama (sicuramente) sbagliato

Drama cinese BL con un obiettivo ambizioso: tradurre in immagini una storia che esplora il confine labile tra realtà e finzione, seguendo due attori, Zhang Zhun e Zhen Xin, che mentre girano un drama BL iniziano a confondere i sentimenti dei loro personaggi con i propri.
L'idea di base è anche interessante e, per certi versi, originale: un "drama nel drama" che si interroga su cosa significhi davvero "entrare in un ruolo" e su quanto un personaggio possa contaminare chi lo interpreta. Sulla carta è un’idea vincente, nel concreto lascia molto a desiderare, purtroppo.

La chimica tra i due protagonisti è buona? Dipende da cosa intendiamo per chimica. Sicuramente la serie pullula di scene intime esplicite – non a caso è classificato NC17 – ma la sintonia tra due attori, per me, va ben oltre e comprende un’affinità a più ampio spettro che qui proprio non ho riscontrato. Questo perché abbiamo a che fare con una sceneggiatura davvero basic, satura di scelte surreali tutte volte a suscitare un fremito nello spettatore. E’ una carrellata di “momenti clou” estremamente banali, che tolgono alla storia qualsiasi possibilità di seguire un arco narrativo sensato e credibile. C’è un dramma in ogni sciocchezza e da ogni sciocchezza scaturisce un dramma (si arriva persino a ricamare sopra dei banalissimi orecchini, tanto per dire).
L’introspezione dei personaggi è pari a zero: a conti fatti, tolte le riprese sul set e le dinamiche tra di loro in albergo, cos’altro rimane? Quanto si conoscono veramente, quanto sanno l’uno dell’altro? Poco o niente, al pari dello spettatore. Dovessimo fare un elenco di dieci domande classiche sul loro passato, le loro passioni, i loro interessi… Probabilmente non caveremmo fuori un ragno da un buco.

C’è poi la questione del doppio ruolo. L’idea, dicevo, è anche curiosa, ma lo sviluppo proprio non funziona. I personaggi del drama che stanno filmando – Fang Chi e Gao Zhun – non riescono a diventare un secondo pairing, ma fanno da fastidioso riempitivo. Le loro scene arrivano a occupare la maggior parte di alcuni episodi, aspetto che ho trovato personalmente noioso, già che da parte mia c’era già un grande investimento nel cercare di apprezzare il pairing originale, se così possiamo chiamarlo. Sia nella “finzione” che nella “realtà” relativa, c’è una carenza evidente di sostanza. Tante scene ad effetto che poggiano su poco o niente.

A una trama povera e confusa e a una caratterizzazione inconsistente dei personaggi, si aggiunge anche un livello di recitazione che definire acerbo è un complimento: due attori giovanissimi, al loro drama d’esordio, con alle spalle più partecipazioni a programmi TV che studi di recitazione. Uno è un cantante rapper, l’altro un modello e social media creator. Non ci si inventa attori da un giorno con l’altro, insomma. E nemmeno registi, già che anche qui contiamo un altro esordio di un altro giovanissimo. Che il risultato limitato sia un caso? Direi proprio di no.
Già che però l’idea di base mi incuriosiva, ho fatto uno sforzo e l’ho portato a termine – dodici episodi da quaranta minuti l’uno, perché di più non avrei retto – arrivando alla fine dell’ultimo episodio pentendomi amaramente della scelta: raramente mi capita di essere così lapidaria, ma l’ho trovato davvero un epilogo di rara bruttezza, dove tutto - ma proprio tutto – sembrava veramente fuori luogo.

Dato il livello qualitativo, parlare degli aspetti tecnici non ha molto senso: basta far caso ad esempio al doppiaggio, che è spesso fuori sincrono. Sorvolo poi sulla gestione della logica del set cinematografico, che è qualcosa al di là del fantasioso (ma del resto, regista e attori devono averne bazzicati pochi nella realtà).
L'OST si salva paradossalmente grazie al brano "Tiger in my love" di Ollie, uno dei due protagonisti: decisamente più apprezzabile come cantante che come attore.

Tirando le somme, arriviamo a una valutazione per la quale bastano – e avanzano - le dita di una mano. Ho apprezzato giusto l’idea di base, ma anche con una copertina interessante un brutto libro rimane una lettura spiacevole. Evitabilissimo.

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