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Reeling from the brutal murder of her childhood friend, Cha Young-jin (Kim Seo-hyung) becomes a detective and devotes her life to tracking down the 'Stigmata' serial killer who hasn't killed for 19 years. She is an obsessed workaholic who lives alone but has a somewhat unconventional friendship with her neighbour's young son, the 15-year-old Go Eun-ho (Ahn Ji-ho).
When Eun-ho has a terrible accident, Young-jin pursues the truth with the same determination with which she has approached her friend's murder. And in doing so, she begins to uncover the truth about what happened 20 years ago and why.
Kim Seo-hyung is transcendent in this role as the tough, ass-kicking cop with a heart full of love and empathy. Whip-smart but not cynical, she has the ability to see through people's facades to the core of who they are and provide support, care, empathy and safety to those who need it: a classical warrior fighting to protect rather than to enslave or dominate. It's through this powerful female character that the show examines what it means to be a community of adults to children who need guidance and care.
Young-jin may be grim and black-clad but her home is full of light and plants and is a safe haven for the neglected Eun-ho, forced too young into adulthood. Nobody Knows is full of abandoned, overlooked ducklings needing a mother duck to follow and its overarching question "What happens if the duck that saves them is leading them into darkness rather than the light?" is something it never loses sight of for 16 episodes.
In fact the show's Duckling scenes - children that need to be tended and cared for to grow properly just like the plants on Young-jin's balcony - are Nobody Knows' emotional core and its greatest strength. We care about these children and we want them to be saved. More importantly we care about Young-jin and the way in which the trauma and pain of her life never causes her to lose sight of the kind of person she wants to be.
Young-jin's three most important ducklings - the beautiful ray of sunshine that is Eun-ho, the brooding Ju Dong Myung (Yoon Chan-young) and the privileged but deeply unhappy Ha Min-sung (Yoon Jae Yong) - are a joy to watch as is their homeroom teacher Lee Sun-woo (Ryu Deok-hwan) who gets drawn in trying to protect his young charges.
Are people parasites or symbiotes? Do they prey on each other or build each other up? What kind of adult do you want to be? Is a question asked not just of Sun-woo but of every other adult on the show and of the audience itself.
Not to say that the show is perfect. It isn't. Stretching it to 16 episodes clearly took effort. The show relies too much on a MacGuffin and the back half gets mired in flashbacks and treasure hunts, and even gets a bit heavy-handed. But with an ending that's almost perfect, a beautiful emotional core, and quality direction that pulls you in and keeps you tethered, Nobody Knows is definitely a drama that's worth watching.
It never forgot what it was about and that's a quality reserved for only the very best of Korean television.
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What's so good about being normal?
"Unless it's something bad, it's better to be weird than ordinary"To write a review on the School Nurse files is to imply I have somehow grasped what the School Nurse files is all about. The show's glorious acid trip weirdness defies analysis and yet feels deliberate. After all - as our male lead says as we head into the plot's explosive denouement - "it's better to be weird than ordinary". And the School Nurse Files definitely walks its own talk.
At a Korean highschool where the kids recite cult-like verses on happiness every morning, an emotional whale floats overhead and ducks follow the leader through the school randomly. The children *appear* happy, according to our school nurse, Ahn Eun-young (Jung Yoo-mi). But when it comes to life - and especially to adolescence - it's what's under the surface that matters more.
Since birth Eun-young has seen 'jellies', a kind of supernatural human residue that grows and forms into different shapes. Armed with a toy gun and rainbow toy sword she fights the jellies that have grown so big as to be a threat to the humans around them. In this she is aided by Hong In-pyo (a Nam Joo-hyuk who is finally living up to his potential), the grandson of the school's founder who has a disability following a motorcycle accident when he was young. In-Pyo has a powerful aura that acts as a supernatural shield and Ahn Eun-young is able to recharge by holding his hand.
But this school is no ordinary school, it was built on a pond of emotional residue that a cult hopes to harness for its own advantage.
The School Nurse Files is a crazy ride of symbolism and metaphor and I'm not sure to what extent we're supposed to take it literally. But the show is unconventional and original and flat out weird. A celebration of weird where everyone is encouraged to let their freak flag fly. The show's aesthetic leans deliberately away from kdrama gloss. The kids have acne. The adults look real. Nam Joo-hyuk's model looks and height are transformed into a gawky, clumsy awkwardness that is 1000 times sexier than the usual sanitised gloss..
The only reason it's a 9 - and the only real issue I took with it - is that it's packed into six episodes like a pocket rocket ready to explode and it really needed at least one or two extra episodes to make the whole thing feel less rushed. But in the final estimation that's not a huge problem. I'll happily take another season - hell another three seasons - if I can see Eun-young fight evil while holding her adorable boyfriend's hand.
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People will love it if they like that sort of thing, even if it's not even the best example of it. But if you're tired of everything about the setup and execution of romcoms then strictly avoid. The worst thing about this show is that it was made in 2017 but feels much older in how regressive it is.
Candy is here in all her incompetent, self-absorbed, whiny victimhood and she falls for Chaebol in all his asshole finery. Candy is a nutritionist, not like that matters either to her or anyone else. Especially not to the writer who seems to have only a vague notion of what nutritionists do for a living. It's just a new way to throw her in the path of Chaebol, with whom she shared a (naturally drunken) one night stand three years before. Can't have anyone thinking she's a slut by letting her choose to sleep with a guy when she's sober.
At the beginning of the show, there was quite a nice connection between these two characters. Both were incompetent losers even if one of them was a rich one. But when the show shifted forward three years, any goodwill from their initial interactions was quickly lost as he uses his position of authority to bully her and she acts like both a martyr and an idiot about it - not necessarily in that order. Episode after episode involved him ordering her to bring him food and then either abusing, insulting or harassing her when she did. She endured, as Candy does, and still liked him even after all of this. Dude must have been amazing in the sack. That's the only explanation.
There's a second female lead in this. I don't even need to tell you about her - you already know. Get a life, old-school second female leads. You're pathetic. There's a thing called feminism. It's well over 100 years old. You might have heard about it. It'll help.
There's also a second male lead. You've met him too. He's perfect and in love with the female lead but at least he never Nice Guys her so he has that going for him. He deserved to be in a better show.
While Asshole Chaebol at least retains a core of vulnerability that allows you to keep some sympathy for him as a character, Candy is endlessly self-absorbed and wedded to victimhood, especially around her mother and the dreaded S.E.X. on account of being a good girl and not one of those sluts.
One of the show's biggest fakeouts revolves around Candy's little brother whom she treats as a burden and refers to as "her dog" so people won't discover the scandalous fact that he exists. These are not her finest moments in a show filled with extremely poor behaviour on her part. One of my chief gripes about romcoms is that they only include sex if they want to do a pregnancy fakeout. I was willing to give the show credit for not going there except - oh no, it went there! Not only did it include it but it executed it in the most annoying, most sexist, and most horrible way possible.
Basically, this show is a quintessential old-school Korean romcom dripping with sexism and misogynism, double standards, nun/whore dichotomies and a female lead who is as annoying as she is useless. Her actions especially in the final episode are teeth grindingly annoying.
Some people who love this kind of thing will no doubt be annoyed by how much I hated this show. I just think it's a shame that shows like this are still being made.
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When it started, WhyRU had an air of meta brilliance. But whether due to bad writing, poor planning, or the Covid19 shutdown, it became instead an inconsistent tonal mess that isn't really about anything. I don't know what Why RU is or is trying to be. I don't think the writers and producers do either.
At the beginning, the story - about a University student, Zon, with a Fujoshi sister who believes himself cursed into a BL novel - danced on the edge of brilliance every episode but never quite made it. As a concept, the idea of him finding himself stuck living tropes and cliches from a BL novel had a lot of scope for humour. It meant the show could provide an old-school cliched BL love story while simultaneously parodying exactly that. And yet the show never quite nails it; being often slightly too serious about all its tropes for its own good. At its best, Why RU is like an over-the-top BL pastiche that will make you laugh out loud. At its worst, it degenerates into the genre it was supposed to be parodying.
And while the core relationships that underpin it are quite good - no harassment, stalking, assault or sexual violence and the two couples talk to each other and seem to genuinely like each other - the two clash tonally in a way that embodies the drama's tonal problem overall. Fight and Tutor's romance doesn't just seem to be happening in a different show - it's almost happening in a different Universe. One that really really wants us to visit Thailand's beaches.
Is Why RU a BL parody? An homage? Or just another standard show in a market that's close to saturation point?
It does help that the show is anchored by two strong young actors - Saint and Tommy - who can somewhat make up for the clunky and green performances of the other leads. Zon's increasingly funny freakouts as he tries to avoid being forced into BL scenarios with his designated love interest, Saifah, are by far the show's best aspect but these are jettisoned quickly in lieu of a standard Yaoi romance, albeit a super-cute one and a super-sexy one.
While a great deal of laughs can be had by e.g. a confused TharnType wandering through and monologuing randomly to the camera at one point or Zon exclaiming that Saint's character, Tutor, "isn't himself", the premise is never quite milked for the humour it could provide. The show never entirely commits to its premise and instead starts churning out a standard University BL instead.
Whether because of Covid or because the writers didn't really know what they wanted this show to be, the back half is a yawn fest with the thinnest of plots that culminates in a final episode that will leave you scratching your head as to what the show's plot even was. Other than an excuse to have cute boys make out in exotic locales.
It's a shame because this could have been very funny, very self-aware and delightfully meta BL.
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This is a fantastic romp story about con artist, Yang Jung-gook (the always-fun Choi Siwon) who is married to badass detective, Kim Mi-young (the always-excellent Lee Yoo Young).
Yang Jung-gook's marriage is failing because of the Very Big Lie rotting at the core of their relationship. Both parties are holding on because of their genuine love for each other, but it seems as though their marriage won't last either way. Yang Jung-gook's plan is retirement; the perfect way to leave the life of crime behind him and turn his lies into truth.
The most-recent snag in his retirement plan is loan shark, Park Hoo-Ja (Kim Min-Jung, in the performance of her career), who blackmails him into running for the Assembly. Hoo-ja has big plans for her father's company - most of which involve her taking control of it despite competition from her older Unni, #1, who is in jail (Hoo-ja is the fourth of five daughters).
The premise of a con artist married to a cop was enough for me to press play on this show. Add in the potential romp-factor of him conning his way into politics and I was always going to watch. Amazingly, the whole thing is as fun as it sounds. From the first frame, this show is fast-paced, witty, well-plotted, well-characterised, fantastically acted and just a whole heap of damn fun.
While everyone's performances are top-notch, Kim Min-Jung's brilliant, impatient, entitled, loan shark steals the show. By the end, you're not just hoping that Jung-gook wins, you're hoping Hoo-ja does as well. Her battle against Unni #1 mirrors Jung-gook's battle against political corruption to the extent that you're almost sad that she has to lose in order for him to win. This is really an amazing performance by an actor who was always good but never stood out to me before.
The cinematography, editing and music are original and enjoyable and the show almost entirely avoids tired tropes from any genre. At 18 episodes (36 half hours), you would expect the pacing or plotting to suffer but it never does. It's unflaggingly good from beginning to end.
But what makes My Fellow Citizens so completely satisfying is the inherent sense of justice that underpins the show. This show has a story to tell and a message it wants to convey and it's not afraid to do it. This is as much a show about the corrupting power of greed as it is anything else. It's also a show that never lets a character - whether it's a flawed hero or a beloved villain - get a pass for their actions.
It really is one of my new favourites and I wish it had gotten more love while it aired.
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I really hope there's a season 2 but even if there isn't this was still pretty much the most perfect short drama I've ever seen.
10/10
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It's possible there's a super cute drama in here desperately struggling to get out but who the hell would know. This was nothing but a disjointed, incoherent mess from beginning to end. Nothing makes sense, everything is super rushed and the whole thing is ridiculous. Oh and there's clearly a season 2! Which... if they knew that why not spend these six episodes having them fall for each other and then the next six on the separation, noble idiocy, family opposition, public scandal, arranged marriage, kidnappings and Rise of the Big Bad - rather than trying to do all those things in TWO EPISODES.
Oh yeah, there's a plot here somewhere. An Idol gets a bodyguard (Eugenie Liu) who is a huge fan of another Idol (Jasper Liu) that Idol 1 is pretending to be dating. The bodyguard is the daughter of a Triad boss. The daughter of the Triad boss has no concept of professionalism or boundaries but she does attempt to murder several people - attempted murder is supposed to be funny I guess.
Ignoring the bad writing and terrible pacing, the female lead's fangirling is super super annoying and I see nothing in this that says she fell for Adorable Jasper rather than Adorable Jasper's public image and that is a big big problem when I'm supposed to believe they're SO MUCH IN LOVE after they met a week ago and slept with each other once.
This is transparently aimed at 14 year olds who fantasise that if they met their Idol (who conveniently is exactly like his public image) then said Idol would fall madly and instantly in love with them and only something as crazy as a mob boss, mad fans and the paparazzi could keep them apart!
Jasper Liu is adorable I guess but his character is paper thin; practically a chalk outline. The female lead's entire character is a problem from beginning to end. Which is, thankfully, not that long. Since this is only 6 episodes. And subsequently a giant mess.
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While there are still six months to go, the bar has been set extremely high with Abyss: a giant mess acted by a cast who really deserved better.
The annoying thing is, like last year's Worst Show of The Year (About Time), Abyss could have been fantastic. It has a great premise, a decent cast. It could have been an hilarious - almost farcical - comedy of mistaken identities, body swapping, and annoyed aliens. Instead what we got was a turgid, unfunny mess underpinned by a philosophy that was at times confused and at others actively offensive.
Ahn Hyo-seop has a lot of potential as an actor but he is still far too green to be given a leading role. With a good director, a good script and a good female lead he could have still produced something decent. But unfortunately he only got one of those in a criminally-underutilized Park Bo-young, - who really deserved better in her first lead show since the (sometimes equally as offensive) Strong Woman Do Bong-soon.
Both the lead roles were poorly written, with Ahn Hyo-seop's Cha Min changing from scene to scene depending on what the writer needed him to do - at times an uber genius, at others the dumbest male lead to ever appear on screen. Park Bo-young was given so little to work with for her character, Go Se-yeon, that she opted for cute - an interpretation that did not work with the character or the script.
Both these characters die and are brought back to life by a glowing alien marble. The unattractive Cha Min is suddenly gorgeous, while the stunning, willowy, Go Se-yeon is... Park Bo-young. Which is to say, she's a super adorable tiny person so the idea she's now "plain" is just ridiculous.
From beginning to end, Abyss had some profound things to say about image in our beauty-obsessed culture.
Like:
“you can’t love someone who’s ugly”
"what you look like is what your soul is like"
“plastic surgery gives you a better soul” and
“dieting makes your wedding day better”
Apart from the dumb, messy plot, the poor characterisation and the wall-to-wall stupidity of the characters, it's ultimately this utterly shallow and almost vacuous underpinning philosophy that makes Abyss truly awful.
Appearance is everything. Nothing else matters.
No thanks, Abyss. No thanks.
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Meng Shao Fei (Jake Hsu) is a cop who has spent the last four years chasing gangster Tang Yi (Chris Wu). Tang Yi is trying to go straight to fulfil his late mentor/ father figure’s wishes. While he seems to be in charge of his organisation, there are rumours that not everybody is happy. However, Meng Shao Fei doesn’t seem that interested in Tang Yi’s criminal activities: he mostly wants to know what happened during an incident four years previously when his Sunbae was killed. After playing a cat and mouse game for four years, Meng Shao Fei and Tang Yi are probably too aware of each other for their own good. So when fate throws them together a few times, sparks fly.
As a BL premise, this a pretty good one. Meng Shao Fei’s dogged – almost obsessive – pursuit of Tang Yi translates pretty well as an analogy for a romantic pursuit. Whether Shao Fei wants justice, the truth, or Tang Yi’s hot bod is something even he seems confused about from early on. It shows a laudable kind of emotional honesty that, when Shao Fei finally realises his feelings, he pursues them with the same persistence with which he pursued the original case. He will get his man, it seems, even if he’s been in denial as to what he wants him for. After all, he’s a cop and Tang Yi is a gangster.
And therein, unfortunately, lies the show's problem. The writers simply don't understand the action genre and are not capable of grappling with the ethical issues at the heart of this relationship. From the beginning, the characters seem to be pasted in from a different show; one where cops are adorable and incompetent and nobody cares that one of them has completely compromised all their unit's ongoing investigations. The action elements are not used well or written well and the writers clearly struggle with a genre they don't know how to write.
It says something about the HIStory series that I stayed shipping the main couple even as it became clear that their relationship would not work (in the real world, this of course is a clear fiction). There is a lot of chemistry here - so much so the writers copped an unfortunate amount of flak over skipping a scene where that chemistry... culminated (and then quickly threw their audience a bone - literally as it turns out).
I can admire the writers' ambition as they try to write a much-longer series in a genre they're unfamiliar with. But, unfortunately, their execution has failed to match that ambition even if the series still produces consistently-good BL stories that are far above anything else on offer today.
By all means watch and enjoy but temper your expectations about the show's plotting. It does fall short.
Watch it for the romance instead.
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It makes it even more astonishing, more powerful and more welcome that Korea has made Mad For Each Other: a story about two traumatised people trying to navigate their way back into the world and into a relationship with each other.
Jung Woo plays Noh Hwi-oh, a cop with an anger management problem on suspension. His neighbour and partner in therapy is Lee Min-kyung (Oh Yeon-seo) who is suffering from paranoia, OCD and other post-traumatic symptoms after coming out of a violent relationship.
Mad For Each Other is written and structured more like a classic American sitcom than a kdrama. It episodes are a short 30 minutes and the scenes are short, snappy and the camera never lingers or settles. And yet, while it's a fast paced situational dramedy, the writing has genuine pathos, heart and depth. It's a tragi-comedy that treats all its characters with respect and empathy and never opts for a cliche. Its treatment of mental illness is never trite and, while exaggerated, never farcical.
The production values are high, the acting is excellent and the show never makes its damaged characters the butt of its jokes.
And while I would love to be awarding it the 10/10 it almost attained, the final episode couldn't help itself in opting for some unnecessary action to resolve what should have been resolved with the more subtle character-driven plotting it had until the end. But for being almost perfect, I highly recommend this show.
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Despite vowing not to touch any more Thai BL after the unfolding disaster that was this year, I nonetheless pressed play on TharnType: 7 Years of Dysfunction (sorry, love) and here I am. I know this is the review you have all been waiting for.
Well, it's been seven years since Tharn and Type got together and refused to deal with any of their internal relationship issues. So here we are, kind of tired and muted and a bit sad after seven years of Tharn avoiding conflict because of his fear of rejection and Type being publicly in the closet because he refuses to admit he's gay. The two do nothing but bottle things up, have a kind of passive-aggressive fight and then have sexy times to cover the cracks. I suspect as viewers we're just supposed to enjoy the sexy times and not notice that this relationship is terrible. But it is. It's terrible. I desperately want both of them to break up and go find somebody else better suited to them. Or at least FINALLY deal with the issues in their relationship. Also, Tharn has these moments where he's absolutely f'ing creepy to younger gay men and it only reminds me that he was abused as an adolescent and nobody is doing anything about it. His abuser is practically living at his family's house. But at least he's no longer dating a literal child.
So it's seven years later and Type is struggling at work in probably the only plotline that is possibly about something (there IS a big difference between studying and working and dealing with workplace nonsense can be exhausting). And I'll expand on the implied point here - there is literally nothing else in this drama so far that is about anything. There is no plot. At all. The show is lacklustre and paint by numbers. Even the shoe-horned soft-core porn I'm supposed to be distracted by is phoned in. They devoted actual screentime to Type being jealous over a woman despite his boyfriend being completely 100% gay. And if I touched on the screaming misoygnism of that whole plotline I'd be here all week.
Tharn wants to get married because he think that means that Type will be his possession and can therefore NEVER LEAVE (marriage doesn't work like this, my damaged friend) and Type doesn't want to get married because if he marries a man he might have to admit he's gay and we can't have that because this is Thai BL and we all know GAY IS BAD. And of course you'll remember show completely glossed over this conflict at multiple points even though it's the main one. Possibly if Tharn needs constant emotional reassurance he shouldn't have spent seven years with a man who's already married to his closet and again - these two are TERRIBLE for each other. Break up! Do better. I get it, you love each other. It's not enough!
Since this show is unlikely to be about these two actually working out any of these issues but will inevitably find an external conflict for them to pretend they're a rock under siege then I should bow out now. But if I did then how could I reliably report back that TharnType is a bad show about a dysfunctional couple and you shouldn't bother getting invested.
This has been my much-anticipated review of TharnType: 7 Years of Ignoring All Our Real Issues.
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This review may contain spoilers
There was a point during Misty's run that it was shaping up to be 2018's Forest of Secrets. An intelligent script, excellent acting, striking cinematography and a haunting, beautiful score all combine into a compelling piece of television about a powerful woman trying to attain her goals in a hyper-patriarchal society: all the while rocking awesome pantsuits and never letting the cracks in her life show in public. Dark, mature and atmospheric with a powerful female lead, this show was amazing until the inevitable Episode 15 slide in quality that condemns it to being ALMOST the best show of 2018.Go Hye Ran has hit the glass ceiling but instead of quietly disappearing like older women are supposed to, she refuses to go anywhere. Fighting constantly against corruption, discrimination and vicious gossip, she has become cold, driven and untrusting but is fuelled by a strong desire for justice and a determination to win against all odds.
Kim Nam Joo puts in an exceptional performance as the complex, brilliant and uncompromising Go Hye Ran who is charged for a murder and represented by her lawyer husband, Kang Tae Wook (Ji Jin Hee). The rest of the cast also do superb jobs. Full of timeline holes, unreliable narrators, unlikeable characters and deliberate misdirections, this show will have you second-guessing everything you think you know about the characters to the last scene.
Which brings us to the ending...
Like a lot of people, I was very dissatisfied with the ending and found the finale overly-long and self-indulgent. As can sometimes happen, what I thought was the main point of the drama and what the writers thought was the main point of the drama diverged wildly around the end of episode 14. As such, I found the last episodes frustrating, watching time tick down to a finale that I knew wasn't going to contain resolution to the plotlines I cared about. The ending in particular I found depressing in a way the rest of the drama - however moody and dark - wasn't.
Textually, in terms of the shows themes, I personally found the ending contradicted what (I thought) was the point of the show as a whole. In that respect, it negated to an extent the show's message. It is this - the negation of the show's underlying point and a resolution that is ultimately depressing - that makes the ending so bad.
However despite my frustration with the ending, this was a very good piece of television overall.
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So it seems strange to write a review about his latest work and say that, while it no less beautiful or artful or well-framed, it's use of music is ear-screechingly bad and its portrayal of women's lives depressing. In fact, this is the most depressing Korean drama I've seen since Misty told us a woman can only have success if she destroys men - and she won't be happy anyway when she does it.
Which is not to say that there is anything wrong with the writing, acting or cinematography of this show. It is, in fact, a warm and often-visually beautiful representation of the ordinary life of a very ordinary noona and her very ordinary romance with her friend's dongsaeng. But it is in the show's realism that it fails.
Jin-ah (Son Ye-jin) is the most everywoman portrayed on TV: told her job is to compromise, to keep the peace, to slide through without conflict. Basically raised to be this way and then simultaneously judged for being this way. Forced to be a participant, essentially, in her own mistreatment. In the end, Jin-ah will only be happy, and the people around her will only be happy, if she stops trying to make everyone happy. She's such an everywoman that I don't know why the writers and the PD told the story at all - unless it's to completely depress us as to the current state of feminism.
For those who want a fluffy, happy romance this is the wrong show, even if there's a lot of that in the first half. Love it seems can survive in a bubble but can't survive the real world, even if the two people in the romance are not doing anything wrong.
In the end, this show gets a seven because it was a very good piece of television despite the depressing overall theme. The one true flaw was the OST, which was so awful it had me muting the soundtrack throughout. If you told me a few weeks ago that I'd be muting the soundtrack in a PD Ahn drama, I wouldn't have believed you. But here I am. And if I have to hear 'Stand By Your Man' one more time, it will be one time too many.
Sometimes it is hard to be a woman. But only if you are brought up to embrace noble martyrdom as a woman's main role. It is ironic perhaps that the people who will truly hate this show are the ones who love shows that promote woman's noble martyrdom as a virtue to be rewarded - like Mischievous Kiss. And while there is a lesson in that for women, it's not a particularly uplifting one.
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This review may contain spoilers
The second instalment of HIStory3 for this year is a regressive detour into fan service that has neither the coherence nor the charm of previous storylines.One thing I usually say about the HIStory series is that it does good queer stories even if it doesn't do other things right. But Make Our Days Count is not working for me at all. Which is a shame because I was looking forward to it a great deal. However nothing can hide the fact the show is badly written, poorly characterised and has nothing to say.
This story about popular and oblivious Xiang Hao Ting who falls for the studious and impoverished highschool student, Yu Xi Gu, (whom he used to bully) seems regressive - annoyingly so. HIStory1 was little but cliched Fujoshi baiting and I have been enjoying how the series has been maturing and evolving through HIStory2 and then HIStory3: Trapped, which for all its many many many many flaws was ambitious storytelling with mature leads.
Not that my issue is with the highschool setting itself but with the awful seme-uke "gay for you" nature of the main relationship and its associated stalking, harassment and abuse. I felt like the first few episodes were basically a relationship post on the "Am I The Asshole" reddit (with the overwhelming responses agreeing that yes, you are the asshole).
I feel so sorry for Xi Gu who just wants to work and study and has this succession of classmates harass, bully, assault, stalk, abuse and finally sexually harass him. Also I have no idea when or why our male lead suddenly decided he liked him; the switch happened suddenly and without much preamble. The romance essentially came out of nowhere and, while I could believe that Meng Shao Fei's pursuit of Tang Yi could easily become a romantic pursuit, a bully swapping relentless harassment for wooing does not work as well. It's no surprise that Xi Gu assumes that the sudden sexual element to the harassment is merely a new ploy by the boy who has been torturing him.
Of course the other relationship is just as bad, with an older man, Lu Zhi Gang, dating a highschool student, Sun Bo Xiang . One particularly revealing (and slightly gross conversation) involves the older man denying he has a romantic interest in Xi Gu because he's far far too young - despite him being the exact age as his boyfriend. No one - even the writers who put that dialogue on the page - seem to have noticed the problem here. Bo Xiang (played with a great deal of charm and nuance by Wilson Lui, who impresses me weekly) is a physical and emotional child, treated frequently like a toddler by his so-called boyfriend . To make the whole thing worse, the writers inserted an unnecessarily graphic sex scene (unprotected sex, even!) between the two of them that, again, felt like fan service rather than a genuine narrative development.
I could argue that the relationship in HIStory2: Right or Wrong was equally as disturbing but there I felt like the show was saying something and had put some thought into the characters and the relationship. The whole thing was both wrong but also quite romantic and it was up to the audience to work out where the line was and whether they were fine with it or not.
I honestly feel like this iteration of HIStory3 was written to a formula containing things people liked about previous HIStory stories and BL generally. They don't have anything to say, they just pulled elements together as fan service. There is nothing that subtle or interesting about it. It's a copy and paste job that celebrates the worst of BL while romanticising harassment.
Worse than that, "gay for you" as a plot device has a tendency to whitewash homosexuality out of the picture, something that's both ironic and frustrating in a series that's supposed to be dedicated to queer romance stories. Writing gay love stories without the gay may be a standard element of Yaoi but that doesn't mean we're not supposed to be evolving past that. And this is where I see this series as mere Fujoshi baiting. And that is a depressingly regressive move from these particular writers.
The ending
This review has been updated following the final episode to make a spoiler-free comment about the ending. It kind of goes like this: OMFG!! No, just no. Watching this show is like watching someone dig a hole and every time you think it's as deep as it can go it turns out it can plumb new depths. Even people who liked this terrible drama hated this ending. Ponder that one for a moment.
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This review may contain spoilers
Now that it's finished I'm rewriting this review so what you read now will be a little different than what you read before. This is because TharnType has flaws, man, serious flaws. And every attempt the writer made to overcome its flaws was hamstrung by either the source text or the dictates of Thai BL generally.At its core, the latest addition to Thai BL had a surprisingly intelligent script with nuanced characterisation. Tharn is ostensibly a confident and comfortably gay man while Type is traumatised by sexual abuse when he was young. They find themselves sharing a room where Tharn's overt sexuality clashes with Type's apparent homophobia.
Unfortunately, the script was given the full Thai BL treatment, especially in its first few episodes. Type tries to bully Tharn out of their shared dormitory, Tharn responds by aggressively sexually harassing and even assaulting the younger man. It's impossible to see either of these things as desirable or romantic behaviour, yet the producers seem determined for us to be titillated by the sexual violence and amused by the bullying. I had neither response and nearly dropped it, since the normalisation of sexual violence is a problem I have with Thai BL generally and Type is at all times a rude and bigoted asshole - a fact that Tharn himself acknowledges at one point.
it seemed weird at the time and even weirder in retrospect that Tharn would respond to a roommate who openly sees him as a sexual threat by sexual assaulting him. I cannot reconcile this behaviour either with the character as we come to know him or with simple logic. Both Type and Tharn's behaviour is wrong and unfortunately the time constraints of the series meant we leapt through necessary relationship progression and decisions to get to where we ended up. Show should have devoted this entire season to the two navigating their way into a relationship. Maybe then viewers wouldn't have needed to do all the cognitive work in explaining it.
One thing TharnType definitely has going for it is its acting. Mew is an excellent actor who portrayed Tharn with a natural subtlety that gives his character a lot of layers. While Gulf (Type) isn't quite as good, he is elevated by working off the more experienced actor and as a consequence this has some of the best acting I've seen in a BL. The acting is possibly one of the reasons I kept watching it when I would otherwise have dropped it. That and how the show began to develop as it moved past its first few episodes.
Once the show begins to settle into itself, it tries to break free of the dictates of the genre the script has unfortunately been forced into. Tharn is a lonely man, disappointed by love and terrified of rejection following the manipulative abuse of an older man when he was young, and Type is a very confused, very damaged one who has a long road to walk in terms of coming to terms with his identity. I take issue with the idea it's Tharn's job to fix Type but thankfully the script moves away from that sharply, dealing as much with the complexity of Tharn's psychological trauma as with the obvious trauma of Type's. Or at least that's what it seemed to be doing.
It would be unreasonable to expect a Thai BL to adequately grapple with the intersection of identity, social gender constructs, trauma and bigotry. And I certainly didn't. But I wanted to give the show credit for at least trying. Some of the show's decisions around portraying trauma and assault seemed nuanced and interesting, others seemed trite and tone deaf. But even while TharnType did a better job than expected, it dropped all these themes entirely at the end and went straight for full-bore Lakorn nonsense.
I'll be blunt - I don't care about Lhong. I don't care about his character, I don't care why he became a total psycho and I also didn't need a Machiavellian villain mastermind to pop his head up at the last minute. This couple has real issues to deal with and instead we get some second-female-lead garbage ripped from a soap opera. The fact this is a gay male instead of a woman doesn't make this whole thing better, it makes it worse. For a show with an actual real openly gay character, this show's representation of the gay community got worse and worse.
I get it, I get it THE NOVEL but the novel is clearly stupid because this is ripped straight out of a bad Thai Lakorn. Worse than that, by shifting to an external issue to solve, the show refused to solve this couple's real problems - Type's trauma and refusal to accept his homosexuality and Tharn's inability to be honest due to a fear of rejection. None of these issues were dealt with (what about poor Kom, still convinced his childhood best friend hates him for being gay?). And it's not as though the finale didn't have time, devoting screentime to an endless showdown with Lhong that I personally couldn't give a fig about.
Because of this the happy ending feels shallow, a common problem with Thai BL. It reminds us that for all its pretensions, this is just another BL. A quick flash forward to a timeline after its sequel and companion piece, Love By Chance*, shows us they have no intention of ever dealing with these issues. We'll never see Type being brave enough to come out to his school friends or his parents, among many other important character moments we needed.
To say that I'm disappointed in TharnType is to imply that I expected more of it. I didn't. But I did have hope and that hope was obviously not fulfilled.
*This show is a prequel and companion piece to Love By Chance, both being based on source novels by the same author and set in the same universe. It's a universe with a great deal of sexual violence and, while the show is grappling with these issues in the main OTP, it doesn't have as much success with other plotlines across both shows. Having seen Love By Chance it is difficult to watch, for example, Techno being a loving and supportive friend throughout the show knowing that his brother's friend is going to rape him. In fact, Techno's brother being complicit in the rape is mirrored in Thorn (Tharn's brother) being fine with his brother's abuser still being in his life too. It's a dynamic that's hard to watch in both shows and, I guess, that won't be resolved unless there's a second season of Love By Chance. I can only hope that when all plotlines are resolved, the show can come down heavily against sexual violence in whatever form it takes.
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