Thursday, December 5, 2024

【黑色月光】/ "Darkside of The Moon" 观后感:剧情可圈可点,演员各有亮点


起初会想要看这部剧主要是为了杨茜尧,因为当她还在TVB的时候就已经挺喜欢她的演技。对故事内容其实只略微了解为复仇剧,也大概知道主要演员有谁。

当开始看这部剧时,我其实有点讶异。故事的内容和人物设计似乎跟某一部韩剧十分相似,所以我有点怀疑是不是有抄袭的疑虑。直到后来上网找了一下资料才发现原来此剧是摆明“参考”【黑色荣耀】/ "The Glory"的,难怪相似度这么高也没被非议。因此严格来说这应该不是那部韩剧的正式授权港版,比较贴切的形容词是“inspired by”而不是“remake of”。

个人认为,复仇剧一般最精彩的部分通常是复仇的过程,真相或幕后黑手虽然重要但很多时候没有抽丝剥茧和正邪对立的情节来的精彩。就这部剧而言,我觉得过程比结果好看。正义得以伸张的结局虽算意料之内,但就坏人没有得到真正应有的惩罚这点的确不太满意。除此之外,过程中有些不太合理的部分也会让人容易出戏,比如把复仇对象的资料和照片不贴在墙上反而贴在落地玻璃窗这点就怪怪的,就算住在高楼层难道不怕外面的人看得到吗?要复仇却没有隐瞒身份或改个名字就去接近仇家,难道没想到对方会有所防范吗?还有,置入性行销也做得有点不自然,故意拉长close-up的时间太刻意了吧!

其实故事中的幕后黑手和动机在很早的阶段都是呼之欲出的,所以悬疑度不算高这点也降低了真相揭发时的惊讶程度。考虑到这部剧的主题是复仇而不是悬疑,看剧时可能需要调整一下心态,把重点放在过程而不是结果,要不然可能会感到失望。

对于演员们的表演,大家都各有亮点,也有惊喜的部分。杨茜尧在前半部把亦正亦邪的Moon诠释的很到位,到后面差点要完全黑化的挣扎也挺有看头。林夏薇把卓慧云的前后阶段表现的有层次,到了后半段真是让人咬牙切齿。杨与亲姐姐杨卓娜一同演荧幕姐妹颇有新鲜感,看着看着也容易投入。就连一向来演技稍显生硬的黄翠如(纯属个人感想)这次的内心戏着实让我惊艳。所以就算对剧情没有完全满意,演员们的表现却成功为剧集扳回不少分数。

Tuesday, December 3, 2024

Thoughts about "The Trunk" (트렁크) - A slow burn and intricate love story hidden beneath a crime suspense facade


Potential spoilers ahead!

The way this drama was advertised prior to its release, most, if not all would probably think that this is a crime suspense story. In fact, the trailer seemed to talk more about the suspense part i.e. an expensive-looking trunk in question surfacing from a frozen lake with a dead body rather than the romance developing between the lead characters. As such, that was what got me intrigued and curious about this drama at first. Of course, the fact that Gong Yoo and Seo Hyun-jin's visually-pleasing and refreshing combination was a plus factor too.

As it turned out, the crime suspense aspect was more of a backdrop rather than the main theme. Even the title hardly figured in the entire storyline other than the beginning and the end of the story so it made me wonder if the scriptwriter had suddenly remembered the trunk and deliberately mentioned it again towards the end. Much as I could see why there was a need to refer to the trunk for the romance aspect of the story, the way it was slotted in felt somewhat unnatural. Moreover, the process to solve the murder case wasn't that engaging nor challenging so it did feel a bit underwhelming. If you are intending to watch this solely for the suspense, you might be disappointed in this regard.

While I usually shun love stories in case they get overly unrealistic, cringey or sweet, the romance in this drama was surprisingly grounded in reality despite the far-fetched and extreme settings. Having a company specialising in brokering fake spouses on short-term contracts, an ex-wife arranging such a marriage for her ex-husband with ill intentions, an ex-husband accepting his ex-wife's "kind" gesture begrudgingly or a woman becoming the rental wife for multiple men while pining for her missing ex-fiance - these are interesting premises but unlikely to see in real life. However, the depiction of what went right and wrong for the key characters in their love lives wasn't unimaginable and at times quite relatable. The downside to being so detailed and emotional at times was that the pace of the developments may be a bit too slow to stomach for the impatient.

If not for the fact that the leads were Gong and Seo, I think I might not have finished this or liked the story. While the crime suspense part of the story didn't wow me, their acting and great chemistry on screen made the romance a lot more bearable and very enjoyable to observe from the sidelines. To be honest, I don't think that Jeong-won and In-ji were necessarily the perfect match for each other but the fact that they had some history between them way before the arranged marriage probably helped to create this impression that destiny was at play here. And since they were in an emotionally-detached state at first, they didn't see each other as romantic partners and began interacting as housemates to become soulmates and romantic partners. Perhaps this progression path was what helped them to connect more naturally and gradually as compared to Jeong-won and Seo-yeon who probably started off on the wrong footing. That partners-in-crime thing when they were kids or that they were leeching off each other to feel more complete just felt wrong in many ways.

I also liked the fact that there wasn't a standard formula-type of happy ending because it was definitely for the better that their characters Jeong-won and In-ji had to deal with their own issues and live well first before embarking on the next relationship. At the very least, the story dangled the possibility of them being together in future so there is still some room for imagination for those hoping for happily-ever-after.

On the other hand, Jeong-won's relationship with his ex-wife Seo-yeon provided a lot of highly-charged angst and drama because they were essentially two flawed and broken people trying to seek fulfillment from each other albeit unsuccessfully. The issue was, they never seemed to connect emotionally so they couldn't come clean with each other on what they wanted or could provide to the other party. It might have been easy to blame Seo-yeon at first for her drastic behaviour but Jeong-won also had a part to play in driving her to the extreme. One thing led to another so it became difficult to say who was more at fault in the end. Conversely, Jeong-won's obsession and clinging onto Seo-yeon even after the divorce was largely due to his personal insecurity and childhood trauma although she also fanned his insecurity with her actions. They both needed to get away from each other in this very unhealthy relationship and might not have been able to do so if not for the entry of In-ji as an unexpected factor.

Then again, I am also not convinced about Seo-yeon wanting to extend her contract with her fake husband - I just didn't get the same inkling that she was as emotionally invested in the relationship as compared to him. It felt as if the story wanted to have a happy ending for her as well.

The set design and scenery featured in the drama also deserves special mention for the aesthetics and accentuating the atmosphere and vibe of the story. Jeong-won's huge house but with a cold and empty feel and the wilderness of the freezing lake where In-ji is in her kayak on her own provided a nice contrast with the warm and fuzzy feeling created by In-ji's ex-fiance's apartment filled with his belongings and their happy memories and the scenes where Jeong-won and In-ji enjoyed each other's company. 

Since I think that the drama has probably tied up all the loose ends, I personally don't think that a sequel is needed. While I don't mind seeing Gong and Seo in another collaboration, it's probably unnecessary to come up with a sequel just to offer a clear-cut explanation of whether and how Jeong-won and In-ji end up together or not.

Saturday, November 30, 2024

Surprise of the day - Kindaichi Hajime & Nanase Miyuki's happily-ever-after

This was definitely the surprise of the day.

Kindaichi Hajime & Nanase Miyuki already married? And expecting a baby??!

Seeing this screenshot making its rounds on social media was such a pleasant surprise. And as a longtime fan of the "Kindaichi Shonen no Jikenbo" series, this was really something that should have come a long time earlier than now.


I was still a teenager when I started reading the Kindaichi manga, albeit in Chinese since I was just starting out to learn Japanese. And in order to get the latest release as soon as possible, I had to buy the Taiwanese version instead of the local version so that was a huge investment considering my status as a student then. It was only until much later when I started collecting the Japanese version and had to wait months between each book's release. As for the real-life dramas and anime, I had watched most of them except for the 3rd generation and 5th generations' drama series. 

Honestly speaking, the series actually wasn't that suitable for teenagers. Since every case was about murders, sometimes serial murders and at times involved underaged people being the killers, the MOs and motives depicted certainly couldn't be considered wholesome and healthy for teenagers to read. However, what got me interested was not so much the gore or the motives spurring those killers to exact justice for themselves or their loved ones but rather the intricate plots and the MOs that the killers used to commit their crimes. The twists and turns in some of these stories were so engaging and the gratification of being able to guess them correctly was a huge plus as I got more familiar with the deduction process and became more alert to observe the clues left around by the authors.

However, by the time it came to the 37-year-old Kindaichi series, I started to feel the fatigue from the repetition of the story's format. Things were getting predictable although the MO and techniques used were mostly evolving with the times. Despite so, the motives of the killers and the "truth revelation" process were getting stale. It was also frustrating to have the carrot or rather mystery of what's up with Miyuki being dangled like forever because she never appeared in the new series other than the occasional mention. Given these reasons, I stopped purchasing the manga after Vol. 13.

So...with this new revelation, what does this mean next for me?

For a start, do I want to catch up on the volumes which I missed from the 37-year-old series? Will these feature the story of what happened between these childhood-friends-turned-husband-and-wife? Or will this part only be covered in the "Kindaichi Papa" series which will start in Jan 2025? Then again, the timing of this revelation just makes me wonder if it's a ruse to get old-time fans back for the new series but end up being taken for a ride again.

While it is probably not reasonable to expect too much from this series given that it has gone on for decades and there are limits to how much it can evolve, I certainly look forward to seeing some progression in the key characters' lives. And this is really, a very much anticipated outcome that most if not all fans have been waiting for.

Monday, November 25, 2024

【影后】/ "Born For The Spotlight" 观后感想:演技一流但故事稍显美中不足


如果没有期待,是不是会比较不受伤害?

会如此有感而发是有几个原因的。

首先,在这部剧集推出之前所看到的预告片非常精彩,演员卡司又强大,也就因为如此对它有了更多的期待。然而,期待越大却在发现结果不如预期时大失所望。如果没有期待,就算结果不尽完美,心理上的失落感就不会随之放大。相反的,若是结果比想象中的好,那种意外收获的幸福感和满足感有时会让人回味无穷的。

个人认为最主要的原因就在于预告片把这部剧的很多精华亮点都毫不吝啬地呈现出来,等到看剧集时就会发现好像没有什么新的东西和观点可言,就如底牌早已被人看穿般没了惊喜度和新鲜感。虽然各位女演员们的支线故事都有其精彩之处,个人觉得故事似乎少了一个可以吸引观众看下去的主轴,造成了一个各自精彩但大局沉闷的困境。里面所提及对女演员的刻板印象和偏见又有既视感,少了与众不同的观点或更精致的内心戏。这也就是为什么我在看完前面两集时一度有想弃剧的念头,直到隔了好几天才决定把剩下的集数追完。最后两集和描绘周凡与薛亚之的友情及决裂的那集不可否认很精彩,但就整体来说有种"too little, too late"的感觉,实属可惜。

在故事里,各位女演员们其实也因现实与想象之间的落差所苦,就算观众们不是演艺圈的人也应当可以体会她们的痛与挣扎。就她们各自的支线来说,每一位演员都有各自发挥的空间和亮点。

周凡认为自己对薛亚之付出了真心和诚意,为她好和打抱不平,认为薛与李子齐在一起的不快乐,委曲求全又一直分分合合实实在在委屈了好友,薛决定嫁给李子齐又放弃当演员从周凡的角度看来更是错上加错。然而,周凡的自以为是其实没有考虑到薛的意愿和心情,她所认为的”好”却不是薛所向往的“好”。周凡也错把自己的好意当成是自己可以任意妄为的理由,认为薛会无止境的包容她所谓的善意,丝毫没有考虑后果地破坏薛的婚礼,也难怪踩到了薛的底线让两人老死不相往来。

从薛看来,周凡一直自由自在我行我素,看似好像什么都不在乎,却不费吹灰之力拥有让薛羡慕的东西,包括被评价为天才型演员的赞誉。周凡就算从来没有得过演技奖项却会被大众视为遗珠。反观正牌奖项得主的薛却被批评为不够格的影后又抢了周凡的奖项。可是薛自己一定会觉得自己付出努力应该有资格得到相应的回报,却一直苦于被自己最好的朋友兼最大的竞争者无形中也无意中抹杀掉自己的成就。这时候选择转换跑道往幕后发展的薛其实不一定是放弃竞争或害怕继续被比较,可能就是很单纯的有一个可以转念的契机和机会让她决定息影。但很多人可能就认为没有一个正常的人会放下女艺人的光鲜亮丽而愿意退居幕后支持一个岌岌无名又看似不会成功的导演老公。

讽刺的是,周凡从来都不觉得自己是天才,也常常会对自己的能力有所怀疑。如果她真的是演技一流的演员,为什么专业评审却从来不愿意把演技奖项颁给她呢?事后才说她是遗珠又有何意义?为什么她的努力又要一次又一次被别人评价为好或不好?可能周围的人认定天才不需要努力,但休息3年后回来演戏的时候,周凡总认为自己不能胜任,很努力克服空窗期,练舞练到受伤,可是别人不一定能体会和了解她也需要努力来呈现别人所看到的美好。

黎芯妮曾经一脱成名又因为其性感又有点傻傻的荧幕形象,一直被别人看轻和占便宜。实际上,她只是单纯地渴望被人爱和接受,想的比别人以为的透彻,也没有如外界想象的想极力摆脱这些负面标签,因为她比别人似乎更能接受自己的过去。毫不犹豫地为爱抛下明星身份之所以会让别人意外,可能就在于她真正在乎的并不是别人认为她应该在乎的。

柯丽芬身为单亲妈妈要养活自己的独生女,成为八点档演员,却因此被别人看不起,认为她只会演烂戏又或者不会演戏。但要长时间拍摄这些长篇剧需要多少心力和体力,别人看不到,就算是自己的女儿也不欣赏她,即便她曾经得过演技奖项。其实要拍几百集的八点档长篇剧又要上山下海,虽然剧情有时的确有点莫名其妙又充斥满满的激烈情绪,但没有两把刷子的演员应该也很难胜任吧!

潘茵茵为了维持自己的美貌和体态,付出的努力和心力同样不被别人看见和了解,只会把她当成花瓶。可是若她让自己真的展现出岁月的痕迹的话,别人又会期许她保持永远青春美丽,所以她一直逼自己活成别人期许自己的样子。她的执着可能会让人觉得她很难搞又搞不清楚自己的现状,但她自己应该比谁都还明白自己的局限。当她真的示弱和放自己一马,她才真的活得怡然自得。

游燕芳贵为资历很深又得奖无数的演员,在外界看来可能会无欲无求,应该可以随时放下一切走人。但她其实还是对于当演员有一定的留恋,所以迟迟不肯动手术,也与儿子一家分隔两地。正因为如此,当她终于想开又决定离开工作时,别人才会对她的果断而感到惊讶吧!

至于史艾玛,虽然她的角色到了后期不讨喜,但她的心路历程不难让人理解。因为她想成功,所以她不顾一切牺牲其他在别人看来比较重要的东西,例如友情,爱情和恩情。可是在别人看来相较重要的东西,对史艾玛来说其实并没比当一个知名演员来的重要。每个人所重视的东西不同,虽然她的成功有让人不胜唏嘘的部分,但这只是每个人的价值观不同所导致的落差罢了。

除了女演员们的戏很精彩,经理人的部分其实也很好看。虽然薛,胖姐和壁虎有各自的风格和处事待人之道,他们其实都有一个共同点。他们很了解自己的艺人需要什么,做什么对艺人本身最好,什么是艺人们的强项,也懂得如处理艺人的负面情绪与问题。这些台前的成功其实有一大部分的功劳应该归功于大家所看不到的经理人。

对于跳槽和换经纪人的情节,虽然说从一而终或注重人情义理是很多人歌颂的美德,但在工作上有时又不能太感情用事。就像史艾玛如果为了讲义气而继续跟着胖姐,她能成功吗?相反的,潘茵茵和芳姐如果没了壁虎,她们还能够专心和开心的当女演员吗?可惜的是,对的事跟应该做的事应为相抵触而让结果有所遗憾。

关于女演员们的恋爱,其实各个支线都有挺细腻的描述和呈现。就如柯丽芬跟丈夫那种爱恨交织的深厚情感,很有真实感又笑中带泪的窝心。个人比较喜欢薛跟李子齐在外遇被发现后的发展,冲突中加上满满的压抑和痛快的宣泄,到后来的无奈和释怀,比起其他剧中的恋情和婚姻关系的描写更加有感染力和共鸣。

虽然对此剧不至于百分百满意,但总的来说还算是水准之上,演员们都表现的很不错。只不过剪预告片时如何要达到可以吸引目光,但又要留一手给观众自己在作品中发掘亮点,这的确是一件不容易办到的事。要不然看完之后的感觉大概就会是“只有这样而已?”吧!

Monday, November 18, 2024

Thoughts about Iron Girls / 무쇠소녀단 (Korean)


Watching "Iron Girls" was not a planned decision at all. I wasn't even aware of this show prior to its launch and by the time I saw it on Viu, there were already 3 episodes released. After reading about the synopsis and knowing the cast lineup, I decided to give this a shot.

And wow, this was such an unexpectedly good decision.

Shows featuring celebrities or non-athletes training for a major sporting event or some challenging sports aren't exactly new though. In fairly recent times, I remembered watching another tvN show i.e. "Run" featuring Ji Sung, Kang Ki Young, Hwang Hee and Lee Tae-sun in 2020 where they trained for the Florence Marathon with just one month to spare. Considering the short time frame, the show lasted a mere 4 episodes and to be honest, featured quite a bit of sightseeing in both South Korea and Italy than the physical training or actual marathon itself. And the whole atmosphere was kinda laidback and more of like, "we'll try our best but there is no guarantee that we will succeed". In a way, that was a realistic take on the situation because one month of training along with juggling acting jobs is honestly too much of a stretch. As such, even though one of the four did not complete the marathon, that show was still pretty enjoyable to watch and the outcome of some not making it was expected to a certain extent.

"Iron Girls" is an entirely different ball game. To begin with, training for a full marathon is already quite adventurous. To train for a triathlon in just 120 days and they are not athletes to begin with, I really thought that the idea itself was quite outrageous. Then again, when you consider that the producer is Bang Geul-yi, a former producer of "2 Days 1 Night", I think it does make sense to set such a tough challenge because she had done a lot of these "crazy" things back then so I wasn't that surprised after knowing the PD behind this show. Of the training sessions throughout the season, the top 3 which were especially memorable would have to be the vertical marathon, the swim across Han River and the uphill cycling training. Although I wasn't doing it myself, the sheer torture and physical demands of these challenges really came across strongly on screen.

Among the four actresses featured, I have watched Jin Seo-yeon, Park Ju-hyun and Uie in action before while I only know Seol In-ah from some of the clips I saw before from the drama "Business Proposal". Jin was super eye-catching in the movie "Believer" and I really liked Park's performance in the drama "Mouse" opposite Lee Seung-gi. In addition, I have been following Jin's Instagram for a while so I do remember seeing her doing a fair bit of gym work in her posts. As for their captain Kim Dong-hyun, I've seen him a lot in Korean variety shows such as "Physical 100 Season 2" and "The Great Escape" so it makes sense for him to "lead" them in the physical training along with other experts who joined as guests or Heo Min-ho, a former triathlete who became the regular coach focusing more on the triathlon itself in the second half of the show.

Since I would say that my knowledge of the actresses is still considered quite basic, there were some surprising things which I found out along the way with each episode. Biggest surprise for me has got to be finding out that Park is actually older than Seol - nothing to do with their looks but more of their screen images because I recall seeing Park in more student roles so that sort of gave me the impression that she's very young. Imagine my surprise to hear Seol call Park "eon-ni"! And that Uie was a former swimmer but cannot cycle - I only knew that she used to be in an idol group After School and seemed to have a reputation for being athletic. Or that Jin actually has a phobia related to swimming despite her sporty and fearless image.

What I thought was really relatable and very engaging about this show was how these actresses all had their weaknesses and were not "super-beings" who realistically had a chance at clearing the triathlon from the beginning. And precisely because of this, the show delivered a clear message of how you and I as ordinary folks could also have a chance at doing something very challenging and seemingly impossible by taking baby steps over time. These actresses certainly did not become physically fit for the triathlon overnight as seen during the entire season. Moreover, completion is one thing. Completing within the cut-off time for each round was an added degree of difficulty they needed to factor in when taking on this challenge.

Jin's issue with swimming meant that if she couldn't clear the first part of the triathlon, there was no way she could continue with the other rounds of the event despite being good at cycling and running. Likewise, Uie is a fantastic swimmer but if she fails to make the cut in the cycling round, she also won't be able to take on the running aspect of the triathlon. Seol who is regarded as the sporting genius, has to deal with her weakness in running and as the show progressed, she picked up a number of injuries as well which further affects her ability to complete the entire event. Park started off as being the weakest in terms of stamina and sporting ability but made up for this with her strong will, refusal to give up and sheer hard work. 

To be honest, it was so motivational and inspiring to see them overcome their individual weaknesses and strive towards the collective goal of completing the triathlon together despite the odds against them. From a viewer's perspective, seeing their hard work pan out over the span of 11 weeks and how they managed to achieve something that seemed so impossible at first, that was not just entertainment but a really inspirational tale to watch. 

While I don't think I'll ever be ready to do something as physically hardcore like this, I think the Iron Girls' never-give-up attitudes, the support of everyone around them and their hard work are very memorable takeaways for me as I wrapped up watching this show. Getting started, taking small and steady steps and being consistent - these are very important life lessons to keep in mind.

Friday, October 11, 2024

Review of "Monet Inside" by Claude Monet (Exhibition)


While I wouldn't say I am a fan of Claude Monet or very familiar with his works, I was tempted to check out "Monet Inside" as it is positioned as an "immersive experience" to know more about the artist and his creations. This seemed to suggest that the exhibition will be somewhat different from the usual exhibition style of just walking through gallery halls filled with the works. 

Besides, it was held at Parkview Square - a very artistic-looking building with its huge Dali sculptures in the compound and an Instagram-worthy Atlas Bar on the first floor so this would be a great opportunity to check out the building for the first time. That itself could be considered as another exhibition of its own.

For those who are contemplating to visit this exhibition, do take advantage of the 50% off offer which will be valid till 18 October. You can get an adult ticket for as low as $12.50 if you are a local.


What was good
Indeed, being able to see Monet's works "come to life" through the 360 degrees large screen and the floor in the main room was a very different experience compared to seeing the paintings on a gallery wall. Through the 35-min long video which was divided into 5 sections about the key phases in Monet's life, you get an in-depth and somewhat personal peek into his life through the narration of his longtime friend. I also liked the music that accompanied the showcase of Monet's paintings as it accentuated the presentation as a whole.

The other "wow" factor was the merchandise section. Honestly speaking, most of the merchandise sections I had come across at various exhibitions either had an underwhelming range of products or they were simply too overpriced that I couldn't fathom spending that kind of money. However, despite my lack of anticipation for this section at first, there was a dizzying range of items on sale here - ranging from the usual stuff like postcards, replicas of the paintings, the exhibition catalogue and notebooks to the less common things like fabric perfume, handheld mirrors, scarfs, dolls, postal stamps, jewellery, iPhone cases, mobile phone accessories and beach towels. 

While it was tempting to buy more than needed, I settled for buying some clear photo cards of two paintings I like which were actually the right size to use as bookmarks.  I felt that most of the items were quite reasonably priced. I would have wanted to get the notebook if not for the fact that the paper was a tad too thin - not so suitable for drawing and painting, I would say.

Just one small "grouse" though - the world doesn't revolve around iPhones only. While I understand that it's not possible to have mobile phone cases for all brands, it always annoys me when such accessories and cases are only for iPhones. There is no room for consideration at all when I encounter such products for a single brand like this because I can't use them anyway.


The staff at the exhibition were very polite and friendly - probably because they could see that I was new to this venue and unsure where to start. Not to say that staff at other venues were not good but most of them tend to keep out of the way especially in the galleries so that they won't interrupt or affect the experience of the visitors. Having the staff proactively come over to offer assistance or additional information on the exhibition was not something I experienced that often - both locally and overseas. This exhibition is organised by Groundseesaw which is said to be a major exhibition platform from Korea and this is their first international project. Maybe that's why the style of the exhibition felt somewhat different from the ones I visited before in our local museums.

What was less than ideal
First of all, I have to say, your experience here might be different from mine depending on when you visit. I was there on a weekday afternoon and the fact that you needed to secure an hourly slot for your tickets would mean that there would be some form of crowd control especially during weekends. The reason for the hourly slot should be because of the fact that the main exhibition video runs for a good 35 minutes and visitors can supposedly take photos nearer to the screen in the 15 minutes when the highlights are being shown. As such, since the video doesn't get looped indefinitely at random timings, it is necessary for people to come in groups at the start of the hour rather than as and when they like because you wouldn't want to see "latecomers" spoil your viewing experience as they walk in and out of the hall. In fact, before the video is shown, there are some reminders such as switching off the sound of your phones and not moving around during the screening so as to maintain the viewing experience for all.


Despite the best of intentions, I have to say that the environment wasn't that conducive. As you can see, the seats are actually cushioned benches on a staircase. There is no backing for you to sit comfortably unless you move deep into the staircase and use the upper level as your back support. That can only be done assuming that no one is sitting behind you. I can just imagine - if there are crowds on a weekend, that might be impossible. In fact, I ended up with a bad backache and shoulder ache because of this seating arrangement for more than 30 so this physical discomfort really marred my experience. I just couldn't wait to get up and leave the hall and skipped the highlights video.

Since the screen was so wide, I also found myself have to turn my neck very often just to "get the full picture". Perhaps it might be better to sit on a higher level to reduce the need to do so but those who want pictures without having those in front of you appearing in your shots might have to consider sitting on the first level instead.

While the exhibition was positioned as one which is inclusive i.e. there is no age limit, this works against those who want to watch the video with no disruptions. Adults are told not to move around during the screening but it is understandable that young kids will find it hard to sit still for such a long time especially if they cannot understand the narration or find the video boring. If kids are so young and it is difficult to prevent them from disrupting the viewing experience of others, it might be worth reconsidering bringing them along. From the Google reviews on this exhibition so far, it seems like this issue is a big bugbear among those who gave lower ratings. 


In my case, even though I was there on a weekday, it just so happened that I had the "good luck" of  encountering kids who couldn't sit still and were moving around in front of the screen. And the kids I saw were definitely at primary school age but the parents simply let them be. I could be more understanding if they were much younger and harder to control. Imagine your viewing experience being interrupted with the presence of "moving shadows" and noises made by children - that only added to my frustration on top of my physical discomfort.

I also wonder about the cost-to-performance ratio of this exhibition. Honestly speaking, if not for the 50% off, I would have felt that the deliverables from this exhibition were too little as compared to the price to be paid. The highlight being the video in the main hall plus the smaller halls with replicas of the original paintings and some panels about Monet's life simply aren't enough to justify the price tag. As such, I would have wanted more content if I was asked to pay the full price.

Conclusion
While the concept and delivery method of the exhibition's content was somewhat new and interesting, the range of content and execution could be improved. In a bid to promote inclusivity, ensuring that the content is age-appropriate and that the factors that could affect the experience should be mitigated as much as possible are important topics to consider. Great range of exhibition merchandise here so just checking out the store took longer and was more fun than expected.

Thursday, October 10, 2024

Thoughts about "Culinary Class Wars" / "흑백요리사: 요리 계급 전쟁" (Korean)


SPOILER ALERT! - Please refrain from reading this if you haven't watched the show and wish to avoid spoilers, thank you.

Finally, the dust has settled.

To put it simply, I would use the Chinese expression "虎头蛇尾" which means "a brilliant start but sloppy ending" to sum up this show. I wonder if this has become a signature trait of Netflix Korea's reality shows of late because the recent titles I watched all had this issue. While they mostly started very promisingly and were engaging for most of the run, the finales somehow turned out to be very underwhelming or came across as really half-hearted as if they wanted to wrap things up quickly. Not sure if it's the editing or the finales were that boring but it was sad to see things end in this manner. And this was disregarding whether the person I was rooting for won in the end.

Unfortunately, "Culinary Class Wars" was yet another example of this undesirable pattern.

I wasn't expecting much when I started watching the show. In fact, I waited for a number of episodes to be released before I began watching since I wasn't in a big hurry to check this out as soon as it was released. From the start, the show looked super impressive due to the scale and quality of the set, the interesting competition system of pitting well-known and established chefs (White Spoons) against those who may have skills but aren't as popular or well-known yet (Black Spoons) and the dizzying showcase of various creative and delicious-looking dishes created by the contestants. The twists and turns in each round were also good entertainment from the perspective of the viewers. I do think that there were some parts which probably were considered controversial (more on that later) but I saw that as a premeditated move by the production crew since it was essential to stir up reactions from viewers rather than for them to be indifferent to what went on in the show.

While I can't say that I know all of the White Spoons, some of them had appeared on TV shows while some were winners in past cooking contests I had watched before so there was a certain degree of familiarity to begin with. I was actually more surprised that some of these veterans would want to come on a show like this because there was the risk of being embarrassed if they were eliminated in the early stages and more so if defeated by the Black Spoons. However, some of the White Spoons who got eliminated early displayed great grace when accepting their defeats and were very encouraging towards the younger and less experienced Black Spoons. That was a great sight to behold because of the mutual respect shown for one another. On the other hand, I have to admit that I didn't know any of the Black Spoons. While it was quite easy to see that the final winner would have to be a Black Spoon for maximum dramatic effect - the underdog overcomes the more powerful senior, it was a bit dampening to see how it happened in the finale. As for the judges, while I am pretty familiar with Baek Jong-won because I had watched a number of his shows to date, I didn't know who Ahn Sung-jae was until this show. 

The earlier rounds of the competition and the semi-finals turned out to be way more engaging to watch than the final which didn't even last for an episode on its own. I am sure that I wasn't alone in feeling that the semi-finals felt more like the final. Other Korean cooking competition shows which I saw in the past would have either multiple rounds to decide the victor or at least asked for a set meal with multiple dishes but this show asked for one dish only? And what's with the theme of the dish bearing your name? Isn't that somewhat similar in style to the dish that was of great meaning in the chef's life in the first round of the semi final? And could there have been an increase in difficulty by setting out specific conditions, restricting the type of main ingredients to be used or at least a theme to adhere to? The Endless Hell challenge was actually more difficult than this final, I must say.

While I was never a supporter of Edward Lee from the start, he slowly won me over with his classy performances, out-of-the-box creativity, respect for opponents - both peers and juniors, humility and willingness to learn from others. Even in the face of a taunt right in the face which felt totally unnecessary (downright distasteful even from the viewpoint of creating a talking point or drama for the final) and disrespectful by the eventual winner Napoli Matfia i.e. Kwon Seung-joon, Lee still maintained his grace by not retorting and smiling during that exchange. I don't know what was the significance in highlighting that Lee was most likely still suffering from jet lag due to the flight from US to Korea and that he had gone through the torturous Endless Hell semi-final the day before. If you are good, you can just mention that you will put in your best effort to win and you think you can win because of your skills. By insinuating that your rival wouldn't be able to perform as well due to the conditions against him, I don't know what he was trying to achieve by saying that. So if Lee had won despite the odds, wouldn't that have reflected badly on him who watched the Endless Hell round with ease and supposedly was in a better physical and mental condition? 

There should have been a better way to show self confidence without putting people down in that manner. If this kind of behaviour was just an once-off thing, one can argue that the editing did a disservice to Kwon for the sake of creating an "antagonist" character to court controversy. If one wants to justify that he had his reasons for doing that, I can understand that he had this "underdog wants to beat the favourites" resolve from the start because of the "slight" he felt when the White Spoons were given privileges from the start as a reflection of their "superiority" over the Black Spoons. However, if his choice of words since the start was consistent in style all along, I am skeptical about the explanation that he didn't mean what he said. 

This is merely my opinion though but people who are truly good at what they do actually do not go around trumpeting their skills and strengths because others can see that for themselves. In fact, when you go searching for reviews and comments online about the show after the final, it's easy to see who won the hearts of the viewers despite the outcome. While Kwon did apologise for his behaviour in the last two episodes by saying that he was trying to cover up his nervousness and lack of confidence against a formidable opponent, I still feel that there could have been better ways to achieve the intended effect of showing confidence without being rude and offensive.

There were some interesting topics which came up during the course of this show so I'll share my thoughts on them below:

Class classification and discrimination
The idea of putting the chefs in two categories could have courted controversy if people felt that it was blatant discrimination against the Black Spoons. However, I think that it's a honest reflection of how society is like in real life, whether you agree or like it. Much as we aspire to have a world where there's no discrimination or class differences, the reality is that there is still a hierarchy in all aspects of society, be it in social or work settings. Rather than pretend that this doesn't exist, it's better to show it as it is. Just as how a Michelin 3-star chef is looked upon as the ultimate goal for chefs and epitome of greatness in the fine dining world, you can't deny that those with a 3-star are seen as more superior when compared to a 2-star, 1-star or someone with no star. Whether we agree with this order of things or how people are appraised will be a separate issue to think about. Especially when it comes to food, we all have our own standards and criteria. What works for others may not work for you.

The White Spoons were classified as such because they earned their dues thanks to years of hard work, experience, skills, popularity and name/brand awareness. On the other hand, the show didn't say or imply that the Black Spoons were inferior - it was just that they may be experts in their respective specialisations but have yet to make a name for themselves or are comparatively less experienced than the White Spoons. As such, the advantages which the White Spoons enjoyed at first were reasonable to a certain extent although it might have rubbed some Black Spoons in the wrong way. Conversely, I think that the way the competition started did strengthen the competitive streak in the Black Spoons to prove that they were as good, if not better than the White Spoons.


In case you are unaware, the word "black" actually sounds similar to "dirt" in Korean. The spoon class theory i.e. sujeo gyegeumnon (수저 계급론) is an idea that first surfaced in 2015 where "individuals in a country can be classified into different socioeconomic classes based on the assets and income level of their parents, and as a consequence, one's success in life depends entirely on being born into a wealthy family" (definition from Wikipedia). Based on this theory, the highest level would be diamond, while the lowest level is dirt. In this ranking, there is no black spoon though so it has been speculated that the colour "black" was chosen to contrast against white which is the typical colour worn by chefs and also meant to refer to dirt since they sound similar in Korean. Of course, it is obvious that the Black Spoons definitely aren't at the dirt level since they were selected to be part of the 80 to participate in the first round. That alone would be a reflection of their abilities.

Fairness - Actual vs. Perceived
I was concerned about the second round which was officially the first time when the top 20 Black Spoons faced the White Spoons - wouldn't the judges be affected and be mindful of offending these White Spoons especially those very senior ones? As such, it was a surprise to see that they were really blindfolded - effectively a blind test - since they could not see who was against who nor were they allowed to see how the contestants cooked. Seeing the judges' shock when they eliminated a few veterans in this manner unwittingly seemed to suggest that they really didn't know whose dishes they were tasting and the decisions were made truly based on taste only. Although I think that this was a pretty good control measure on the whole, there was a controversy about one contestant serving a dish which was from the judge Ahn Sung-jae's restaurant Mosu when he worked there in the past. If that was indeed true, it would have been a giveaway of his identity so there should have been a rule banning such dishes from being used in that round.

I thought that the fairness of the competition got a bit iffy towards the end because the goalposts seemed to have shifted here and there and the judging criteria was not fully made known to the contestants. In the early rounds, Baek Jong-won made it very clear that his focus was on taste while Ahn Sung-jae was concerned with the overall execution, intended message of the dish and whether the intention of the chef matched the final product. As such, while viewers couldn't taste the dishes for themselves, their comments and decisions still seemed pretty logical and believable.

However, there seemed to be some back-and-fro in the later stages when the focus was either not specified or consistent - was taste, creativity, the wow factor or adherence to the theme the most important thing for a particular round? For the Endless Hell semi-final, I felt that it was logical to think that the dish must incorporate tofu as the main ingredient so adherence to this requirement would have been a must. In that sense, Choi Hyun-seok's elimination would be understandable because tofu played a supporting role in his dish. Towards the end though, Triple Star lost because he didn't have as much variety as Edward Lee even though the judges did comment that he had the best tasting dishes. So...is taste ultimately more important than creativity or the other way round? And since contestants did not know the hierarchy of criteria which the two judges had decided between themselves, would it have been fairer if the contestants went into this round with full knowledge on what they should do? Having some ground rules and being transparent and consistent in the judging criteria would make the competition less controversial.

Likewise, for the round where the team match took place and the White Spoons' seafood team hogged the ingredients, if there was a rule stating beforehand that you could only take what you need or that you had to decide on the menu first before grabbing the ingredients, that could have prevented the situation which happened. While people may not agree fully with Choi Hyun-seok's strategy at first from a "moral" standpoint, you can't deny that he managed to for being able to find a way to seize an advantage over the other team while not breaking any pre-specified rules.

As for the round where the teams had to operate restaurants to serve the mukbang influencers, Choi's strategy may have been unrealistic in real life and a very risky gamble for that particular round but I think he was spot-on in identifying the best strategy to take advantage of the unusual circumstances. While it would have been fairer to consider net profit after taking out the cost of the ingredients, I think that it would not have made much of a difference in the final ranking considering the huge difference in total revenue between the first and second-placed teams. Perhaps if the influencers were given a smaller budget to begin with, it might have made the round go in a more unpredictable manner because they would have to make more critical and carefully considered decisions when ordering.

With regard to the twist that ended up disadvantaging the fourth team, it could have been great drama for the show if they had survived the round despite the odds. However, I found it to be a great pity that the three chefs did not capitalise on the intelligence they got while they were in their original teams, chose to stick to their signature dishes and did not jack up the prices a bit more. And since they were already one person less than the other teams, it was more difficult for them to adjust accordingly to the evolving situation and keep up the pace when serving. Given that they also did not have the benefit of time on their side, it was natural for them to do what they did but I wonder about the what ifs - if they had done some fanciful dishes, had one more member to level the playing field or the twist to the round was announced earlier, things might have turned out very differently.

Intention vs. outcome
Last but not least, as many of the contestants mentioned in their interviews, they were on this show to promote Korean cuisine to the world even though some had reservations and initially rejected the offers. If this show was indeed pitched to these contestants in this manner, shouldn't there have been a rule requiring the use of Korean local produce, signature ingredients or at least one course in a set meal to be Korean food especially in the finale? Since Edward Lee did showcase Korean ingredients in his dish for the final, should this have given him an advantage over Napoli Matfia's dish which hardly had anything Korean in it? Then again, the show's title didn't give any indication that this show was about Korean food or intended to showcase Korean cuisine unlike another cooking contest which was titled "Korean Food War" so it's hard to fault this show for not achieving what was supposedly promised or intended. Perhaps the positioning of this show should be clearer if there are going to be sequels in future.

Friday, October 4, 2024

Thoughts about "No Way Out: The Roulette" / "노 웨이 아웃: 더 룰렛" (Korean)


I had some mixed feelings towards this drama before I watched it so I was undecided on whether to give this a shot.

I came to know about this drama because of the news that Lee Sun-kyun quit before the filming started due to the drug case allegations surrounding him last year. After Lee quit, this then led to Cho Jin-woong stepping in to fill the lead role. As such, considering what happened to the late Lee due to that case, it was conflicting for me to be reminded about the what-ifs assuming Lee had taken up the lead role and I didn't want to keep comparing him and Cho despite the fact that I also like Cho as an actor.

Then, I saw the No Way Out episode on "Chattering with Nah".

It was such a fun episode to watch because of the cast especially some of them were already acquainted with PD Na or had worked with him in variety shows. What also came across very strongly was how much they loved working on this drama and praised one another for their breakthrough performances. To be honest, this promotion was very effective, at least for me because it convinced me to reconsider watching this drama. And besides, it was just 8 episodes so the hurdle to entry was significantly lesser than watching a full 16 episodes.

What was very special about this story was that none of the 8 key characters can be said to be "white" i.e. good. They are all "grey" with some being of a darker shade closer to black.  In a way, this is reflective of reality where nobody can claim to be perfect and there are always conflicting sides in everyone - just that of differing degrees and types. As such, this actually made the characters a lot more believable and realistic. The downside to this though was that their behaviours may be a lot more difficult to understand and empathise with since it can be really extreme. Plus, the violence and gore can be a bit hard to stomach towards the end.

And true to its title, some of these characters really had "no way out" (or so it seems) thus giving birth to the desperation that drove them to do what they did. For example, the stigma that stuck with being the son of a serial rapist and killer even though the son did nothing wrong - how could you ever shed that label stuck on you if the cause of that stigma was still around to create havoc? Or how can you battle that greed for a quick solution to your financial problems even though you are supposed to be righteous? When faced with having to stick to your morals vs. chucking aside your values in order to survive, what would you choose then? Seeing how these characters had to make a choice which may not be acceptable based on mainstream "correct" values, you also start thinking if you can still do the right thing when you see no way out of the situation like them.

However, the quality of the episodes was not so ideal with some moving along fast enough and being so engaging to watch that the airtime passed by so quickly but others were just passable. In particular, I felt that the ending was somewhat sloppy and the pastor's story could have been expanded a bit more. I wanted to see how he managed to execute his perfect revenge but that's probably not going to happen unless there's a sequel. In addition, the Mask Man's style and image bring back memories of "Squid Game" so I would have preferred a bit more originality in that sense in order to reduce or remove that kind of implied association (intended or not) with that Netflix series.

And regarding the ending, my take on it is that you can see it in two ways - either a sequel is coming or it reflects the fact that "no way out" situations will never go away. Even if the story seems like it had a resolution, it actually is no more than a passing point and the struggles in life will still continue.

As for the cast, Yoo and Lee's characters stood out the most with their portrayals of hardcore villains. Yoo's character was such a tough nut to crack - simply refused to die despite the multiple attempts to kill him and the craziness in his warped mind really riled me up at times. Lee on the other hand, had a very strong comedic image due to his variety shows so it was such a mind-blowing experience to see him play this mad guy which filled me with so much disgust and made me wince at the same time. On the other hand, while Cho's performance as the police officer who succumbed to a moment of greed was good as usual, his image this time kept bringing back memories of his character in "Signal" to me for some strange reason. Greg Hsu's character Mr. Smile was somewhat lacking in the charisma part for me - I think the character needs more polished sleekness to match the assassin image better. Yum Jung-ah's selfish politician role was very different from her usual image but the story did not explain properly what happened to her in the end - makes no sense that the police wouldn't do anything to her for being associated with what happened at the villa.

To sum it up, the story's concept was brilliant. The acting was really good with some of the actors delivering jaw-dropping performances. However, the execution wasn't that consistent so that was a huge pity which could have made a difference in evaluating this drama.

Tuesday, October 1, 2024

Thoughts about "Jinny's Kitchen 1 - Bacalar, Mexico" and "Jinny's Kitchen 2 - Reykjavik, Iceland"


At long last, I finally got to watch "Jinny's Kitchen". 

As both seasons were not shown on tvN outside of South Korea and could only be watched on Amazon Prime Video, it wasn't until I got a free trial of Prime recently that I managed to watch both seasons at one go. The programme is positioned as a spin-off of "Youn's Kitchen" with Lee Seo-jin being the boss this time and setting up shop with his employees Jung Yu-mi, Park Seo-joon, Choi Woo-shik, Kim Tae-hyung / V from BTS (Season 1) and Go Min-si (Season 2) in far-flung locations in a bid to promote K-cuisine to the world. The way I understand it, the reason for going to places so far from South Korea and outside of Asia should be an attempt to ensure that the customers who visited the restaurants were not actually fans seeking to see the cast members but those who may not be familiar with the cast and/or Korean food in general. Otherwise, this would turn into another fan meeting rather than achieve the programme's intended purpose. 

This time, Season 1 went to Bacalar in Mexico while Season 2 went to Reykjavik in Iceland. While Bacalar was a brand new location for PD Na's team, Reykjavik was already featured in the third season of "Youth Over Flowers" close to 10 years ago in 2015. Personally, I was more thrilled about the revisit to Reykjavik since I developed a liking for Iceland after watching "Youth Over Flowers". Besides, I hardly knew nothing about Bacalar and didn't know what to expect. However, it was a tad disappointing to find out that the cast had worked so much and so hard in Season 2 due to the popularity of their restaurant that there were hardly any scenes showcasing Reykjavik beyond the sights featured before. It appeared that the cast seemed to have lesser off hours in Reykjavik compared to when they were in Bacalar. Or so it appears due to the editing of the shows. 

And from Season 2, it somehow reflects the dilemma of "you are the victim of your own success". Probably thanks to the fact that Season 1 was shown internationally through Prime rather than via tvN and TVing, a lot more people have come to know about the programme. As such, it was obvious that there were quite a lot of customers who were "in the know" in Season 2 so the raw and spontaneous reactions in Season 1 were somewhat lacking in the sequel. It certainly wasn't as fun to watch as compared to seeing how people belatedly realised that the people serving them at this pop-up restaurant were actually famous actors such as how Woo-shik was repeatedly recognised in Bacalar as the guy who appeared in "Parasite" or Tae-hyung who was identified as the guy in BTS. And because there were so many people lining up in Reykjavik, I felt bad for the cast who really looked so overworked.


Compared to the somewhat laidback and slow vibes from "Youn's Kitchen" and "Youn's Stay" (another spin-off from the series), the energy level and pace of "Jinny's Kitchen" were definitely a notch up especially since the cast members' average age has gone down quite a bit, thanks to younger staff like Kim and Go. And since there were no elderly cast members this time, it seemed like this provided the perfect excuse for the cast to be pushed to the limit in terms of the working hours and energy spent - for better or worse. While this brought about some comedic relief at times as you saw how much the cast members worked in running their restaurants, it also made me wonder if this was too punishing for them both on the physical and mental fronts. I didn't feel comfortable seeing them looking so drained especially in Season 2 when they faced large crowds from Day 1 and wondered if this deviated too much from the feel-good and relaxed vibe in the original series.

With the change in leadership in "Jinny's Kitchen", the group dynamics also underwent a significant change from "toe-ing the line" and being on their best behaviour most of the time to "taking liberties with the boss at times" which was funny to watch. I really liked watching their teamwork and interactions especially since most of the team members had worked with one another for years in the earlier installments of the series or have pre-existing friendships outside the shows. As for the newbies, they were both lively and added a lot of energy to the show in their own ways. It will be worth checking out how things change when Tae-hyung returns from military service and if he and Min-si both join the next season.

While I would say that I enjoyed both seasons albeit in varying degrees, there was something which really annoyed me. I understand that there is a need to do PPL since sponsors need their screentime and the production needs money to fund, doing a hardsell by making the cast "talk" about these products so blatantly is rather off-putting. Lingering shots on the product which shows the brand name clearly are absolutely fine and acceptable. However, doing a CM out of nowhere in the show really spoils the momentum and comes across as absolutely unconvincing. For one, I do take supplements containing lutein as well for eyecare but I certainly don't think that my eyesight will suddenly "become clear" right after popping such a supplement.

My biggest wish for the next season is that the cast will get a better worklife balance. While waiting for customers like what they did in Bacalar can be sad and painful to watch, I think that it does give the cast a brief respite from the touch schedule and some time to interact with one another. Secondly, more footage on their off hours would be fun to watch as well. And last but not least, please make the PPL not so obvious and annoying to watch because it can be so off-putting.

Tuesday, September 24, 2024

Thoughts about "Art of the Brick" by Nathan Sawaya (2024 edition)


11 years ago, I went for the "Art of the Brick" exhibition by Nathan Sawaya held at ArtScience Museum and wrote about my experience back then

Now in 2024, I went back to the same exhibition, said to be upgraded and now held at a different venue i.e. Singapore Expo Hall 8B. While there were some works which appeared in the 2013 edition, there were quite a number of new works which I had never seen before.

It always fascinates me as to how these small Lego bricks can be transformed into such amazing works which just goes to show that creativity has no boundaries. It was definitely an inspiring experience to see how things like daily life objects or well-known paintings can be represented in a different manner through these Lego blocks. Given that I hardly had the opportunity to play with Lego as a kid, it does seem a bit of a challenge for me to get into this now as an adult since I think I'm not too good at following diagrams to build stuff like this. Even small Nanoblocks models were tough for me when it was quite the craze sometime back.


At the entrance of the exhibition, there was a short video featuring Sawaya about his journey with Lego bricks since childhood, becoming a lawyer since he didn't know that studying art was an option for him in university before immersing himself into his lifelong passion creating artworks with Lego. While not everyone can manage to follow their passion and make it into a career, his experience is definitely encouragement and a real life example of "it's never too late to chase your dream".

With the change in venue, there are a few things that you may wish to take note of:

- Hall 8B is quite a distance from the MRT station so if you are taking the train, note that this hall is not part of the main Expo building and it's connected by the sheltered walkway. If you are taking a taxi or private hire, you can probably choose the drop-off point outside the hall to save on the walking which can be quite uncomfortable on a hot day.


- There is another exhibition featuring bubble-themed art sharing the same hall where there is loud music playing. As such, I found it a bit noisy and distracting as compared to when it was very quiet at the ArtScience Museum. 

- Some of the exhibits were placed on mirrors or stands with reflective glass so you can get some really nice pictures by incorporating the actual exhibit and the reflection together.

- Note that the ticket prices quoted on the website do not include the booking fee of $2.90 which is imposed regardless of whether you are buying it online or on the spot. I didn't like the fact that the organiser wasn't forthcoming about this charge because it was only when I got to the payment page that this was mentioned. Even at the on-site ticketing counter, the list of charges do not mention this. While I understood that there would be surcharges for ticketing systems, considering that a Wednesday ticket for an adult was $19.90, a booking fee of $2.90 works out to about 15% of the ticket price. This is a pretty high percentage, I would say because concert tickets costing several hundred dollars has a ticketing fee usually not more than $5. 

- It is advisable to get tickets online first for designated timeslots since there is crowd control supposedly during peak periods so that the viewing experience won't be affected. Tickets on weekends are definitely the priciest while on weekdays, it will be cheapest on Wednesday which I suppose should be the day with the least number of visitors. The exhibition is closed on Tuesdays. Tickets can only be paid for using cards.

- There is a cafe at the end of the exhibition area but there wasn't a place to sit down and enjoy the refreshments unless you sat at the the area for visitors to colour their drawings and scan onto the big screen. I suppose there would be a long queue on peak days since the wait was already quite significant on a weekday.



- The post-exhibition merchandise area was a bit underwhelming. Other than the exhibition catalogue ($25 for a very heavy hardcover book), the rest of the stuff were Lego sets. Perhaps it might be cheaper and you will get a wider range of designs if you buy your Lego outside?

While I was a bit skeptical about the claim that there were more than 150 works on display and there were some things which I was not too happy about especially the ticketing, I was quite satisfied with the exhibition on the whole. Despite having seen some of the works more than a decade ago, there were still some new surprises in this year's edition. As such, even if you had been to the previous exhibition before, the 2024 edition should still be interesting to such visitors. For first-timers, this should be quite an eye-opening experience.

Here are a selection of the works that I liked from the 2024 edition so I hope that you'll find your favourites there as well!





Monday, September 23, 2024

Compare & Contrast - EXchange (환승연애) vs. Love Transit (ラブ トランジット)


Having watched all three seasons of EXchange, I wasn't that keen on checking on Love Transit which is its Japanese version especially since I had no access to Amazon Prime Video until recently. However, having heard some good reviews around me about the Japanese version, I decided to give this a shot.

Well...it's hard to beat the one who came first and this applies both to the programmes and the couples who participated in these shows.

EXchange burst onto the scene with a refreshing yet controversial concept of putting ex-couples into the same house and expecting them to make a choice between reconciling with their exes or forming a new couple with someone else after a period of time. The catch was that, you would have to form new relationships under the "watchful" eye of your ex and that you had to grapple with the same developing in front of you. Moreover, for newly-separated couples or those who parted on bad terms, it would be an extra challenge to deal with those raw feelings, lingering emotions of love, making comparisons between how your ex used to treat you and how he/she is treating someone new and you comparing your new beau with your ex all the time.

When the same concept is replicated in another country with different cultural norms, it is natural to expect that the remake is not going to be a carbon copy of the original. That part was within my expectations. However, I think that the differences between both versions stem more from the execution of the concept. For me, my opinion was based on who delivered a more comprehensive and engaging piece of work.


Time plays a key role in making and breaking relationships

First of all, the length of the two versions differed by a lot. EXchange started off with 15 episodes in Season 1 followed by 20 episodes in Season 2 and 19 episodes in Season 3. Each episode's running time varied but running time was usually 60 to 90 minutes with some episodes stretching all the way to 2 hours. On the other hand, Love Transit had about half or even less than half of the episodes (8 in Season 1 and 7 in Season 2) and the episodes were usually less than an hour.

Given the difference in running time, this would mean that the Korean version had a lot more space and time to tell the stories of the participants. As such, this was a key reason for EXchange's success because viewers could see their own experiences in these participants and in turn, feel more engaged and involved as if they were watching their own stories. This was also obvious from the reactions of the panelists - the Korean ones were clearly more absorbed in the narrative and even shed tears when things got too sad and emotional while the Japanese ones felt like observers who commented on the situation without getting too involved emotionally.

On the other hand, the Japanese version was trying to squeeze a lot of things within the limited time they had so the story didn't flow so well due to the choppy editing. One big issue which I had with the Japanese version was how fragmented and incomplete the stories of the ex-couples were presented. Often, this is the highlight of the show as it displayed the sweetness of a couple in love during the early stage of their romance before it gradually moved into the realm of sadness and bitterness as the relationship headed for doom. The Japanese version did not give a comprehensive look into this process which made it hard for viewers to feel engaged and identify with the issues which may also happen to themselves in real life. In addition, the narrative was somewhat skewed and misleading at some points e.g. one of the female participants in Love Transit was said to have cheated on her ex but under what circumstances and why did that happen - there wasn't a clear explanation which could help viewers to see if she deserved that kind of treatment from her ex or if her ex was totally without blame for the situation.


The rules of the Korean version were probably not as strictly reinforced as in the Japanese version. While there was a requirement for participants to have dinner together every night, the Korean version had some house rules like designated pairs to be on cleaning and cooking duty which provided opportunities for the participants to mix around and have some 1-1 time through such activities. And since the participants in Love Transit were staying in a luxurious service apartment (although they said that it's a hotel), there was actually no cleaning and hardly any cooking needed. That was a pity though because the Japanese participants could have more opportunities to bond if put under the same conditions.

And due to the choice of lodgings i.e. a house with people sharing rooms vs. everyone staying in their own rooms, that also eliminated a potential source of drama and conflict among the participants. In EXchange, it was common to have someone's ex and new love interest become buddies or besties because they were roommates. And when that happened, it was a frequent occurrence for the ex to see upfront how their former lover flirt or approach someone new right in front of them. However, with the Japanese participants being "confined" to their personal spaces, you don't get that kind of spontaneity in interactions with people being more free to approach others by popping over to another room.


While I'm not exactly sure how much time the participants spent together in the shared lodgings, the timeline of the Korean versions did seem much longer perhaps due to the airtime difference. One observation that I have after watching both shows is - time investment does go a long way in building relationships. Those who spent a lot more time with their new love interests tend to build up a stronger bond as they had the time to find out more about each other and develop their relationships. Often, participants who were often "absent" from the shared house due to work commitments or other reasons and those who were introduced late to the game (EXchange) tend to lose out in this regard. It seemed to be the case as well in Love Transit as those newer pairings which seemed quite solid had a lot of interaction time with each other, thanks to them going on multiple dates.

On the other hand, the length of an ex relationship and how much time had passed since the breakup were important factors in determining the outcomes of the shows. Given the short period of time which the participants had in Love Transit and that most of the couples broke up not that far back in time, it probably didn't come as a surprise that all except one of the successful pairings in both seasons were ex couples reconciling and the only new couple still broke up about a year after the show. 

On the other hand, EXchange had a pretty wide range of couples with long and short relationships and some having even parted more than a decade ago so there was a mix of different types of stories and circumstances to watch - more entertaining in this sense. While not all the new couples in EXchange are still together (only one pair is still dating now), the ex couples who did make up or those who made up after the show ended seem to be going strong. What this probably suggests is that, the longer the ex relationship, the harder it is to let go. And if the relationship ended long ago, it is probably easier to move on since feelings would have changed and any hurt emotions could have healed better with time.


Lax execution + No privacy = the outcome was decided from the start?

As I mentioned above, both versions weren't carbon copies of each other despite the identical premises. The key differentiator was the execution of the concept. For example, not all rules were strictly enforced in the Japanese version. The participants in both versions weren't supposed to show obviously who their exes were but it was such a dead giveaway from the start that I wonder if the show's producers and crew did nothing to stop or remind the participants not to do so. To make things worse, the Japanese version gave away the game very early in the season by showing the ex couples' videos from Ep 1 so this took away a key enjoyment factor in the show - guessing who is who's ex. 

While there was a lot of privacy for the participants in Love Transit in terms of them having their own rooms, the same can't be said for the interactions in the main shared spaces. I thought that having the participants ask one another out or ask to speak in private under the watchful eye of everyone was such a bad idea. There was hardly any discretion or privacy so as to speak. And as some of the participants did mention in the show, it felt as if they were cheating by approaching their new love interests in front of their exes even though this was something they should be doing in the show.

On the other hand, the shared houses in EXchange offered opportunities for the participants to have private chats without other people's knowledge and away from the mindful gaze from their exes. Even on the scheduled dates, they did not go out or come home at the same time so other people would not know who went out with who until much later in the show. In a way, this helped to nurture the new relationships without having the ex relationships being a stumbling block in the process and alleviate the stress felt by those who wanted to know new people before making their decisions. In Love Transit though, who went out with who was public knowledge and that was so difficult to watch because it was awkward even from the perspective of a bystander.


At the same time, I thought that Love Transit did not offer a fair opportunity for all participants to mix around before they made a more informed choice. It was boring to see the same few pairings go out repeatedly while some others kept staying at home because they had no dates. On the other hand, EXchange had some dates which set conditions like you have to go out with someone who you had never gone out with before that allowed people to mix around. Even if they ended up going out with someone who they had no chemistry or romantic feelings for, it was sometimes enjoyable to watch and good for the participants as well since some of them became good friends and supporters of each other by lending a listening ear to their troubles. 

Given these limitations, it was probably not a surprise that Love Transit's final pairings were mainly exes while EXchange did have a few new pairings. If the remake was done in similar conditions with the original, perhaps the outcome could have been quite different. For participants in Love Transit, it was clear that exes who wanted to get their former lovers back had a much higher successful rate, thanks to conditions working in their favour.

While I would say that I preferred watching EXchange as compared to Love Transit, one key thing to note was that EXchange's long airtime was also an issue when it got too draggy at times. For example, the Jeju arc in Season 1 was quite painful to watch for me because it was so slow and emotional. And some participants being stuck in their emotions and lots of crying might get on your nerves as well especially if you aren't the type who likes seeing such scenes. If you prefer a more speedy approach to this concept, Love Transit might be more suitable for you. 

Tuesday, September 17, 2024

Thoughts about ARASHI's 25th Anniversary project


At long last, the word is out about ARASHI's upcoming 25th anniversary in November this year.

BUT...I have to admit that it's somewhat disappointing.

As a longtime fan, I was expecting more. Perhaps some new content or something which had never been released before if a new concert tour or TV appearance is not going to happen in the near future? On the other hand, it was almost a given that nothing special could possibly happen on the anniversary date given that Ohno looks like he's still not done with his "extended summer vacation" and that Matsujun will be away in London for his play in November. As such, I was more of the opinion that the date would pass by "quietly".

After all, ARASHI is incomplete if anyone is absent. 

Thus, when I saw the news two days ago that ARASHI was doing something for their 25th anniversary, I was hopeful. However, after reading the details of the announcement, it made me wonder about a few things.

Too much rehashing of the old stuff

Frankly speaking, I am not sure why they are releasing their old concert DVDs in Blu-ray format. I can't speak for others but I would assume most ARASHI fans would have bought these concert DVDs in the past although perhaps not everything in the list. Unless you own a Blu-ray player, you are missing some titles from this list and/or there are some premiums or freebies to be given with these "new" releases, chances are that fans would not bite the bait this time. 

Likewise, I wonder about the screening of the 5x10 concert in cinemas and the re-release of the 5x20 album in Dolby Atmos on streaming platforms. Are these really what the fans want?

While new concerts or appearances by the ARASHI of today might not be possible at this stage, perhaps it might be worth considering tapping on previously un-released content like compilation of selected episodes from their past variety shows or behind-the-scenes footage from their concerts or group activities (those not seen in the Netflix documentary). At least, there's something "new" to look forward to.

Is it enough to keep the fanclub membership base from eroding further?

Following ARASHI's hiatus, their fanclub is still in operation which was estimated to have as many as 3 million members at its peak. Although the group did mention before they were pondering about whether it was right to keep the fanclub running when they were not active as a group, the decision was made to continue as a result of fans' feedback. Most of the fanclub members are said to have kept paying the JPY 4,000 annual fee to maintain their memberships with the hope that ARASHI will be back one day and they can continue enjoying perks like having a higher chance of being able to purchase the concert tickets. Then again, as the wait for ARASHI's return dragged longer with no clear end in sight, it would have been natural that some people would drop out of the fanclub over the years. 

If you look at the various initiatives under the 25th anniversary project, the only things where fanclub members get exclusive access and priority are the 5x10 screenings and the purchase of the picture book respectively. However, will it be enough to stop the outflow of people not renewing their fanclub memberships? Will it entice people who left the fanclub to come back for these? And will it get anyone new to join for the sake of getting these things? 

While I do appreciate that at least something is being done, how people feel about this can be quite varied. These initiatives may seem like an effort to continue ARASHI's outreach and connection to the fanbase but honestly speaking, I think that it is high time to give a more definite answer on the group's future direction. For me at least, it's not as if I will stop supporting ARASHI members even if the hiatus is permanent and they never return as a group. And since I'm not a paying fanclub member, it doesn't bother me over whether the fanclub continues or not. However, the people who are still paying annual fees may want to make a more informed decision on whether to continue especially since there have been complaints that the membership perks are no longer as worthwhile as before. After all, you are looking at a huge sum of money that goes to the agency every year thanks to this fanclub.

Are these really what ARASHI wanted to give to the fans or a plot by the agency to earn money from the fans?

This is just my personal opinion but the direction of this 25th anniversary project feels somewhat off compared to what ARASHI was doing from the time they announced their upcoming hiatus to the last day of their group activities. I remember being surprised and pleased by the initiatives back then which really felt like they wanted to do things which would make the fans happy even if these did not bring in big bucks. This time round, I can't help but feel that the agency really wants to milk money from the fans. Looking around at comments online, I'm definitely not alone in feeling this way.

The fishy thing is, I don't seem to see any reference to this 25th anniversary project from the ARASHI members themselves on their social media accounts. Is there a reason why? Or are they not fully convinced of the effectiveness or value of this project to the fans so that's why they aren't "promoting" it? Which leads me to guess that ARASHI's intentions might not be in sync with what the agency wants so there seems to be a disconnect somehow.

While I do not wish ill on the progress or outcome of this project, I for one would not be dishing out any money this time and will probably celebrate the occasion in my own way come 3 November.