#chul san
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Today's Webtoon
For someone that likes to read webtoons, this series was so nice to watch. It gives us a window to how webtoon creation and publication works. I like the characters: artists and the PDs. Their stories ranged from sweet to sad, but it was great to see the all reached their own happiness. Even though this series is not a romantic drama, it did have its romantic touches that made it sweeter. It leaves this subplot in the opening as they accomplish their dream as a team and move on to the next collective dream. I wonder what will happen with Oh Ma Eum's relationship with Seok Ji Hyung and Jun Yeong. But even though it leaves that question open, it doesn't leave me disappointed or wanting to know what happens. I think that it just reminds us that life continues even after one chapter of our lives ends and things will happen at their own sweet time, there is no need to force things.
Work drama that will keep you smiling and cheering for the characters. Really loved it.
Poster from SBS Contents Hub - https://programs.sbs.co.kr/special/sbscontentshub/about/74579
#korean drama#webtoon drama#today's webtoon#Daniel Choi#Kim Se-Jeong#Nam Yoon-Soo#Park Ho-San#Yang Hyun-Min#Kim Kap-Soo#Lim Chul-Soo#Ha Yul-Ri#Son Dong-Woon#Kim Do-Hoon#Ha Do-Kwon#Jung Eun-Pyo#Ko Chang-Seok#Hwang Young-Hee#Yoon Seo-A#Baek Suk-Kwang
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Dinner Mate. 6
Story: 7
Acting: 10
Chemistry: 8
Comparable to: It’s Okay to Not Be Okay (kdrama) ; Drinking Solo (kdrama); Dating in the Kitchen (cdrama); Chocolate (kdrama)
The drama started off with a real bang. It was really really good at first, especially in the first handful of of episodes, unfortunately it began a roller coaster effect where it was good then drag, then it was good again then back to dragging. It never really found it’s momentum to me. The only way I enjoyed the series somewhat was pressing through with the fast forward button.
#dinner mate#kdrama#prime video#iqiyi#song seung heon#seo ji hye#lee ji hoon#son na eun#ye ji won#kim seo kyung#park ho san#go gyu pil#kim young chul#romantic drama#melodrama#foodie#love triangle#mental illness#slow burn
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TODAY’S WEBTOON // KDRAMA DİZİ YORUMU
UYARI : Yazılar genel olarak spoiler içerebilir. İçermeyedebilir.
İmdb puanı :7,4
Benim puanım: 7
Drama: Today's Webtoon
Hangul: 오늘의 웹툰
Director: Jo Soo-Won, Kim Young-Hwan
Writer: Naoko Matsuda (manga), Jo Ye-Rang, Lee Jae-Eun
Date: 2022
Language: Korean
Country: South Korea
Cast: Kim Se-Jeong, Daniel Choi, Nam Yoon-Soo, Park Ho-San, Kim Kap-Soo, Lim Chul-Soo, Ko Chang-Seok, Hwang Young-Hee, Yoon Seo-A
Webtoon uyarlaması webtoon konulu bir dizi! İsmi ve konusu bile kulağa şahane geliyor. Beni gerçekten heyecanlandıran bir diziydi. Üstelik başrolünde Kim Se-Jeong’un oynaması da ekstra bonus oldu. Gel gelelim beklentimi tam karşıladığını söyleyemeyeceğim. Evet kötü değildi, keyifle izledim ama bir şeyler eksik bir diziydi.
Dizi; Judo milli takımından geçirdiği bir sakatlık nedeni ile ayrılan On Ma-Eum(Kim Se-Jeong)’un çeşitli işlerde dikiş tutturmaya çalışmasını anlatarak başlıyor. Kızımız çizgi roman/kafe işleten bir aileye sahip. Babası On Ki-Bong(Ko Chang-Seok), annesi Hwang Mi-Ok(Hwang Young-Hee) ve kız kardeşi On Nu-Ri(Yoon Seo-A) ile beraber yaşamaktadır. Yarı zamanlı çalıştığı bir lokantada paket servis yaparken bir webtoon yayın evinde iş başvurusunda bulunur. Aileden gelen webtoon aşkı iş bulmasının sevinci ile ikiyle çarpılmış oluyor.
Sözleşmeli çalışan olarak işe alınan iki kişiden biridir ve 1 yılın sonunda 1 kişi anlaşmalı olarak kadroya katılacaktır. Yani aslında bir nevi diğer yeni başlayan Goo Jun-Yeong(Nam Yoon-Soo) ile de rekabet içindedir. Ayrıca Jun-Yeong, Ma-Eum’un aksine webtoonlardan hiç anlamaz ve ilgisini de çekmemektedir ama okul birincilikleri ve notları onu bir adım öne çıkarmaya yetmiştir. Dizinin konusu; çizerler, teslim tarihleri ve şirketin maddi durumu arasında gidip gelen bir üçgenin içinde dönmektedir. Departman müdürü Jang Man-Cheol karakteri ile Park Ho-San’ı izlemek bence diziyi izlemeye yeterli bir sebep olabilir. Diziye şahane bir hava katmıştı.
Ana çizer kadrosu ve oyuncu seçimi de bir o kadar güzel yapılmıştı. Lim Chul-Soo’u gördüğüme oldukça sevindim ve karakteri Na Gang-Nam ile inanılmaz eğlendim. Öte yandan dizinin sıkıcı kişisel gelişim kitaplarını andıran sürekli mesaj içeren dramatik bir yanının olması o kadarda tatlı değildi. Her olay bir mesaj içeriyordu, her sorun bir güzellikle bitiyordu. Sorunların çözülmesinde gidiş yolunun beklenmedik seçimleri bir tık ilginçleştirse de “hayat bize hep yeni kapılar açar” şeklinde bir kamu spotu izlemek bir süre sonra sıkıcı gelmeye başlıyor.
Ve romantizm. Yok ki 😊 beklentiye bile girmeyin. Romantik hiçbir şey yok dizide. Hiç yeltenmemişler. Yani benim diziyi izlerken “şimdi bir şey olacak” hissiyatım ve hayal kırıklığım 12.bölüme kadar devam etti. Sonra pes ettim. Böyle de izlemek yorucu valla, yapmayın. Bilin ki romantik bir şey yok. Yan rollerde dahi yok. Romantizm yerine arkadaşlıktır ne bileyim vefa borcudur, efendime söyleyeyim abiliktir, babalıktır gibi daha dostane duygulara yer verilmiş. Yani bu duygular güzel değil demiyorum. Bunlarda güzel tabi ki ama şimdi tatlı bir kalp çarpıntısı ekleselerdi daha da güzel olmaz mıydı? Bence çok da müsaitti. Dizide bolca sevgi vardı. Ofis ekibi dostluk arkadaşlık için dev örnekti. Ebeveynler sevginin kralını gösteriyordu. Kimse seni seviyorum demiyordu ama herkes birbirini çok seviyordu.
Yine de bu kadar hayat dersini bir araya toplamadan biraz daha hareketli bir dizi olsaydı güzel olurdu dedim. Ve diziyi doğru bir ruh hali ile izlemek gerektiğini düşünüyorum. Tam olmasa da “Slice of life” modunuz açıkken izlerseniz bence seversiniz.
OST:
O.When - We Know
Raven Melus
BAŞKA NELER VAR ?
FOTOĞRAFLAR
#Today's Webtoon#kdrama#dizi#yorum#inceleme#eleştiri#Kim Se-Jeong#Daniel Choi#Nam Yoon-Soo#Park Ho-San#Kim Kap-Soo#Lim Chul-Soo#Ko Chang-Seok#Hwang Young-Hee#Yoon Seo-A
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So some news
After some long talks, Chul-san has come out as biromantic.
We discovered that since Chul became a trainee when was thirteen, he didn't have a normal middle school experience such as your first crush, rejection, ect. He was also surrounded by other men constantly, but since he was so young, most treated him like a younger brother. This skewed his view of male relationships.
The boy honestly doesn’t know the difference between male friendship and male companionship.
Chul is also a very loving and open minded person. He has no problem calling another male attractive or complimenting their appearance or strengths. The only reason that Chul chose heterosexual is because it's what he knows best.
Yes, Chul-san has his hyungs as examples of successful homosexual relationships but all of those are mostly private. What the maknae sees is no different then how he interacts with them minus a kiss here or there.
Chul-san is very happy with this discovery.
#hc: chul-san#this means that chul-san is open for mxm ships but they will mostly be romance focused
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⋅˚₊‧ ୨ request rules ୧ ‧₊˚
⋅˚₊‧ ୨ general rules ୧ ‧₊˚
↳ we only write romantic, platonic, age regression, fluff, angst, and semi-nsfw. no full nsfw content.
↳ we write in oneshot, headcanon, social media, and multi-character form. for multi-characters, the limit is 4-6.
↳ lgbtq+ relationships are fully allowed and encouraged, this includes polyamory.
↳ cross-fandom and au’s are allowed.
↳ we won’t write ships, unless it’s in a polyamorous pairing.
↳ mental abuse, physical abuse, and abuse in general within a pairing is not allowed. topics of it, however, are allowed.
⋅˚₊‧ ୨ fandoms ୧ ‧₊˚
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↳ nayeon
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— blackpink
↳ lisa
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↳ heejin
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↳ ning ning
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— stray kids
↳ bang chan
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↳ felix
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↳ seungmin
— txt
↳ soobin
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↳ beomgyu
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— crash landing on you
↳ ri jeong-hyeok
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↳ gu seung-joon
↳ seo dan
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— all of us are dead
↳ lee su-hyeok
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↳ lee na-yeon
↳ jang ha-ri
↳ park mi-jin
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↳ kim chul-soo
— sweet home
↳ cha hyun-soo
↳ lee eun-hyuk
↳ lee eun-yoo
↳ seo yi-kyeong
↳ jung jae-heon
↳ pyeon sang-wook
↳ yoon ji-soo
— squid game
↳ kang sae-byeok
↳ seong gi-hu
↳ salesman
↳ hwang jun-ho
↳ ji-yeong
↳ cho sang-wo
↳ front man
↳ abdul ali
↳ circle, triangle, and square guards
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Animation Night 148: Aeni (애니)
Hi everyone! It’s that time of the week.
It’s been a good while since we covered Korean animation - or ‘aeni’, following the ‘anime’/‘donghua’ pattern - on Animation Night!
As you know, Korea has a lot of incredibly talented animators, but despite that the list of Korean animated films is fairly thin on the ground because South Korea is one of the major hotspots for animation outsourcing in the world, along with the Philippines. Nowadays, nearly all ‘American’ 2D animation is storyboarded in the States and then outsourced to South Korea for all the actual animation; occasionally the work gets passed further down the chain and ends up in North Korea as well.
Even so, there certainly are a number of original Korean animated films...
Korean animation was actually one of the first ‘animation from x country’ themes I wrote about on here, back on Animation Night 20. Back then, I talked about the impressive cyberpunk Sky Blue/Wonderful Days and the films of Lee Sung-Gang - the gentle fantasy of My Beautiful Girl Mari and the Miyazakiesque Yobi the Five-Tailed Fox. I also wrote a little about North Korea’s one major animation studio, SEK, and their war drama series Squirrel and Hedgehog. All those films are worth a look!
(A note on Sky Blue - much of the animation team that directed this movie would go on to create the impressive animation of Avatar: The Last Airbender and The Legend of Korra, American productions which allowed their Korean animators a much larger than usual degree of creative influence. More on them here and here from youtuber ‘The Canipa Effect’.)
Much later, on Animation Night 77 we had a look at one of the films of Yeon Sang-ho’s film Seoul Station, the animated zombie film which preceded his popular live action zombie film Train to Busan. But before he was a zombie guy, Yeon Sang-ho’s preferred mode was dark, violent animated dramas, beginning with The King of Pigs (돼지의 왕 Dwae-ji-ui wang, 2011). Which is one of our subjects for tonight...
Yeon Sang-ho was born at the end of the 70s, and found the ambition to direct animation while at school, collecting a lot of anime with particular inspiration from Miyazaki. He achieved his ambition towards the end of the 90s with short films like The Hell: Two Kinds of Life (지옥 두개 의 삶 Jiok Dugae ui Salm) in which two people are confronted with the afterlife by an angel, and Love Is Protein (사랑은 단백질), in which fast food is unexpectedly delivered by anthropomorphic animals. You can watch ten minutes of The Hell here on Youtube with engsubs, but the quality is kind of terrible! Still, we can see some of the techniques Sang-ho was using at this time - quite a bit of rotoscoping. Love Is Protein is also available on youtube, though sadly sans subtitles.
The King of Pigs sees the adult reunion of an impulsive murderer Kyung-min with his former classmate Jong-suk. In their childhood, the boys were the ‘pigs’ at the bottom of the class hierarchy - but their fortunes changed when a third boy Kim Chul joined the group, who became known as the ‘King of Pigs’. But something happened to him, which Kyung-min now intends to reveal...
Like Yeon Sang-ho’s other animated films, it uses a realist style inspired by Satoshi Kon and the manga of Minoru Furya, mixing traditional animation and cel-shaded CG that pushes against the limit of its tiny budget. Nevertheless, the film was noted for its impactful, uncompromising depictions of pain, cruelty, and class, and brought international attention to Sang-ho, sending him to film festivals and giving him the chance to make more films.
Sang-ho described the film as drawing from real experiences of sitting by and witnessing bullying at his school, and even put himself in the film as a silent background character. He’d continue this approach with his next film, thirty minute The Window, based on his time in mandatory military service; then his next full-length film was The Fake (사이비 Saibi) about a cult leader challenged by a social outcast. We’ll talk more about that one down the line...
Tonight, at about the last minute, I’ve managed to get my hands on a copy of The King of Pigs. This one fits the harsh, violent model of Korean films about class in common with... well, most of what gets internationally popular I suppose, works like those Park Chan-wook and Bong Joon-ho, or Squid Game. So I’m quite looking forward to it.
Then, for a change of pace, we have Ghost Messenger.
This is perhaps aeni at its most anime, stylistically as well as being full of nods to anime from Haruhi to Bakemonogatari - but it’s also about Korean traditions around death and folklore. The project, created by a studio called STUDIO ANIMAL, began as a cancelled phone game, which goes some way to explaining why the narrative centres on a possessed phone! Since then, it evolved through several formats, initially an OVA and then a movie series.
The story concerns psychopomps called Ghost Messengers whose job is to fetch spirits who refuse to go to the world of the dead. One of these guys, Kang Lim ends up imprisoned in a ‘Soul Phone’ used to capture ghosts, and guess what, it ends up in the hands of a hoodie-wearing blue-haired boy with strong psychic powers. But this means Kang Lim and his new companion are well placed to face a new threat manifesting demons and destabilisng the whole thing.
I’m not entirely sure what to expect from Ghost Messenger, but the wiki article is endearingly enthusiastic and it seems like it’s been something of a long-term passion project for its creators. And it’s definitely got some pretty stylish designs coming from that Korean folklore angle.
youtube
And for another, very different dimension we have 소중한 날의 꿈, Sojoonghan Nalui Ggoom (2011) which translates literally as Dream of a Precious Day but in English has the slightly odd title Green Days: Dinosaur and I. This coming of age story calls to mind the films of Hosoda, with elaborate traditional animation on paper and a kagenashi look. It sounds like it was a hell of a project, with the production spanning 11 years under the co-direction of Ahn Jae-hoon and Han Hye-jin.
The story follows anxious high school girl Yi-rang, growing up at a gender-segregated school in a small town in the 1970s. She’s struggling with the pressures of life and competition with her peers, socially and in running, intimidated by the pretty and poetic transfer student Soo-min. But then enters a boy called Cheol-soo, an aspiring astronaut, and their awkward first romance begins to change her outlook. It seems to be a largely low-key, slice of life sort of film, with (once again) a realist approach to animation against detailed backgrounds depicting the 70s rural village.
This film seems to have generally flown under the radar, never gaining a large audience nor much international attention. But the Korea Times is full of praise, and it made it to the Annecy shortlist - so let’s give it a look in!
Animation Night 148 will be beginning at twitch.tv/canmom - going live now, films to start in about 20 minutes! The watch order will be Green Days, then King of Pigs and wrapping up with Ghost Messenger - hopefully that will balance the vibes without going out on a huge downer. Hope to see you there!
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neuf ans
Il y a neuf ans presque exactement, nous quittions le CHUL sans Paul. Nous passions les portes coulissantes de l’hôpital pour mettre le pied dans cette vie sans lui dont nous ne voulions rien et que nous allions devoir apprivoiser.
(more…) “”
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( ANONYMOUS ASKS ) ——- hi! mw characters/fandoms from kdramas?
hi! i got quite the list for you: kim bom, yong soo-chul, park ki-joon (swedish laundry), kwon jihyuk, im soo-ah, lee hyunsoo, jang do-il, kim hajin, seo kyong-jong (flower band), vincenzo cassano, hong chayoung, jang jun-woo (vincenzo), cha hyunsoo, yoon jisoo, jung jae-hoon, lee eunhyuk, lee eunyoo, park yuri (sweet home), kang tae-moo, shin hari, cha sunghoon, jin youngseo (business proposal), na bora, poong woonho, baek hyunjin (20th century girl), nam on-jo, lee cheong-san, choi nam-ra, jang hari, yang dae-su (all of us are dead), lee yeon, ryo hongjoo, lee rang, cheon moo-young (tale of the nine tailed), so mun, ga mo-tak, do ha-na, cho mae-ok (uncanny counter), jin jung, shin a-ra, oh do-hwan (bad prosecutor), kim dogi, jang sung-chul, ahn go-eun (taxi driver), kim shin, ji eun-tak, wang yeo, kim sun (goblin), lee ikjun and ahn jeong-won (hospital playlist), and jayoon (the witch)!
admin dream is… mobile! ——- 15-45 minute replies.
#kdrama rp#netflix rp#multifandom rp#discord rp#fandom rp#crossover rp#panfandom rp#whq.answer#whq.mw#mw.fandoms#mw.characters
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Honestly, I was more invested in Sa-Ha and Chul-San by the end of this
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Critique Album: Red Velvet – Chill Kill
Il y a quelques années, Red Velvet sortait un des albums les plus importants de la scène pop coréenne contemporaine continuant dans sa volonté de s’éloigner de la musique d’idole en s’aventurant des terrains plus inspirés par la musique indie de son époque. Ce deuxième essai Perfect Velvet proposait une formule différente, et jamais vue auparavant de leur concept “velvet” en prenant une trajectoire plus référencée et vocale avec des pistes telles que "Look", fortement inspirée des musiques des années 80 ou encore "Bad Boy", une chanson aux refrains inoubliables et au vernis plus brillant et pop-R&B. Il a fallu attendre plus de cinq ans pour avoir une suite à ce formidable essai, qui fut alors acclamé autant par la critique coréenne qu’internationale. Cette fois-ci, le groupe sud-coréen connu pour son éclectisme, a surpris tout le monde avec sa nouvelle direction artistique et ses quelques photos prises par le talentueux Cho Gi-sok.
En effet, Red Velvet a connu bien des changements depuis le départ de Min Hee-jin de la S.M Entertainment en fin d’année 2018, qui fût à la fois un mentor, un directeur artistique et un acteur important de leur carrière particulièrement impliqué dans la création de leur dualité “red” et “velvet” bien plus qu’un concept simpliste opposant leur côté pétillant et “dolly” à leur côté plus glamour. Le concept de Perfect Velvet avait par ailleurs, reçu des critiques élogieuses, car donnant une image de la femme sud-coréenne plus indépendante et moins passive par rapport à ses groupes féminins contemporains qui ne se limitaient qu’à du mignon ou du sexy. Une trajectoire plus que nuancée et intéressante qui m’a toujours séduit. S.M Entertainment a donc dû improviser en confiant la direction artistique de son groupe féminin [à l’époque] fétiche de leur label à Jo Woocheol qui a une approche moins subtile et aiguë de la direction artistique musicale, plus branché fashion et magazine de mode. Elle est plus timide et plus explicite qu’à l’accoutumé, aventurant le groupe dans ce qui peut sembler dorénavant une pentalogie “ReVe Festival” une sorte de concept où les “red” et “velvet” n’existent plus vraiment. Une période très surprenante qui fût perturbante à bien des égards pour les fans des premières heures du groupe mais qui a quand même eu son lot de succès. Avec Chill Kill, c’est le Red Velvet d’antan qui semble renaître de ses cendres. Le groupe nous témoigne d’un désir d’à nouveau affirmer sa dualité de concept en s'aventurant sur un terrain plus sombre, mélangeant des éléments de “red” et de “velvet”. Une idée que l'on retrouve tout au long de l’album.
De sa courte durée de 30 minutes, le groupe nous fait explorer à nouveau son univers en tentant de mélanger des éléments de R&B, de synthpop et de trap, mettant en évidence sa polyvalence tout en luttant pour essayer de maintenir sa cohésion. Dur de ne pas flairer des troubles internes de la direction actuelle de la S.M dans la production de cet album. En effet, même s'il semble vouloir proposer une cohésion, il est évident qu’il manque de fortes têtes pour en justifier sa position [de troisième album de Red Velvet]. Jusqu’alors dans leurs deux premiers albums, nous pouvions compter sur des compositeurs tels que Daniel Obi Klein, Charli Taft, JINBO the Superfreak, Sumin ou encore DEEZ [Jo Hyun Chul] mais cette fois-ci, nous devons compter sur nombres de compositeurs scandinaves avec notamment Moonshine qui a composé ici deux titres. Le duo scandinave n’a pas les épaules assez hautes pour porter un projet gargantuesque comme l’album majeur d’un groupe comme Red Velvet et a une influence presque anxiogène pour le groupe. Il est vrai qu’ils ont composé de multiples titres pour Red Velvet, mais ils ne composent uniquement de la K-pop, pour multiples groupes. Et sans mentionner les affaires de plagiat qui les entourent ; le fait que le duo ne se renouvelle guère [on se demande même si – hormis les rares exceptions, par exemple celles co-écrites et co-composées par la talentueuse Emily Yeonseo – les chansons composées seraient générées par intelligences artificielles. Moonshine compose uniquement de la chanson K-pop, à outrance. Des chansons sans âme, sur-produites et aux mêmes squelettes. C'est presque mécanique. Il faut que leurs chansons sonnent absolument "K-pop", pas qu’elles soient véritablement authentiques. Et c'est énervant de devoir les supporter pour quelqu'un comme moi, qui a été séduit par Red Velvet pour son originalité dans le paysage K-pop. Les chansons doivent avoir des parties entraînantes, des refrains aiguës, des parties “raps”, un pont [pour faire plaisir aux exécutifs de la S.M Entertainment] et une piste instrumentale sur-produite aux MIDI insupportables. Ils ne sont pas Frank Zappa qu'ils veulent. Il est vrai que “One Kiss” est une piste particulièrement solide nous rappelant en quelque sorte les débuts du groupe [particulièrement The Red] avec un zeste des moments les plus forts de leur dernier mini-album ‘The ReVe Festival’ Birthday, mais leurs compositions me rappellent tout ce que je n’aime pas dans la musique pop-coréenne idole contemporaine et plus particulièrement dans ce que ce duo nous force depuis des années à écouter. "Chill Kill", la piste titre est une chanson maladroite et timide. Elle donne malheureusement le ton d’un album presque inachevé dans sa structure. La piste n'a pas de particularité propre à elle même : l'atmosphère chipie d'un "Peek-A-Boo", l'élégance et la hauteur d'un "Bad Boy", la candeur et l'efficacité d'un "Dumb Dumb". "Chill Kill" s'écoute facilement au mieux et au pire des cas, se fond dans l'oubli dans la discographie du groupe.
“Knock Knock (Who's There?)” a en comparaison beaucoup plus d’identité et fait de mon point de vue, une bien meilleure représentation de la dualité du “red” et “velvet” dans son approche musicale de par sa partie instrumentale très rythmée, couplée aux voix presque hypnotisantes des membres du groupe. “Underwater” est ma piste préférée et figure parmi les chansons les plus sensuelles, en date du groupe. La boucle musicale nous rappelant tantôt une précédente composition de B Ham, mais aussi dans sa dualité presque salvatrice d’un the Dream, d’une Janet Jackson ou encore d’une Aaliyah dans son approche musicale. Les voix des membres qui comme des caresses sont mises en relief par une production léchée et composée avec soin. “Will I Ever See You Again” figure également dans les moments les plus forts et mémorables de l’album. Tant sur le fond que sur la forme, comme sa piste suivante “Nightmare”, cette piste se révèle émotionnellement candide, tant dans sa forme très conventionnelle que dans ses synthés entraînants. “Will I Ever See You Again” c’est ce genre de grandes chansons pop aux refrains grandiloquents. Une sorte d’équivalent sonore d’un feu d’artifice tiré un soir d'été. “Nightmare” avec sa rythmique progressive et tournoyante est une petite valse Tchaïkovskienne sympathique qui aurait pû avoir sa place dans le mini-album Feel My Rhythm.
D’autres pistes arrivent à se démarquer comme “Iced Coffee” ou encore “Wings” qui nous offre une jolie réunion avec de ceux qui ont fait le succès d’antan de The Red, LDN Noise. Une chanson R&B-old school aux accents presque lo-fi. Malgré ses qualités et ses pistes tout à fait sympathiques, on ressent en comparaisons des deux premiers essais du groupe un manque d’ambition et d’expérimentation sonore au sein de l’album. Sans doute dû à la présence générale des producteurs scandinaves aux affinités pop qui donnent une sonorité plus timide et hésitante à l’album en comparaison des deux premiers essais plus équilibrés. L’ambition du projet dans son approche visuelle était évidente mais l’exécution musicale ne parvient pas à recréer la magie et l’expérience cohérente et immersive de The Red et Perfect Velvet. Chill Kill, bien qu’il soit un bon album, est plus imparfait et moins cohérent dans son évolution. Ce qui l’empêche ainsi d’atteindre son plein potentiel. En substance, Chill Kill démontre la volonté de Red Velvet d’explorer de nouveaux territoires sonores, mais l’exécution inégale laisse finalement l’auditeur dans l’attente d’un voyage musical plus concis et raffiné.
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bibliographie club t
Le capitalisme patriarcal, Silvia Federici
Point zéro: propagation de la révolution. Salaire ménager, reproduction sociale, combat féministe, Silvia Federici
Caliban et la sorcière. Femmes, corps et accumulation primitive, Silvia Federici
Travail gratuit et grèves féministes, Silvia Federici
Training for Exploitation? Politicising Employability and Reclaiming Education by Precarious Workers Brigade with Silvia Federici
Refuser de parvenir, idées et pratiques, éditions CIRA, Lausanne
Abolish work (« Abolish Restaurants » plus « Work, community, politics, war ») par prole.info (édition française : "un monde sans restaurant")
Abolish work, Bob Black
Poétique de l'emploi, Noémie Lefebvre
La fabrique des masculinités au travail, Haude Rivoal
Le management désincarné, Marie-Anne Dujarier
Elles sont au service, Fabienne Swiatly
Retour à Reims, Didier Eribon
Comment survivre après l’école d’art (Surfaces Utiles et Erg)
Argent, Christophe Hanna
Manuel "aujourd'hui on dit travailleur-se-s de l'art" (369 éditions)
Self-Organised, Open editions
The burn-out society, Byung Chul Han
Le travail intenable : Résister collectivement à l'intensification du travail, Laurence Théry
No Logo, Naomi Klein
The Working Poor: Invisible in America, David K. Shipler
« Te plains pas, c’est pas l’usine » (l’exploitation en milieu associatif), Lily Zalzett & Stella Fihn
Revue Esse - spécial Travail / Labour (édition québécoise en bilingue)
L’envers du Travail, le genre de l’émancipation ouvrière, Rolande Pinard
La Pièce, Jonas Karlsson
Recreation at Stake, Valeria Graziano
La gentrification des esprits, Sarah Schulman
La guerre des arts, Francis Desharnais
To become two, propositions for feminist collective practice, Alex Martinis Roe’s
La vie intense, une obsession moderne, Tristan Garcia
Le travail, Dominique Méda
La conjuration, Philippe Vasset
Rêver l’obscur & Comment s’organiser, manuel pour l’action collective, Starhawk
Sortis d’usine, la “perruque” , un travail détourné, Robert Kosmann
L’invention du quotidien, Michel de Certeau
le nouvel esprit du capitalisme, Boltanski et Chiapello
L'exploitation du travail dans le milieu des arts, par Virginie Jourdain (article)
Voyage en Misarchie - Essai pour tout reconstruire, Emmanuel Dockès
Maintenance art, Ukeles
Authenticity is a Feeling: My Life in PME-ART, Jacob Wren
Le travail , très-précis de conjugaisons ordinaires, David Poullard et Guillaume Rannou
Le travail, Pierre Bouvier
Sociologie de la vie quotidienne, Claude Javeau
Lettres de non-motivation, Julien Prévieux
La Domination masculine + La Reproduction, Pierre Bourdieu
Manifeste contre le travail, Groupe Krisis
Poétique de l’emploi, Noémie Lefèvre
Ce que Laurence Rassel nous fait faire, Signe Federiksen
Une apologie des oisifs, Robert Louis Stevenson
Le travail invisible, Camille robert, Louise toupin
Janesville, une histoire américaine, Amy Goldstein
Vous faites quoi dans la vie ? Éditions de l’Atelier
Le capital, Karl Marx,
Les prolétaires intellectuels, Emma Goldman,
La sorcellerie capitaliste, Philippe Pignarre et Isabelle Stengers
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REBORN RICH // KDRAMA DİZİ YORUMU
UYARI : Yazılar genel olarak spoiler içerebilir. İçermeyedebilir.
İmdb: 8,2
Benim Puanım: 10
Drama: Reborn Rich (English title) / The Chaebol's Youngest Son (literal title)
Hangul: 재벌집 막내아들
Director: Jung Dae-Yoon
Writer: San Kyeong (web novel), Kim Tae-Hee
Date: 2022
Language: Korean
Country: South Korea
Cast: Song Joong-Ki, Lee Sung-Min, Shin Hyun-Bin, Kim Nam-Hee, Jo Han-Chul, Park Hyuk-Kwon
2023 (59th) BaekSang Arts Awards - April 28, 2023
Best Actor (Lee Sung-Min)
Song Joong-Ki’nin Türkiye de dizi çekiyor olması haberi kore severlerde bir heyecan patlaması yaşatsa da ülkemizde dizi; ilk bölümde Türkiye de öldürülmesi ile gündem oldu. Yapımcı ve yönetmenin Türkiye’yi kara para aklanan, korkutucu insanların olduğu 3.sınıf bir Ortadoğu ülkesi olarak resmetmesi birçok kişinin tepkisini çekti. Uzunca bir süre sadece Türkiye sahnelerinin sarartılmış olmasını, gelen turisti sokaktaki çocukların bile hırpalaması konuşuldu. Seçilen müzikler daha oryantal, etraftaki tabelaların da Arapça ağırlıklı olması da tuz biber oldu. Gel gelelim bu şahane dizinin eleştirilen bu tü kaka kısımları hepi topu 3dk sürüyor olmasına… Gözünüzü seveyim, senaryoda böyle bir kurgu varmış çekmişler. Her ülkenin kötü yanı, her mesleğin iyisi kötü, insanın niyeti bozuk olanı var. 3 dakikalık bir gösteriyi ne kadar kişiselleştiriyorsunuz.
Diğer yandan dizinin bir diğer dedikodusu ise Samsung şirketinin gerçek hayattaki skandallarına çok benzemesi üzerineydi. Bizim çok aşina olduğumuz bir mevzu değil ama Kore’de böyle de bir durum var. Dizi ise; Kore’nin en büyük Chaebol ailesine ait Soonyang Group’u konu alıyor. En tepedeki isim Jin Yang-Cheol(Lee Sung-Min) çocukları arasında bir halef seçmediği için bütün aile halefi olmak için yarışa girmiştir. Her büyük şirket hikayesinde olduğu gibi bu dizininde ana konusu aile üyeleri arasındaki iç savaşı anlatıyor. Yoon Hyeon-Woo(Song Joong-Ki) ise bu koca şirkette haleflerden birinin altında rütbeli çalışandır. Bir gün şahit olduğu bir yolsuzluğu patronuna söylemesi sonucu mevzu büyür ve başrolümüzü götürüp Türkiye’de kafasına sıkmak sureti ile öldürürler. Kafasına sıkılan karakterimiz uçurumdan düşer ve gözünü açtığında 17 yıl önce Chaebol ailesinin 10 yaşlarındaki küçük torunu Jin Do-Jun’undur.
Artık amacı aile içinde sağlam bir yer edinmek ve onun ölümünü planlayan kişiyi bulmaktır. Tekrar yaşaması gereken önünde 17 yıl vardır. Ülkede olacakların yanı sıra dünya da olacakları da bilen benliği ile 17 yıllık planını izliyoruz. Hani herkesin geçmişe gitsem sayısal numarasını kendime veririm diye yaptığı geyik var ya, geçmişe gittiğinizi ama sayısal vermenize gerek olmayacak kadar zengin bir ailede doğduğunuzu hayal edin. Çöküşleri, yatırım imkanlarını, piyasa değeri fırlayacak markaların bilgilerini bildiğinizi düşünün. İşte dizi bu ekonomist bakış açısı üzerinden ilerleniyordu.
Oyuncular ve oyunculukları… Benim fikrim, şahane olduğu yönündeydi. Büyük patron Chaebol’ün başı Jin Yang-Cheol rolündeki Lee Sung-Min yıkmış geçmişti. Zaten tecrübeli olan oyuncu, yıllarını boşa harcamadığını herkeslere kanıtladı. Song Joong-Ki’nin oyunculuğuna ise donuk diyenler olmuş, çarpılırsınız. Başarılı oyuncu tek kelime ile efsaneydi. Hem 17 yaşında ergen oldu, hem 25 yaşında genç hem de 40 yaşında adam. Dizi çekilirken 37 yaşında olan oyuncu, 3 jenerasyonunda içinden geçti bana mısın demedi. Bu kadar zor bir şeyi seyirciyi koparmadan başarmak yetenektir, emektir. Kimsede kalkıp donuktu diyemez. Sen neyi başardın haspam derler adama.
Dizide elle tutulur bir romantizm yoktu. Birinci bölümde Yoon Hyeon-Woo’nun peşindeki soğuk savcı Seo Min-Yeong (Shin Hyun-Bin), ilerleyen zamanlarda Jin Do-Jun ile romantik yakınlaşmalar yaşasa da, doyurucu bir hikaye değildi. Asıl donuk olan bence Shin Hyun-Bin’di. Kadronun geri kalanına baktığımızda biraz soft bir oyuncu olarak kalıyordu.
Ben zaman atlaması, zamanda yolculuk gibi kavramları kavramakta çok zorlanan bir insan olarak, dizinin sonu benim için bir tık puslu kaldı. Bunun sorumlusu benim, o yüzden kimseye bir yorum yapamam. Ama onu da havada bırakıp kalbimizi kırmadılar. Bağlandı, toplandı. Benim için 2022 yılının en iyi 2 dizisinden biri oldu. Diğeri Big Mouth, onu konuşmuştuk. Tavsiye ederim ama gözünüzün ucuyla ön yargıyla değil, hakkıyla izleyin isterim.
OST:
Jong Ho - Gravity
Raven Melus
BAŞKA NELER VAR ?
FOTOĞRAFLAR
#Reborn Rich#The Chaebol's Youngest Son#kdrama#dizi#inceleme#yorum#eleştiri#Song Joong-Ki#Lee Sung-Min#Shin Hyun-Bin#Kim Nam-Hee#Jo Han-Chul#Park Hyuk-Kwon
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@starsmaligned
Chul couldn’t remember a moment that he’d been this nervous. Which was really saying a lot. Compared to his hyungs, Chul-san was a massive wimp. He couldn’t do scary movies. The rapper absolutely refused to participate in any of those variety shows were they tried to scare the idol guests. Hell, Chul didn’t even wear headphones in open spaces; just in case someone snuck up on him.
But he knew that he had to talk to Brian. He didn’t want to. God he didn’t want to, but Elio hyung was right. There was something go on between the two of them. Something that Chul-san had clearly been avoiding.
He stopped to get fried chicken from Brian’s favorite place, and some soju. Which he had borrowed from Pryce hyung. Supposedly the two of them went together. Chul wouldn’t know. He wasn’t much of a drinker, but the older guys in the group always liked the combination.
How long had he been standing out in the cold? Chul-san had been wringing the plastic bag for some time now. Was the chicken even still good? Was it now cold? Did Brian have a microwave to reheat it? Oh god, was he mentally rambling now? Chul shook his head before finally reaching up and pressing the buzzer.
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SEJA BEM-VINDA, Lee Bona!
NOME: Lee Bona.
FACECLAIM: Krystal Jung - atriz.
DATA DE NASCIMENTO E IDADE: 22/11/1996, 26 anos.
NACIONALIDADE E ETNIA: Estados Unidos, sul-coreana.
MORADIA: Kazu.
OCUPAÇÃO: Estudante de direito na Universidade de Altalune.
QUALIDADES E DEFEITOS: Simpática e humilde; ambiciosa e egoísta.
OOC: +18
TEMAS DE INTERESSE: Todos.
[ tw na bio: estresse pós-traumático e drogas ]
Sendo considerada o milagre da geração, Bona sempre carregou consigo as maiores e melhores qualidades de seus pais - que por incrível que pareça, ainda tinham. Como alguém centrada, conseguia agir de maneira calma e certeira; dessa forma, não tinha maneira distinta de ser, além de, logo, se tornar mais gananciosa. Lee nasceu em Sacramento, na Califórnia, e mudou-se para San Francisco, sede do trabalho de sua mãe, uma titã na indústria metalúrgica, e por permanecerem mais tempo onde levaram-a consigo, aos seus quatro anos de idade. O pai, também muito conhecido, era o filho mais velho de Lee Byung-chul, um grande empresário sul-coreano.
O casamento dos pais nem sempre foi o melhor, mas viu-se definitivamente arruinado após a perda de algo muito importante: o filho mais novo, de apenas três anos, por complicações de uma doença rara que nem mesmo o dinheiro pode ajudar. Há quem diga que um casal não consegue ficar juntos após passarem por algo assim, e foi o que aconteceu.
Bona então acabou adentrando em um caminho sem volta: entregou-se à adolescência como forma de não sofrer, e sucumbir, a tragédia que arrebatou a família. Por consequência, frequentando lugares extremamente lotados dentro da cidade atual, viu-se em um problema sério com álcool, e logo com as drogas. Os pais tinham consciência disso, motivo pelo qual enviaram-na para Altalune aos seus vinte anos, para que pudesse morar com os avós maternos em Stellamaris. Por cerca de quatro anos viveu trancada, não conseguia sair e fazia constantes tratamentos com psiquiatras e psicólogos, que puderam ajudá-la, mas como “efeito”, tornou-se alguém mais fechado que antes - ainda que nem tanto, continuava tagarela e um tanto extrovertida. Com a melhora, estabeleceu um acordo com os pais: poderia morar sozinha, contanto que fosse em Altalune e que fizesse algo que pudesse lhe distrair e daí surgiu a ideia de resgatar um antigo sonho.
O apartamento em Kazu era aconchegante o suficiente para não querer deixá-lo por nada, e além da ajuda dos seus pais, também voltaria a estudar, agora Direito na faculdade do arquipélago. Os tratamentos, no entanto, continuariam a serem feitos para uma eficácia maior e isso, definitivamente, não era um problema para si.
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Moon seeking to move to the U.S. in 1965?
▲ Pictured: Moon on his 1965 tour in D.C.
What was happening in 1965?
Both Young Oon Kim and Sang Ik Choi traveled the world with Sun Myung Moon on his first world tour. The world tour wrapped up in October 1965, with Moon returning to Korea on October 10.
March 31-May 3,1965, Moon stayed at Bo Hi Pak’s home in northern Virginia, a suburb of Washington D.C., and frequently met with Annie Choi, mother of Sammy Pak. Annie Choi was not related to Sang Ik Choi. Her family has a long, painful history with Moon. Moon would not leave until he was sure that Annie Choi was pregnant. Moon went on this tour without his young wife Hak Ja Han, though she joined him on his 1969 tour.
After spending time in Korea in 1964, and following Moon on his world tour, Young Oon Kim moved to D.C. following the tour. At this point she had already laid ground for the Bay Area church, following her stint in Oregon. The Pacific Northwest was largely under David (Sang Chul) Kim's leadership.
Sang Ik Choi (also known as Papasan) had been on Moon’s World Tour, along with Young Oon Kim. Choi arrived in the U.S., settling in San Francisco, on November 12, 1965. On December 11, Yun Soo Lim and Kenji (Daikon) Ohnuki arrived in San Francisco, reuniting with Choi. Prior to this, both Lim and Ohnuki spent several months in D.C.
Many said that this 1965 trip destroyed Papasan Choi’s faith. He had allegedly seen many things during this tour that disturbed the holy image of Moon. It is likely that neither Young Oon Kim or Papasan Choi had really believed in Moon as the messiah at this point, if they ever did. They seemed to have ulterior motives when it came to their membership, considering their presence in the UC for decades while privately claiming they no longer believed in Moon in the orthodox sense, as well as their countless government connections.
In 1965, Bo Hi Pak founded the KCFF, with Eisenhower as the honorary president. Both Radio of Free Asia and the Little Angels dance troupe were under the KCFF.
Moon was preparing the way for his move to the U.S. in 1965:
"There are many Christians who anxiously desire to see the day of the coming of the Lord. If the Lord comes by the clouds of heaven, I know there will be no problem for this present world to accept him. But it is also possible that even after the Lord has come through the clouds of heaven, and even after people meet him and realize that he is not their concept of the Messiah, some may not accept him at once. As I mentioned already, it is of vital importance that we must live with him.-- live with the Messiah, with the Lord, with the One. It is not only important to see him and meet him but it is important to stay with him. This is of ultimate importance. Therefore, America today has to develop a new way of life in which there is room for him.”
Moon spoke these words at the UC Headquarters in D.C. on March 12, 1965, one month after arriving in the U.S. for his tour.
It was on this tour that Moon was able to meet Eisenhower. Eisenhower allegedly told Moon during this meeting, "Man is a spiritual being. We must bring to bear a greater moral strength based on moral law to stand against the communists. It will take the vigor of youth to do this."
It seems he was hoping to eventually move to the U.S. It may have seen evident that providence was turning this way, as Bo Hi Pak had created a substantial political foundation and it was evident that his message was catching on, with communities that were effectively building a financial/economic foundation. Could he have also been hoping to continue providential sex with Annie Choi, or maybe even making her his primary wife while in the U.S.?
Sam Park’s mother, Annie Soon-wha Choi with Moon in 1954-56, 1964-65, 1969 and 1973.
Pak interviewed about Moon’s “SEX relays”
The story of Annie Choi and Sam Park in Mother Jones
Sam’s mother’s sister “intended as Father’s Bride”
Soon-shil Choi is Annie (Soon-hwa) Choi's sister. Hak Ja Han was matched to Moon following the break-up of Moon and Soon-shil Choi.
Daikan took the photos of Moon with ex-President Eisenhower when they met there.
Kenji ‘Daikan’ Ohnuki is listed as an 1800 couple (couple 49)
“My father is truly a sad and tragic human being” – Sam Park, 2014 video transcript
Washington Monument – in 1965 Adulterous Moon got Annie Choi pregnant with Sam
Moon used a ‘Honey Trap’, a beautiful woman, to ensnare Sam Park’s very rich grandfather. Sam’s uncle explains what happened to the Choi family.
‘Annie Choi’ driven to have sex with Moon in D.C. in 1965
Moon’s fourth wife, Won-pok Choi:
The Korean language magazine, Sunday Journal, and Kirsti Nevalainen’s book, Ritual Sex in the Unification Church, both list Mrs Choi as Moon’s fourth wife. At least one Korean authority on new religions stated that Hak Ja Han, who came after Won-pok Choi, was Moon’s fifth wife. Won-pok Choi left her husband and children to join the UC in December 1954.
#1965#washington d.c.#young oon kim#won-pok choi#won pok choi#sam pak#annie choi#soon-hwa choi#soon-shil choi#sun myung moon#pikareum#sex rituals#ritual sex#six marys#sang ik choi#papasan choi#bo hi pak#kcff
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Trong tập Taxi Driver 2 tập 15" data-rel="follow"Taxi Driver 2 tập 15, "trùm phản diện" - người được gọi là huynh trưởng do Park Ho San đóng đã đích thân ra mặt nhằm giăng bẫy Kim Do Gi (Lee Je Hoon) và các thành viên hãng Taxi Cầu Vồng. Theo đó, hắn đóng vai một người cha muốn cứu con trai đang ngồi tù và tính mạng bị đe dọa sau bê bối tại "Black Sun - Hộp đêm nổi tiếng ở Gangnam" được làm sáng tỏ. Chính vì vậy, Kim Do Gi và thành viên hãng Taxi Cầu Vồng đã hoàn toàn tin tưởng, chấp nhận sử uỷ thác từ người đàn ông này.Thậm chí, Kim Do Gi cùng hai thành viên hãng Taxi Cầu Vồng là Choi Kyung Koo (Jang Hyuk Jin), Park Jin Eon (Bae Yoo Ram) thành công xâm nhập vào nhà tù để thực hiện nhiệm vụ. Tuy nhiên, vì mọi chuyện diễn ra quá thuận lợi nên Kim Do Gi nghi ngờ. Sau đó, giám đốc Jang Sung Chul (Kim Eui Sung) tìm thấy hồ sơ của vụ án nhiều năm về trước. Phát hiện ra cái bẫy của kẻ xấu chủ yếu muốn che giấu sự thật, sát hại thành viên hãng Taxi Cầu Vồng, Kim Do Gi và giám đốc Jang ngầm tương kế tựu kế phản kích, chấp nhận đánh đổi mạng sống của mình để nhân chứng được an toàn.Trong tập Taxi Driver 2 tập 15: On Ha Joon (Shin Jae Ha) hả hê khi chứng kiến Kim Do Gi bị đánh hội đồng. (Ảnh: Chụp màn hình)Thời điểm này, On Ha Joon (Shin Jae Ha) hả hê khi treo thưởng lớn cho các tù nhân nếu như sát hại được Kim Do Gi. Mặt khác, hắn cho người bắt giữ Ahn Go Eun (Pyo Ye Jin), bộ đôi Choi Kyung Koo và Park Jin Eon, đồng thời giữ chân không cho nhân chứng xuất hiện tại tòa án.Trải qua khoảng thời gian bị nhóm tù nhân đánh hội đồng trong nhà tù, Kim Do Ki vẫn sống sót và xuất hiện trước On Ha Joon (Shin Jae Ha). Tài xế Kim đã khiến On Ha Joon bàng hoàng khi phát hiện chính mình mới là người bị lừa. Vì quá tức giận, On Ha Joon đã rút súng của quản ngục ra với ý định tự tay giết Kim Do Gi. Phim Taxi Driver 2 tập cuối: Lee Je Hoon bắt On Ha Joon phải trả giá đắt, kết thúc gây nhàm chán?Taxi Driver 2 tập cuối" data-rel="follow" style="background-color: rgb(255, 255, 255);"Phim Taxi Driver 2 tập cuối chính thức lên sóng vào tối nay (15/4) thu hút sự...
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