RainbowWhalien52

A promising yet unfulfilled journey

Prior to touching on any unfavorable points in the adaptation, I would be remiss not to honor the quiet revolution unfolding on screen: Ahn Ji Ho and Lee Sang Jun, rising stars in Korean cinema, have chosen paths less traveled. They performed resistance, stepping into characters whose very existence defies the heterosexist orthodoxy and setting an example for other mainstream performers to follow in their footsteps

The interplay between Ji Ho (Hee Su) and Sang Jun (Seung Won) is, without a shadow of a doubt, endearing. Sang Jun (Seung Won) is a reticent and emotionally guarded suitor, yearning to draw closer to Ji Ho (Hee Su). True to the source material, the glances that linger just beyond propriety, the verbal exchanges, and the physical proximities that tremble with implication accumulate with intentionality and culminate in a long-withheld romantic confession

Seung Won: "I don't like Ji Yu"
Hee Su: "Why did you lie?"
Seung Won: "Because I wanted to keep hanging out with you" (chapters 42-43)
A screenshot: https://imgur.com/a/7ElUfSX

Drama Seung Won, too, nudges drama Hee Su to acknowledge his true feelings and discover the solace and happiness that await him in drama Seung Won's arms

Complementing Ji Ho (Hee Su) and Sang Jun (Seung Won)'s chemistry, the adaptation gains narrative sophistication through drama Hee Su's empathetic disposition. This is exemplified in the first episode (5:10-7:04), where he lends an impartial ear to a woman's self-exploration of same-sex desire/introspective reckoning with her attraction toward another woman. He invites us into a space of uncoerced emotional authenticity

Now, it's conceivable that my observation might provoke debate; however, I'm disengaged by a dissonance between the performers' mature appearances and the adolescent characters they're tasked with embodying. Their mature appearances suggest individuals well into their late twenties, if not beyond

The cognitive dissonance elicited by witnessing adults enacting the affective and behavioral tropes of high school adolescence proves jarring. A more coherent and plausible alternative might've been to transpose the setting into a university or workplace

I can be lenient with these matters. What troubles me is the pacing and the straightwashing of the source material to cater to the squeamishness of homophobic audiences wary of encountering too many rainbows on their screens. The central gay relationship spends the bulk of its runtime vying for visibility and relevance against the privileged "straight" script that overshadows it in both duration and execution. "Straightness" centers the stage by force, reasserting its dominance and softening the gayness for broader consumption. It has no rightful place here

The source material refrains from constructing a non-platonic Chan Yeong x Ji Yu storyline. To fabricate one where none exists, and to do so by excising the secondary gay pairing of Sun Woo and Yoo Dahm, is a move I find dishonest and regressive. A screenshot of Sun Woo and Yoo Dahm from chapter 56: https://imgur.com/a/OInfwbQ

How mind-boggling it is that our same-sex ships/pairings are condemned as corrosive to friendships, while society destroys opposite-sex friendships by defaulting to non-platonic arcs with nary a consequence

Some might rationalize the excision of the secondary gay couple by appealing to their placement in the second season. It's a dubious, flimsy excuse at best. Being classmates and friends, Hee Su's acquainted with the secondary gay couple. Their early introduction could've contributed to the exploration of identity, intimacy, or social belonging and accelerated Hee Su's journey toward self-acceptance. Sun Woo and Yoo Dahm need not have been "useless" or "irrelevant"

Timelines are malleable. The screenwriters were afforded the opportunity to recalibrate the timeline of the source material/fine-tune the sequence of events in order to optimize the seamless integration of two seasons into a compact drama format. Nevertheless, their creativity wasn't exercised in service of non-straight visibility. They delegitimized non-straight modes of subjectivity and relegated them to an inferior, irrelevant, or disruptive status

Those reading might pose the question, "are you a hater?" To which I'll respond in the negative. Neither animosity nor resentment informs my evaluation. That'd be incompatible with my 8/10 rating

My contention is that preserving one of the two gay pairings is not a sufficient or ambitious act of fidelity. It is, in fact, justified for audiences to experience discomfort when confronted with deviations from the source material. The phenomenon is not unprecedented; public discourse surrounding the cinematic reimaginings of "The Little Mermaid" (2023) and "Snow White" (2025) demonstrated how even superficial modifications precipitate public disapproval. By parallel reasoning, it follows that modifications to gay source materials would precipitate scrutiny and disapproval

Questioning the producers' call to accommodate societal prejudices against gay-centered narratives doesn't amount to prejudice or -phobia. The public dissemination of a creative or intellectual work instigates a dynamic feedback mechanism, wherein audience reception, positive or negative, re-enters the production process and compels producers to adapt to the cultural climate and evolve or risk obsolescence

I do appreciate the effort invested in the part-BL/part-gay adaptation. Moving forward, I'd love to see BLs exclusive in focus that center and honor gay love without compromise or dilution

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An okay drama that could've been better

My first impression of "Love in the Big City" wasn't entirely favorable (the drama was too depressing for me to handle); however, I was impressed by the cast's performances. One standout was Nam Yoon Su. He took a courageous stand against the homophobic attitudes that plague society by playing a non-straight role and partaking in same-sex intimacy without any reservation. Each kiss, each moment of physical closeness, was an act of trust, a man's willingness to open himself up to another man. The directors' attention to detail and depth was evident in every frame, and it was impossible not to be moved by the beauty of it

Yoon Su deserves the utmost praise for bringing warmth and sincerity to his scenes. He held nothing back, conveying raw passion and vulnerability in equal measure. His performance left a lasting impression on me, one that was haunting and memorable

Having paid due attention to the positives, I'll analyze the elements that require improvement, as "Love in the Big City," even with its noble efforts to redefine "queer" storytelling, remains short of fulfilling its promise. Among its flaws, none are as detestable as the violation of a gay male space (a gay club) by a "straight" identifying woman (31:07 of episode 1). The sanctity of a gay male space is not to be disturbed, it's a space for men of like mind and heart to be unabashed in their same-sex desires, away from the harsh gaze of the heteronormative society. Entering a single-sex space with the intention of pursuing someone of the opposite sex to carry back to one’s bed reveals a lack of understanding of, and respect for, the space's true purpose

What was that sudden, unceremonious reference to HIV? HIV isn't a gay disease and a character's (homo)sexuality doesn't warrant the inclusion of HIV in a storyline. The doctor's assumption that the main character's HIV was sexually transmitted is inconsistent with his assertion that the chances of transmitting HIV through sex are low (39:50 of episode 5). The main character's life was unaffected by the disease, and there was no reason why he should be among the rare cases of sexual transmission. HIV is being used for dramatic effect

The narrative device of "straight" identifying female characters befriending gay male characters and becoming the medium through which gay stories are told is tiresome and troubling. Why a "straight" identifying woman, and not a gay woman, a fellow member of the community who shares the same struggles and experiences of discrimination? Can't a gay woman and a gay man get along and be depicted as friends for once?

The conclusion of the story was an anticlimactic question mark, tinged with the bitterness of an uncertain future. Sad or open endings are a trademark of most "queer" stories, and their writers seem to have a vendetta against gay happiness. Time and again, the main character experienced the crushing revelation that the men he believed to be his perfect match were either prejudiced against his (homo)sexuality or not a good fit. It pained me to see him isolated and dejected. I find greater comfort in happy BLs/gay stories that celebrate the joy of the romantic fulfillment and validation denied to gay couples. They surpass their sad or open-ended "queer" counterparts

The depiction of a gay person's life prevents me from rating "Love in the Big City" too low. I've decided on a score of 8 that acknowledges the value and the flaws of the story

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Gay subtext meets historical drama

"She already knows how to make women fall for her without consciously thinking about it ..." (episode 6, 17:43)
"I never knew those two [girls] could have such chemistry, they're bringing out the best in each other" (episode 6, 51:47)

"Jeong Nyeon" is more than a glimpse into a woman-centric world of acting. The setting of a woman-only theater that positions women as both the objects and subjects of romantic desire naturally lends itself to a subtextual exploration of same-sex attraction. It's a glimpse into the potential for better gay representation in Korean media

Though the production team’s decision to remove Jeong Nyeon’s female love interest (Kwon Bu Yong) and the explicit same-sex romance is a regrettable concession to society's homophobic expectations (they should've done better), the drama remains commendable for its efforts to integrate elements of gayness throughout the narrative. I was impressed by everyone's performances

"The stars that graced the gukgeuk stage went on to continue their paths as artists, pansori singers, outdoor theatre performers, or even film actors. They have merely dispersed, not disappeared"

That the curtain has fallen on Maeran's story need not spell the end for female gukgeuk. The genre deserves to rise from the ashes, and girls/women should have the chance to soar on its stage again

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A bittersweet saga of lies, secrets, and acceptance

A family is plunged into a thrilling game of cat and mouse as a mysterious blackmailer threatens to expose their secrets. They race against the clock to uncover the truth, confronting the lies and secrets that have festered in their family along the way. Frustrated, they rally together against a common enemy to protect their own

The drama takes an unexpected turn when one of the family members (Jae Chan/Do Hyun) comes out. Initially met with doubt and confusion, the family soon realizes that being gay isn't a phase, and that acceptance is more powerful than societal norms. They vow to protect the son/grandson and his truth, no matter the cost. The family emerges from the bitter darkness of their lies, secrets, and betrayals, stronger and more united than before. This act of bravery and acceptance elevates the drama from a typical thriller to a thought-provoking examination of family dynamics

The ending was bittersweet. Jae Chan/Do Hyun was happy with the boy he loved (sweet), the family members "practiced being strangers" (bitter). Family should be a source of unity and strength, not estrangement, and I wished to see them reconcile, walking hand in hand once more

My rating was going to be a 6/10, but the sensitive handling of coming out and support for the gay community deserve an additional 1 point. They bumped the final rating to a 7/10

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Fake news, questionable morality, and troublesome technology

"The Escape of the Seven" was an organized mess that had all the "charm" of a sinking ship. There were plenty of moments that threatened to send me scrambling for the nearest escape route (the poor character development, repetitive conflict, pseudo-romantic encounters, rushed redemption arc), and plenty of others that managed to serve up food for thought on the human condition

One moment of revelation was the ill-fated character "K," who was swapped at birth and brought up in a wealthy household. After discovering his origins, he was discarded by his once-doting family. K's words, "noone can be family unless you're related by blood" (episode 12, 32:34) and "since I was young, I was the one to entertain and serve Father, why am I the fake son?" (episode 12, 39:25), invite us to question society's obsession with "biological lineage." Far too often, adoptive families or children are seen as "less worthy." The pursuit of a biological "mini-me" takes precedence, as if blood were the determinant of familial bonds. This skewed perception belittles the love, commitment, and joy found in adoptive families

Another moment was the dichotomy between "the real and the fake" (episode 12, 39:00). The drama reminds us that no matter how convincingly something mimics reality, there will always be a distinction. Even if it looks like a duck, swims like a duck, and quacks like a duck, it might not be a duck

The drama considers our unhealthy relationship with technology and the ramifications of unchecked technological advancements. It draws attention to humanity's "vulnerability" to the influence of fake news (episode 12, 15:16), a significant issue in the modern, tech-driven society

In conclusion, "The Escape of the Seven" was a blend of misguided, cringe-worthy storytelling and surprising insight. It had both irredeemable and redeeming qualities

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A critical look at "Kpop Demon Hunters"

Narratively fractured and creatively barren, "Kpop Demon Hunters" reassembles genre conventions into a spectacle of commodified affect, where the promise of cosmic struggle is subsumed by performative decadence. Consider the hunters who, paralyzed by lust, pervert the moral architecture of their sacred duty and salivate over the demons they're sworn to vanquish

The movie incriminates itself through the imposition of non-platonic paradigms on male-female idol dynamics and the transfiguration of malevolent entities into archetypes of desire or victims of circumstance. Among the demons, Jinu being a salient example, many owe their damnation to a consistent disregard for the welfare of others. They have forsaken their familial bonds in pursuit of self-preservation and manipulated the truth to cultivate a favorable self-image

Rumi: "I know your story. You were a good person, and you still are"
Jinu: "I lied to you. I made a deal with Gwi-Ma to get myself out of that miserable life. I left my family alone while I slept on silk sheets in the palace with my belly full every night. I left them" (1:9:50)

Having condemned his family to destitution and starvation so that he might live in safety, Jinu endures punishment in the afterlife. Why would we mourn his suffering? No amount of retrospective remorse can rewrite history or nullify the ethical transgressions he committed

To forgive, or not to forgive? This is not a question posed to courts or the public, but a war waged behind closed doors and in the chambers of the wounded heart. Should Jinu's family, the aggrieved parties, extend forgiveness, it'd be an act of courage and a near-divine suspension of justified anger. Should they withhold forgiveness, it'd be a dignified reclamation of agency, a solemn tribute to what was lost, and a refusal to be coerced into premature reconciliation by societal or doctrinal demands. However, they could very well have departed to heaven. We're left with no clarity on where they stand in the matter

The story still performs a psychological sleight of hand: it acknowledges the demons' past atrocities only to repress their significance. The audience is conditioned to internalize a distorted moral hierarchy that valorizes temporary catharsis over justice, and conditional empathy over accountability. "They didn't deserve it," they'd insist. The truth is, the demons in question aren't misunderstood or fallen angels whose small errors brought about their condemnation

Rumi: "if this is the Honmoon I'm supposed to protect, I'm glad to see it destroyed" (1:14:42)

Rumi, who seconds ago endorsed the destruction of Honmoon, appears at the Saja Boys' concert with a newfound determination to protect it. Her abrupt shift in sentiment and subsequent behavior remain unexamined, to the detriment of character believability and emotional payoff

"Kpop Demon Hunters" suffers from a systemic breakdown across all creative domains. The characters, the dialogues, the songs. They dissipate into mediocrity

A critical divergence in reception has emerged regarding the songs, with fans asserting their qualitative superiority over the works of established Kpop groups. This position is one I don't share. Established Kpop groups, BTS, Stray Kids, ATEEZ, MAMAMOO, ITZY, FIFTY FIFTY, etc, have released songs characterized by melodic sophistication and lyrical depth. They're amenable to repeated, ritualistic listening. On the contrary, the songs from "Kpop Demon Hunters" are intolerable and unbearable to listen to beyond a single auditory exposure

Measured against the refined standards set by established Kpop groups, I believe the widespread popularity of "Kpop Demon Hunters" is disproportionate to its merits

TL;DR On a scale of 1 to 10, I'd rate the movie a 2

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A little light in the dark

Misfortune, of late, has been my sole companion, and I, wearied to the bone, did long for any fleeting solace to dull the ache within. It was then that "Duang with You" entered my life, as if summoned by fate's own hand to mend what the cruel world had torn asunder

Within the unfolding of each episode, I found my solace. And as the narrative progressed, so too did my understanding of TeeTeePor's genuine love and devotion. A fire smoldered between the two men, you see. Equal they stood, and together they passed through the corridors of passion. They had no use for the coarse mechanics of words, when they were taught a nobler language: the silent script of stolen glances, the electric grace of fingertips tracing sonnets upon bare flesh, and the solemn vow of kisses laid with pious care on willing lips that answered in kind. So precious was their union, that I could not but rejoice alongside them at their joyous culmination

I am grateful to TeeTeePor and the production team, whose enlightened minds and genius have conjured a work of art both humane and restorative. They have left an enduring impression on me and the world of storytelling, and for this, I thank them heartily

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Some tropes are better left unwritten: the omegaverse edition

It is, alas, a lamentable truth of our present age that omegaverse, so steeped in pseudoscientific absurdity and regressive social constructs, has insinuated itself into the heart of modern entertainment, defiling the printed pages of books, the fevered scribblings of fanfiction, the illustrated panels of comics, and the staged passions of dramas. Vast sums of money and countless hours of human endeavor are lavished upon its propagation, whilst BL/gay works of true merit are suppressed by censorious hands and condemned to wither in the dim corners of public consciousness

Though my heart swears fealty to BL/gay narratives, it shudders, nay, rises in rebellion, at the mere invocation of "futanari" and its progeny, gender bender and omegaverse chief among them. These, I maintain, are inimical to the values I hold sacred, and provoke in me a persistent discontent for four irrefragable reasons:
1. Their homophobia,
2. Their exploitative mimicry of opposite-sex characteristics,
3. Their dogged adherence to a pro-birth ideology, and
4. Their blasphemous misbranding as BL or gay content

I will give a quick rundown of my reasoning

*The homophobia*
-2 points

Society has made a deity of procreation. It kneels before the cradle as before an altar, not to adore the life within, but to venerate the future cogs and pistons that life shall supply to the great engine of commerce and control. The child is a promise of continuity; of goods consumed, of taxes paid, of orders obeyed. Thus are those chaste and unfruitful unions between members of the same sex held in contempt and branded with infamy. By the sovereign decree of nature, and save that the body be preserved from the violating touch of technology, gay relationships feed not the insatiable maw/ravenous belly of the state, nor replenish its dominions with fresh subjects to be bound in servitude

The natural deviation from the established norm provokes society's irrational wrath, which manifests in the abhorrent desire to feminize male characters or masculinize female characters. The men are feminized through the imposition of female anatomy (e.g., vulva, vagina, uterus) and capacity for pregnancy, while the women are masculinized through the imposition of male anatomy (e.g., penis, testes) and capacity for impregnation

Characters are warped into paradoxical feminine-masculine hybrids at best, caricatures of the opposite sex at worst. Prisoners of their bodies, their worth is degraded to that of a factory-grade "impregnating" and/or "birthing" machine. The omegaverse forces of pheromones, heats, and ruts further strip them of the freedom to carve their own paths and relationships. They're unable to break free from the stifling straightness/heteronormativity that defines their everyday interactions

This dystopian perversion of human bodies proves society's true intention: to erase non-straight/non-procreative relationships and maintain its iron grip on conformity

*The fetishistic appropriation of opposite-sex physical characteristics*
-2 points

People pursue what they can't have in an effort to fill a perceived void in their lives. They've at times coveted the womb's capacity to bear life (womb envy) and the penis's association with dominance (penis envy). Moved by the envy, they appropriate the appearances that resemble those of the opposite sex. Their minds wander to a fictional combination of male and female characteristics within a single form; a futa, an omega, or a Frankenstein's monster of sorts

They turn from the truth that the characteristics separating men and women aren't blemishes or shortcomings to be "fixed." Each male or female body is complete in its own right

*The pro-birth ideology*
-2 points

The contention that omegaverse is but a figment of imagination, a whimsical flight of fancy, does little to nullify my objections against it. Beneath the surface is a troubling fetishization of the pregnant form that espouses a pro-birth ideology. Omegaverse contributes to the sociocultural paradigm that sanctifies birth and ascribes it a revered, near-spiritual status

I take the opposite stance that birth holds no inherent beauty. Pregnancy is a grueling, unsightly process that exacts a heavy toll on the body, compromising the well-being of the being that endures it. Furthermore, "procreation" is an egregious imposition of the highest order, an act that binds a new helpless being to the chains of life's trials, tribulations, and uncertainties. Its media glorification is irresponsible and an affront to the very notion of morality

"Not to be born at all
Is best, far best that can befall, ...
... For when youth passes with its giddy train,
Troubles on troubles follow, toils on toils,
Pain, pain for ever pain;
And none escapes life’s coils
Envy, sedition, strife,
Carnage and war, make up the tale of life" (Sophocles, Oedipus at Colonus)

Our society's imperfect. There's no reason to fabricate an alternate pro-birth society burdened with greater cracks and fissures than ours

In the event that one's gripped by a desire to nurture a child, I believe the commendable path towards parenthood would be to consider adoption and provide a secure, loving home to an existing child that's been unfortunate enough to journey through life

*The branding*
-2 points

I believe the capacity for pregnancy is exclusive to women. Men can't experience it, or they'd cease to be men. It's thus incorrect to label as gay or BL the "straight" interactions of fictional characters capable of pregnancy. They belong to a different category

TL;DR The drama earns 2 points for trying, and loses 8 for its omegaverse themes and reluctance to commit to a gay storyline

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