#Hur Young Ji

[gaymer-hag-stan]

2023 SECOND GEN K-POP GG SONG ROUNDUP

The year is almost over, so I believe this is the perfect time for a song recap!

The girlies have been pretty busy this year as we have songs in Korean, English, Japanese and Mandarin Chinese!

•Hur Young Ji's "L.O.V.E.", from her digital single album, "Toi Toi Toi"

I still haven't figured out why DSP thinks that's how her family name is spelled in English, but Youngji's (third) solo debut was by far my favourite re-release of TAEYEON's "Weekend" this year! I love the colours, I love her hair, the looks and I even like her Bora-esque talk-rap segment after the first chorus!

•SUNMI's "STRANGER", from her digital single album of the same name

Sunmi has mastered the art of delivering gorgeous MVs and visuals, that's for sure, but I'd be lying if I didn't admit I was a bit disappointed. I like the instrumental she used for the chorus, and since it was the segment playing in the teasers as well, I thought she was gonna give us "Tim Burton movie OST realness", and she did... But then she went and mixed in a completely different instrumental for her verses and bridge and another one for the pre-chorus. Girl why 😭

•TAEYEON's "To. X", from her mini-album of the same name

Taeyeon is continuing her reign as the queen of second gen with her moody breakup songs and I wouldn't expect anything less from her. Not her strongest effort yet, but still fun to listen to.

•HYOLYN's digital single, "This Love" (feat. Random Guy No. 8)

Hyolyn is the queen of cunt, but it's still a nice change of pace when she releases cutesier / less sexy songs. The guy being a dog in the MV was a hilarious twist too!

•Sandara Park's "Festival", from her self-titled digital mini album

Dara finally released the mini she has been teasing for a while now and had her solo comeback after FOURTEEN years! I hope this isn't a one time thing and she actually releases more music. She may not be the strongest vocalist, but Dara was always an idol's idol like, she would do the 2NE1 choreos while looking gorgeous and serving face and smiles so solo projects like this re-release of TAEYEON's "Weekend" are the perfect chance to showcase more "stereotypical", if you will, K-pop visuals and concepts that we wouldn't really get out of 2NE1. And she even got Uhm Jung-hwa, one of her own idols, to cameo on the MV, sampled her song for this comeback, and got to guest at her concert! Way to go Dara!

•HYO's digital single, "Picture"

A solid release from our resident DJ, although I still think her early works and the unhinged "DESSERT" haven't been topped yet. At least it wasn't "Second", I HATED Second.

•SoYou's "ALOHA" (feat. Bora), from her mini-album, "Summer Recipe"

Soyou giving us "Queen of summer"! YES! This is definitely among my favourite releases this year. It's catchy, it's summery, it's dancey and she's SANGING as usual. The fact that she even got Bora to do the most unhinged 3 second rap of her career for this is iconic! A bit disappointed she's not in the video but I guess maybe appearing for just 3scs wasn't worth it... Still curious how Hyolyn convinced her to do just that for the upcoming SISTAR19 comeback. Maybe she promised her she'll sing as much as Dasom did for "Summer or Summer"?

Also, you know what I was thinking?

This is probably delusions of a senile homosexual, but having a SISTAR19 comeback in the middle of winter is weird. I know Hyolyn did previously release a summer-themed Christmas song but... What if this is a prelude for a SISTAR full group comeback..? Think about it!

•Park Bom's digital single, "I" (feat. A Victorian Era Ghost)

Yes Bommie! This was BEAUTIFUL 😍❤️! I love that she seems to have regained control of her voice in her recent releases? In the years after her comeback with Dara her singing sounded a little... Off? But since last year she seems to be back on track! She even actually got to appear in her own MV this time, I'm so happy!

•Jessica's "BEEP BEEP", from her mini-album of the same name

Okay, this is definitely my favourite song of hers so far like... Yeah, this was the third version of "Weekend" for the year but I don't even care, she nailed it. It's fun, it's cute and she SINGS her ass off. Yass cunt!

Now PLEASE release something more dancey and edgy, bitch..! I'm still not over that one performance of "How Deep Is Your Love" where she was serving c word all those years ago but then NEVER released anything remotely close to that like... what gives girl??

•SoYou's "Digital Single That Doesn't feature Bora"

Soyou had another release this year before her summer comeback that didn't get as much publicity. It's a much more mellow song and not cunty but she gets to showcase her voice and it's a nice song to listen to.

•Nicole's digital single, "Mysterious"

Okay, this I think might be my favourite song overall this year! Nicole picked up on the "YOU.F.O." and, of course, "MOVE AGAIN" momentum from last year and she definitely delivered! She is so mother in this it's insane. Gotta love that bass!

•Nicole's physical single, "Selfish"

And she continued with a Japanese comeback this time! It even charted decently in Japan, like top 20, I think? So girl SLAYED! Glad to see they still got it with Japan. Amazing.

•Amber Liu's digital single, "No More Sad Songs"

A good song from miss Amber. I think her Chinese fans must have liked it too because she also released a Mandarin version. Definitely her best out of the ones she released this year although, if I'm 100% honest, Amber's music is kind of middle of the road for me? It's not bad, it's not amazing, it's just okay. Good for her that she's still at it and doing her thing though.

•Raina's digital single, "The Way We Were"

Raina is back girlies! Glad to see she's still representing the After School girlies in the music scene as she's the only one still releasing music here and then. Luckily, this time she didn't have to resort to collabing with Trash E for this song!

•Amber Liu's digital single, "hatemyself"

Okay, this one is the darkest of her songs yet and, for real, I know everyone has been dragging Amber through filth ever since that stupid pro-cops comment she made, and she definitely deserved the backlash for that, but it did get pretty ridiculous after that like, I can't help but feel for her. She wasn't my favourite f(x) member, her solo music is not my favourite either but I do genuinely hope she is okay?

•NARSHA's digital single, "BLUSH"

Okay so, at first I was like "Is this bitch really making her first solo release in thirteen years a ballad?" But then she released "GAME" so the balance of nature was restored, but other than that this song genuinely did grow on me. It's a nice song and it really fits her voice and breathy singing style.

•Meng Jia's "KNOCKOUT", from her mini-album, "JIALAND"

So, Jia seemingly decided to release the most UNHINGED song of hers yet this year. The production is messy but in a "so messy it's good" type of way. The red hair was a serve and this was a very fun song. Except that weird change at the very end, what the fuck was that for? Someone deserves to get fired for that, she should change producers.

•NARSHA's digital single, "GAME"

I want to once again publicly apologize for ever doubting mother. This was a song for the ladies and the gays only and I know and love that she 100% knows it herself and owns this fact. BEG are among the cuntresses in the K-pop industry that actively and openly acknowledge their LGBT fanbase and regularly release songs about female empowerment and feminism in a non-performative and genuine way, so this was definitely a gift for us and I love her for that.

If you will indulge my delusions for a second time, I'd like to think that, like SISTAR, those OG hags are cooking up some new group music and Narsha's very unexpected comeback is a prelude to the group's.

•Nicole's "Gravity", from her single album of the same name

This is definitely not as strong as the other two releases this year but it doesn't matter because we shouldn't be greedy and it's still a fun song so it's all well. Bold move to release a summer song way out of season again too.

•Jea's digital single, "Congratulations to You"

This is a very sweet song honestly. JeA said she wrote this all the way back in 2010, I think, as a means to cheer up herself for all the things she had already accomplished and her future self if she was ever feeling like she wasn't doing enough. I think she also said she had been singing it live regularly whenever she was performing, she did have a solo concert either late last year or very early this year, if I'm not mistaken, and she decided it was time to release it properly.

My only minor complaint is that the "be happy day to you" part kind of takes me out of the sentimental moment 😅😭 I know nonsensical English is the bread and butter of K-pop, and I will forever be grateful for lyrics like "I'm so bad girl I'm so cool girl I'm so sexy sexy sexy girl" or "fire in the hole when you touch me down there I'm not feeling very well so hot in down there" or "kiss me baby I'll must be stay here day by day" but for such a personal and sentimental song she maybe should have had someone double check it, just this once 🤣

•Wang Fei-fei's digital single, "Distance"

Fei seemingly decided that she should give the others a chance and not serve cunt, not mother, but take it slower and chiller instead this year. A good effort, but I had come to expect a bit more from her if I'm being honest.

Below you can find the full Spotify playlist. Enjoy!

Some honourable mentions:

~Whatever that short snippet that HyunA released is supposed to be, it's amazing! She also did it for the gays and the girls and I genuinely hope she revamps it into a full song and releases it because it's currently not available to stream anywhere, other than the performance video on YouTube of course.

~Various project and cover songs: Taeyeon and Naul's "Nights Into Days", Bom's cover of a 90s song, "Holding On to the End of This Night", Hyolyn's cover of a Chinese TikTok song, "Fizzled", and JeA's "Rainy Day" for the Yaoki Project.

~Some b-sides from Taeyeon's mini worth checking out: "All For Nothing", "Fabulous" and "Nightmare"

~Jessica's collab with Amber, "Get It? Got It? Good"

~Hyolyn remembering to fulfill her cunty quota for the year and releasing a performance video for "BODY TALK", one of the b-sides from last year's mini.

~Although she said "No More Sad Songs", Amber went and immediately released three more. "hatemyself" was the better of the three, but she also did "Can't Go Yet" and "ILY".

~Jia's "GOOD GOOD LOVE" from her "JIALAND" EP and another song she silent-dropped a few days ago, "Starlight".

No T-ara reps at all this year as they were all real busy playing golf... I HATE THEM 🤬😭

[my-chaos-radio]

Release: September 12, 2023

Lyrics (original):

우린 한참을 앉아있었지

이름 모를 정류장에 나란히

그냥 그래도 참 설레던 느낌

뜻밖의 하루 오히려 좋아

우린 자주 길을 잃을 테지만

아마 그때마다 행복할 거야

매일 지는 해를 바라보면서

완벽한 모든 곳엔 언제나, you-ooh-ooh

Now, it's time for you and I

딱 사랑하기 좋은 날이야

넌 나의 L-O-V-E, come with me, yeah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

눈을 감고 골라 난

어느 쪽으로 가볼까

그 어디라도 좋은 걸

With you, in love

어느 북적거리는 거리

숲과 바다도, okay

Now, I'm ready to leave

우린 이따금씩 다툴 테지만

금세 바보처럼 웃게 될 거야

나를 바라보는 너를 보면서

풋풋한 모든 곳엔 언제나, you-ooh-ooh

Now, it's time for you and I

딱 사랑하기 좋은 날이야

넌 나의 L-O-V-E, come with me, yeah

My destination

Oh, you-ooh-ooh, I like the stars

Oh, you-ooh-ooh, deep in your eyes

날 보는 그 눈빛 더 깊이 빠져들어 (Ooh-woah)

손을 잡고 you and I

온 세상을 다 헤매도 좋아

넌 나의 L-O-V-E, come with me, yeah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

Lyrics (english):

[Verse 1]

We sat for a long time

Side by side at an unknown bus stop

Just like that, it felt so exciting

Unexpected days turned out to be better

[Pre-Chorus]

We may often lose our way

But I think we'll be happy every time

Looking at the setting sun every day

In every perfect place, there's always you-ooh-ooh

[Chorus]

Now, it's time for you and I

It's a perfect day for love

You're my L-O-V-E, come with me, yeah

My destination

[Post-Chorus]

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My dеstination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

You might also like

Lyrics (english):

We sat for a long time

Side by side at an unknown bus stop

Just like that, it felt so exciting

Unexpected days turned out to be better

We may often lose our way

But I think we'll be happy every time

Looking at the setting sun every day

In every perfect place, there's always you-ooh-ooh

Now, it's time for you and I

It's a perfect day for love

You're my L-O-V-E, come with me, yeah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My dеstination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

I close my eyеs and choose

Which way shall we go?

Any place is fine

With you, in love

Any bustling street

Even the forest and the sea, okay

Now, I'm ready to leave

We may occasionally argue

But we'll laugh like fools in no time

Looking at you looking at me

In every fresh place, there's always you-ooh-ooh

Now, it's time for you and I

It's a perfect day for love

You're my L-O-V-E, come with me, yeah

My destination

Oh, you-ooh-ooh, I like the stars

Oh, you-ooh-ooh, deep in your eyes

The way you look at me, I fall deeper (Ooh-woah)

[Chorus]

Holding hands, you and I

It's okay to wander the whole world

You're my L-O-V-E, come with me, yeah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

Ooh-ooh-ooh

Ooh-ooh-ooh, woah

My destination

Songwriter:

Rocoberry(로코베리) / Avin(아빈) / Slay(���레이) / Chase

ArtistFacts:

👉📖

[somegirlsfromk]

HUR YOUNG JI -INSSADONG SULZZI-

Young Ji qui danse “STEP” juste devant toi, tu peux effectivement avoir quelques palpitations. Petit bonus KARA: MAMA’S 2022: Behind: Petit rappel:KARA, tout comme SNSD ou T-ARA, fait partie des premiers groupes à avoir explosés les frontières de la Corée du Sud pour la KPOP.Il est certain que KARA pourrait remplir encore plusieurs fois le Tokyo Dome.

[lyrics724]

그리움 (Longing)

[허영지 “그리움” 가사] [Verse 1] 집으로 들어가보면 왠지 니가 날 기다리고 있을 것 같아서 방안에 불을 켜봐도 온기 없는 싸늘함만 느껴지고[Verse 2] 애타게 기다릴 너의 생각에 난 더욱 슬퍼질 수밖에 없어 매일 같은 꿈속에서 넌 나를 원망하며 바라봤어 [Chorus] 아름답던 너를 향한 마음 한번도 잊어본 적이 없었어 두손에 니가 닿으면 다신 안고 놓지 않을게 힘들었던 너의 그 눈빛엔 그리움을 한 가득 담고 있었던거야 돌아올 수 있다면 사랑을 네게 새겨둘거야[Verse 3] 내 뒤에 서서 지켜봐주던 그 미소가 떠올라 한번만 다시 돌아온다면 널 지켜줄거야[Chorus] 아름답던 너를 향한 마음 한번도 잊어본 적이 없었어 두손에 니가 닿으면 다신 안고 놓지 않을게 힘들었던 너의 그…

[bombecerise]

embraces in one fine spring day (2001) dir. hur jin-ho

[genevieveetguy]

Return to Seoul (Retour à Séoul), Davy Chou (2022)

[rookie-critic]

Return to Seoul (2022, dir. Davy Chou) - review by Rookie-Critic

I was pretty excited for this one. I'd heard nothing but good things about it and the story seemed like a playground for great ideas; Freddie, a young woman who was born in Korea, but adopted as a baby and raised in France, comes back to Korea in search of her birth parents, mainly her mother. While there were a lot of things about the film that I really liked, there's one kind of glaring thing about it that I just couldn't shake: I didn't like Freddie at all.

I struggle with unlikable protagonists in films, it's probably the personal bias that I struggle the most with being objective about. That's not to say that I hate every story with an unlikable protagonist at its center, there are character studies that have absolute scumbags at their center (like Sean Baker's Red Rocket) that I really enjoyed. I'll probably never watch Red Rocket again, because it made me feel gross, but it was an objectively good movie for a lot of different reasons. I think therein lies my problem, Freddie is a selfish, mean character, which is sometimes needed in the moment, but more often than not she's just being cruel to people who don't deserve it. So much so that the one person she isn't awful to during the film leaves Freddie because she sees how horrible Freddie is being to everyone else. I empathize with Freddie's situation, but I absolutely cannot connect with her as a person, and that makes a lot of the film tough to sit through. After awhile it almost becomes an endurance test of waiting for the shoe to drop and for her to be terrible yet again.

Where I think the film works is in its depiction of someone on a journey to fill a void in their life. Freddie's goal, although not specifically stated by her or the film, is to find her parents, because that is the thing she thinks will make her happy, will make her whole. That's the thing that will fill this gap she has in her life that's preventing her from being truly happy. Anytime something gets in the way of this goal or things don't turn out how she wants, she turns to self destructive behavior, because that instant relief is easier than dealing with the pain of that void, or at least that was my interpretation. All of this is great and a high point of the film. Director Davy Chou even has these wonderful moments where the camera holds on Freddie for awhile, and in those moments you really get a sense of her, and those were the moments in the film that I came the closest to understanding her. However, even with these moments, it doesn't seem like there's ever any remorse for the people she's hurt, no growth from beyond that self destructive behavior, only lateral movements that almost always end her back up in the same exact, emotionally volatile state of mind, and the film takes place over a long enough period of time, with enough self-acknowledgement from Freddie of her self destructive tendencies, to where you would expect some kind of positive forward momentum. Also, and I'm not a doctor or a psychiatrist, but I really believe Freddie suffers from Bipolar disorder/manic depression, or at least a lot of her actions led me to believe that. However, the film doesn't seem interested in exploring that and never makes mention of it at all, which leads me to believe she wasn't written with that in mind, but all the signs are there. I feel like the story would have been more interesting had they explored this more, and might have given more context to why Freddie is the way she is.

I think the most frustrating thing about Return to Seoul is that it does so many things right, it has some great high points and the overarching story has all of the pieces in place for there to have been some kind of redeeming moment or, at the very least, slight character growth, but it never truly happens. One could argue that there is a light that illuminates some hope in the final scene, but I didn't read it that way. Return to Seoul is a good movie, as I've said multiple times, there are a ton of things to enjoy about it, but it stops itself from being great. I'm sure there are those out there that will connect with Freddie, clearly the film has been receiving widespread acclaim, but I couldn't find the in with her character, and it kept me from enjoying this the way I've heard others have.

Score: 7/10

Currently only in theaters.

[moutheyes]

[translation] Nam Yoon-su interview with Vogue Korea

Original article link

(T/N: did this a bit quickly as it's been a busy week for me, apologies for any errors. once again i am but a longtime student doing this for practice and fun. there were some interesting bits in here about nam yoon-su's connection to go young and his experiences on set. i find his personality quite refreshing lol. also the pictures are gorgeous.)

No Pretense, Just the Truth: Nam Yoon-Su’s “Love in the Big City”

Oct. 20, 2024 | Son Gi-ho and Kim Na-rang

Today is Sunday, but weekends probably aren’t that special for actors, right?

If you start a job, you just keep going. That's when days start to lose significance.

You filmed Love in the Big City last winter and spring, are you working on something right now?

I rested for a bit after the surgery with my dad, and I’m preparing for a movie now.

You donated a kidney to your father this past June, have you recovered? Can you drink that coffee?

It’s okay as long as I don’t drink four cups a day. Smoking is the worst so I quit. 

You were appointed as the ambassador for the Life-Sharing Campaign. It seems like you experienced firsthand the value of organs and tissue.

I was interested in it before, so I searched up videos on YouTube. Obviously I didn’t know that I would end up donating my kidney. I could actually feel my body changing during the process. My skin became dull because the kidney couldn’t detoxify properly, and seeing people have trouble going to the bathroom gave me a lot to think about.

This will make a big difference in your life.

More than anything, it improved my relationship with my father. (laughs) There are three of us, all boys, and we didn’t get along well with him. But now we talk a lot.

Love in the Big City is based on the novel by Park Sang-young, and it’s widely recognized as a Booker Prize-nominated queer romance novel. Did you feel pressured by the genre?

I started modeling in my second year of high school (T/N: equivalent of junior year in NA), and there were a lot of queer staff members around, so I never felt that sense of difference. Everyone has their own world, right? I also had a childhood friend come out to me when they turned 20. We actually became closer after that.

How did you get the role?

I was contacted by the production company and met with the directors. There are four of them—Hur Jin-ho, Hong Ji-young, Son Tae-gyeom, and Kim Se-in—and I hadn’t met anyone before, so we needed time to get to know each other. Their directing styles are all different, but thankfully they all gave me the okay.

During the meeting, did they ask if you were okay with doing a queer romance?

Not at all. If I thought that way at all, even a little bit, the meeting wouldn’t have happened.

What kind of conversation did you have then?

They were unexpectedly curious about my hardships. Looking back on why we talked about that, though, I think it’s because I had to play Go Young from age 20 into his 30s. I had to show various emotions and character growth at all those different ages.

It seems like you’re right in the middle of that ten-plus year range for Go Young.

I’ll be 30 in three years. Episodes 1 and 2 tell the story of 20-year-old Go Young, but we shot episodes 3 and 4 first. It was better to film him in his mid-20s first. Director Hur Jin-ho made it comfortable for me while filming. It seemed like he placed a lot of importance on sound. Even after giving the okay, he would sit there with his eyes closed and just listen.

I’m interested to see how four different directors, working independently, will capture your image.

I haven’t seen the final edit yet, so I’m also curious and looking forward to it. I was only able to see the parts I later had to add narration for. Like the novel, there were a lot of parts I had to describe or explain.

Was there anything you had to keep in mind while doing the narration?

I couldn’t get caught up in the emotions and had to read everything in a similar manner, using a normal tone. That way it would be easier for the viewers. The emotions are already shown on screen, so if the narration was too forceful it would be hard to handle.

In an eight-episode show, you had different acting partners every two episodes (Lee Su-kyung, Kwon Hyuk, Na Hyun-woo, Jin Ho-eun, and Kim Won-joong). It must have felt like you were filming fragments of four separate works.

It was interesting because not only the directors, but the actors, staff, assistant directors, and producers all changed as well. It was a little difficult at first. On top of that, all the directors had different styles and wanted different things from me. I think that produced a more interesting result.

It must have been a big challenge for the actors.

Yes, it was a challenge. (laughs) One week it was one director, the next week it was another director, so I had to change my own approach every time. I learned a lot through that process.

Was there a wrap party for the entire production? (laughs)

Each team had their own gathering, but unfortunately we couldn’t do a big one.

While filming Today’s Webtoon, you said you were extremely sensitive because you wanted to do a good job. And because of that, you lost a lot of weight. How did you feel while filming this drama?

I’m fundamentally a sensitive person. Of course, I can handle it so I don't affect others. This time, my main focus was on showing the changes in Go Young’s expressions and speech as he got older. For example, he was more active in his relationships when he was younger, but as time passes you can see him slowing down. Also, he changes his hairstyle and fashion. But that’s also due to the directors having different preferences.

You started out as a model, so do you have any personal views about fashion?

Nope. (laughs) I go around wearing comfortable tracksuits.

Which of Go Young’s eras are you most drawn to?

While shooting episodes 3 and 4 with director Hur Jin-ho, there’s a scene where he goes running to the hospital after finding out his mother is sick. It was around the time when my father was ill, so I definitely felt a lot of empathy.

You were also having a hard time then.

Physically I was fine, but I couldn’t say the same about my heart. I became one with Go Young when he was in front of his sick mother. I was able to grasp the emotions, so we filmed those scenes without needing to rehearse. The emotions were captured really well, so we didn’t need any other scenes to explain the situation.

It must have been a strange feeling, having real-life sadness help with your acting.

To be honest, I just concentrated on filming the scene at the time and didn’t think about my father. Thinking about it later, I realized it was easy to express those feelings because of my connection with him.

How did you feel after filming that scene?

I don’t look back once it’s over. I just come right back to reality.

In a way, that’s a blessing. Some actors have to receive counseling to separate acting from real life.

You have to keep filming, right? You can’t keep clinging to just that one scene. Of course, the on-site staff takes care of you and asks when you want to film a scene where you need to immerse yourself in your feelings. That’s the degree of difficulty. But even if it’s an emotional scene, I brush it off when it’s over and go home.

Go Young is a lively and carefree character. What about you?

Even though Go Young is straightforward, there are still times when his heart aches. Although he expresses himself in his 20s to the point where it feels aggressive, he hides his feelings more as he gets older. I’m the kind of person who doesn’t talk a lot and hides my feelings, so I can be misunderstood. When I was a model, I was shy and cautious of my surroundings, and couldn’t even greet people properly. That changed when I started acting.

Now you seem very warm and comfortable with other people.

That’s only been true for a few years. The production company head even said I seemed awkward when we met, so they thought I wasn’t interested in the work. I’m more comfortable talking to others now, but of course, I don’t like forced situations.

Like what?

It’s often described as being “fox-like.” It’s better to be honest rather than pretend to like someone in order to look good.

The longer you see them, the better they will be.

That’s right. Most of the people I see on a personal basis are childhood friends from my neighborhood, but we can’t meet that often because they’re all busy with their social lives.

It seems like you got close to all of the actors in Love in the Big City since you’re all around the same age.

It was really fun on set. But I’m not the type to contact people that often; I don’t want to meet them unless it’s from the bottom of my heart.

Kim Won-joong, who also started as a model, said in an interview with Vogue Korea that you were really reliable and helped him out a lot.

He's a top model, but since this was his first time acting, he obviously wasn’t familiar with the process. Normally no one on set tells you anything in detail. I tried to make things comfortable by telling him about that kind of stuff. Not just comfortable for him, but also for me. I wanted both of us to do well.

There are a ton of skinship scenes. How did you want those to be seen?

First I got my teeth deep-cleaned and then I passed out mouthwash. (laughs) Male actors, rather than female actors, are recommended to gargle. I’d go, “Hyung, do you want to gargle?” and then we’d laugh at each other. Man or woman, I just want it to be seen as two people who love each other.

What was the hardest part for you?

Go Young has a bit of a daredevil streak, so he usually starts the skinship. There was a scene with eight actors that required over 300 takes. Each time I tried my best to make them comfortable, and it wasn’t as hard as I thought.

You seem pretty calm when you come across some kind of difficulty.

If I don’t deal with it today, I’ll have to do it tomorrow, so my belief is that I should just get it done. Other people tell me I don’t seem to get stressed out, but I think it just piles up silently. There are times when I’m fine and it’s a normal day, and then suddenly I feel it one night.

Even if you don’t realize it, your body will show symptoms of stress.

Sometimes I suffer from gastroesophageal reflux (GERD), but that’s my problem. I want to show everyone else a smiling image. 

I guess that’s why you smile all the time. Is it hard to keep smiling?

If I frown because I’m having a hard time, it’ll affect other people. Do no harm, right? It’s a kind of principle. A while back, I received a thank you text from one of the staff. It was long and said something like, “I’ve never contacted an actor before, but I was surprised because you finished everything with a smile even when things were difficult on set.”

Is that a recent moment where you were proud of yourself?

It’s more so the DMs I received from abroad thanking me for doing the show. There was one from a Brazilian person saying, “This drama is even more meaningful because gay marriage is illegal in our country, and I’ll be sure to watch it.” Of course, there are a lot of detractors. Go Young’s mom is a Christian, and I actually received a DM from a woman who is of a similar age that said, “Youngsu-ssi, I thought you were a good person but I’m disappointed in you.” But there has been a shift in the perception of queer people in Korea over the last 10-20 years, and it’ll continue changing in the future.

How did you feel after filming?

I felt strongly that we had made something together. We finished it while discussing how we could complement each other and making revisions. Also, there were fewer characters than in other productions, so the individual actors and staff could communicate more deeply. Although I was the one acting, I feel that the end result is something we achieved together.

Is there something you want to achieve before the end of the year?

I’m not good at setting goals. I used to make resolutions about how I should go about acting, but now I just work hard on every drama that comes to me. Rather than making plans for the future, the present is more important. This morning, I grated vegetables and then did some cleaning, and right now I’m focused on finishing up well with this photoshoot and interview.

[goryhorroor]

Hi! No idea of this is your wheelhouse at all, but do you have any recs for horror novels? In particular more modern books. Not sure if this is your thing at all so no worries if the answer is no, just curious! Have a lovely day!!

sure! these are some of my favorites

Tell Me I'm Worthless by Alison Rumfitt

Whisper by Chang Yu-ko, but you can find the translation by Roddy Flagg

Our Share of Night by Mariana Enriquez, translation by Megan McDowell

Camp Damascus by Chuck Tingle

The Hole by Pyun Hye-Young, translation by Sora Kim-Russell

You've Lost a Lot of Blood by Eric LaRocca

My Heart is a Chainsaw by Stephen Graham Jones

A Head Full of Ghosts by Paul Tremblay

Bad Cree by Jessica Johns

Orpheus Builds a Girl by Heather Parry

The Shadow of Book of Ji Yun, translated by Yi Izzy Yu & John Yu Branscum

Cursed Bunny by Bora Chung, translated by Anton Hur

Manhunt by Gretchen Felker-Martin

The Book of Accidents by Chuck Wendig

A Good House for Children by Kate Collins

Motherthing by Ainslie Hogarth

The Dangers of Smoking in Bed by Mariana Enriquez, translated by Megan McDowell

The Grip of It by Jac Jemc

The Last House on Needless Street by Catriona Ward

Through the Woods by Emily Carroll

Our Wives Under the Sea by Julia Armfield

The Gingerbread Men by Joanna Corrance

Sisters by Daisy Johnson

The Lonely by Andrew Michael Hurley

Served by Scott Snyder, Scott Tuft & Attila Futaki

The Lost Ones by Anita Frank

Wilder Girls by Rory Power

Wylding Hall by Elizabeth Hand

From Below by Darcy Coates

The Fisherman by John Langen

[gaymer-hag-stan]

Youngji's destination is L.O.V.E and so is ours! Her very first solo single album, Toi Toi Toi is out now!

[solitaryandwandering]

A Ramble: Love in the Big City Eps 5-6

Well, @lurkingshan welcomed me into this house of pain and I set up camp with full awareness of what awaited me. And yet. And yet. I cried so sadly at the end of episode 6. Genuinely, I don't think I've been this heartbroken watching anything recently. Gyu-ho is so wonderful. He didn't deserve Yeong shutting him out like that. But in the end, they just weren't right for each other. Not with all the heaviness Yeong carries with him, now. And poor Yeong. He was never malicious, never truly wanted to hurt Gyu-ho, but he's in so much pain. He's never been in a relationship like this, which asked for so little (yet so much). And so, here are my scattered, discombobulated thoughts.

On the cinematography front, I continued to geek out over how well each director is communicating Yeong's internal and external worlds. The last section saw Hur Jin Ho start to darken Yeong's world around the edges, still taking full advantage of environment and space. In this section, Hong Ji Young is much more economical. We have tighter shots, more close-ups (especially extreme) and fewer wide shots. Since we are much more in Yeong's head we are forced more into his perspective - what he is seeing takes precedence over placing an audience emotionally in a scene. Her direction is less stylized (which is not to say there aren't creative uses of camera) but that's not to say she lacks a stylistic vision. Rather, where prior sections relied more on movement or camera placement, Hong let lighting do much of the talking.

I mentioned yesterday that this section's color palette seemed more muted in comparison. Episode 6 was brighter but saturation didn't really change all that much, at least not from my perspective. What enhanced this perspective was Yeong's clothing, which was almost austere in comparison to how he dressed in the past. He's in dark colors, usually black, with stern or severe silhouettes. I think he's in lighter colors at work but that's it? Those are still pretty washed-out. I was especially taken with his long black coat, which has to have appeared in the past but I didn't notice it like I did in these episodes. It's like he never left the funeral garb behind. His long coat actually reminded me of Yeong Su's coloring style-wise (and of the brown coat he wears during their break-up). But maybe that's just me. I just can't let go of the ways I think we're visually supposed to see him haunting Yeong, especially after that dream sequence in episode 5. His clothing just seems... older. It reminds me of both of his older partners; maybe he feels like he needs to emulate them? Maybe he feels like he's not mature enough? I could also see Yeong Su showing up in the way Yeong broke up with Gyu-ho, though I think Yeong was catching himself from fully leaning into that. He smiled, he didn't answer Gyu-ho's questions or give any empty reasons, and so on. Yet, he still achieved that same cold detachment. Yeong Su is certainly there in the way Yeong carries himself: ramrod straight. Much of his looseness or vivacity in past episodes is gone. Could not get over how dead his eyes felt in this section.

Anyway, back to cinematography. It felt like to me the lighting was creating a slightly blurred effect, like we were seeing certain things in a haze. Obviously this is in one way a reflection of his depression. Sometimes it felt like it was reminiscent of him wading through a fog, of memories, trauma, dissociation, whatever it may be. In both episodes there is also really cool use of illumination of objects, people, or scenes. In episode 5 there's a scene where he is in his mom’s (oppressively dark) place and a single shaft of light cuts across pictures on the wall. Intentional darkening is used just as often as illumination or brightening. I'm pretty sure every time we get an extreme close-up of Gyu-ho's eyes they are cast in darkness rather than light, which is what you would assume would happen if he were, like, gazing into the eyes of someone he loves. But instead, he's in the dark. In one scene he is hanging up curtains in Yeong's apartment and turns from the light outside (towards Yeong in the dark). When we cut to the close-up we can still see a sliver of light behind him which casts him in darkness. He brings light but Yeong cannot receive it. Lighting (or lack of it) in this section more than in other parts colors/represents what Yeong feels, how he sees others, what he chooses to look at or acknowledge.

In line with that, I really appreciated that this director chose not to overly-romanticize this part. I know the original author wrote the screenplay so that is in part why it didn't feel that way but I do think in a lesser director's hands it could have been very easy to lean into Kdrama romanticism. Without having read the book I was concerned this section would feel like fan-service rather than a continuation of the overall story. I am so relieved not to feel manipulated. Beautifully mundane and sad!!

And can I just say, I love what a complicated and real character Yeong is?? I love him so much even while he infuriates me. Even while he allows his past traumas to influence this relationship with Gyu-ho. And I actually wonder about his motivations in pursuing Gyu-ho? He's obviously very attracted to him and has good chemistry with him in general, so it's not that I think he went into the relationship with false pretenses. But he obviously knows it's not the right time for what he feels like he wants, which is a serious relationship. Initially as he walks away from the subway he turns to go back when girls run by him and one screams that her mother will kill her for missing the last train. Is it a “fuck you” to her that he decides to go after him? A feeling that he wants to live his life, pursue happiness in spite of this oppressive grief he feels? So much to untangle there. He's nothing if not fully human.

The last thing I wanted to get out of my head in this ramble was my thoughts about what themes I detected in this section. So here's what I’m thinking of: distance, shame, and honesty/communication.

All throughout this section I just kept hurting at how detached Yeong seemed from himself and everything around him. Completely distanced from his emotions. He goes into the relationship already with distance since he’s fresh off two horrible traumas, especially that of losing his mom. And he allows every small moment of perceived distance (mostly Gyu-ho not sticking to pre-established patterns Yeong has grown used to in his relationship to sex and intimacy) to widen that gulf. Writing is his passion but with each new rejection he allows himself to drown in it and creates even more distance. He's writing out reflections of their relationship instead of living it. Observing instead of feeling. He begins to enforce the distance he felt in his last relationship - all he wants is attention but is unwilling or unable to give it in this go-around. Even in the ways he opens up to Gyu-ho he maintains his fake-happy, carefree persona. Smiles are weaponized as a distancing tool. And in speaking with Gyu-ho he also can't resist making small digs at him about his job or intelligence. Gyu-ho is not given much opportunity to bridge distance even as they move in together. And what can Gyu-ho do when he is constantly rebuffed? He runs away, looks to fill the void with attention from other men. Returns, only for the cycle to begin again. "Constant goodbyes" as I believe Yeong puts it. As soon as their relationship begins he puts them in the rear view mirror. It's like he moves through much of their relationship as a representation of himself rather than as Yeong, himself. A shadow. When he actually places them in the rear view at the end of episode 6 he says "I guess you'll remember me as a joke you once heard a long time ago... The world's dirtiest joke."

Shame was the biggest thing coming up for me in these two episodes. For obvious reasons, of course. The reveal of his HIV (or "Kylie" which is his way of putting distance between himself and the disease, casting it in anonymity) was as shocking as it was expected. As an aside, this somewhat vindicated my personal interpretation of Kim Nam Gyu's death and subsequent empty funeral as a connection to the deaths of gay men with AIDS (including my uncle). I don't actually think they were necessarily trying to draw a line between the two but it hit me like a crowbar over the head so!

But yeah, Kylie is the obvious connection to that theme of shame. HIV in general carries a HUGE stigma globally, so much so that many countries including China (as we saw) have strict rules for travel of HIV+ folks. As far as I can tell in my brief search online, China ostensibly allows HIV-positive foreigners to come to the country but only for a period no greater than 90 days after which they will (and have) deported people. And that's just their official stance. Yeong discovered his status in maybe the worst way possible, in the military from a homophobic doctor, which colors the way he approaches it from then on. Medically discharged (as a reference, in the U.S. HIV-positive people are allowed to serve if they are asymptomatic and have an undetectable viral load, not sure how it is in Korea) he doesn't even tell his queer friends. This part made me so sad. How the queer community can shut other people out for something like this is deplorable especially considering our history. The T-aras demonstrate themselves to be bigoted in their negative regard of those with or suspected of having HIV, literally telling each other to "cover their glasses" when they see someone in the club who has been rumored to be positive. Yeong can’t wrap his head around being accepted for such a thing or as himself in general. Yeong traps himself in assumptions he makes of others and of himself. In some ways, those expectations are reinforced.

I wondered at why Yeong chose to tell Gyu-ho his status before anyone else. A part of me wonders if he intended this as another weapon of distance, so sure of this as being the thing that would cause Gyu-ho to run. I think he was completely unprepared for his total acceptance (he asks to ask for confirmation of his sincerity later in Bangkok) though it did make him happy. And once he has that acceptance he has no idea what to do with it. He is constantly pushing Gyu-ho away, only knowing how to ask for and accept the intimacy that comes with sex (which is - unprotected - what gave him HIV in the first place). He wants that easy fun he felt as a younger queer but is struggling to heal in this undemanding relationship. All Gyu-ho wants is quality time, emotional connection, a place to call home. Yeong has wanted this, needed this in the past but denied it time and time again he doesn't know what to do when granted the opportunity to have it. Gyu-ho doesn't want Yeong to be anybody except himself, gives him space and has healthy boundaries (practically non-existent in past romantic/platonic/familial relationships). He has nothing to fight against except himself and a world that doesn’t want him. Fighting against faceless rejections from publishers and bigoted HIV attitudes and restrictions are abstract battles, larger than just one person. When facing a bland job which wants a certain imagined version of him he can face off against his boss but she doesn't even show up in a way he can solidly face off against (wearing headphones blasting loud music, for instance). All he can do is fight Gyu-ho who doesn't even give him the battle he wants.

Gyu-ho is the first he tells about Kylie and it kinda feels like he’s punishing him for it sometimes? I’m not sure how much he shares about himself with him other than that. I don’t think Gyu-ho knows that his mom had just died when they started dating or about his past with Yeong-su. Gyu-ho assumes he has his life together and says he can’t understand what it is like to want something of your own. Yeong does nothing to dissuade him of the fact. He knows Gyu-ho can tell he's distancing himself and that makes him even more ashamed in himself and makes him lash out. Against the only person who knows his deepest secret and has wholly accepted him for it. How could he not hate himself for rejecting what he's always wanted?

Mi Ae shows up as another specter of his shame, using him as a prop. It is here that he becomes relegated to the "gay best friend" trope. To Mi Ae, he is perhaps the biggest representation of her "dirtier" or "shameful" past. She uses him to appear cooler to her younger sister-in-law(?) without fully claiming their relationship. The sister-in-law even jokingly flirts with him in the bar. Literally flaunting heteronormativity in his face. It does not feel as if he can fully own himself anymore. And when Gyu-ho moves in, they live together in a place Gyu-ho sees as his but was originally Mi Ae's, a place he was abandoned in, a place he tried to kill himself in. Shame festers and breeds in this space.

Honesty and communication is what bridges the gap, what heals shame. Yet, that is what Yeong cannot bring himself to do. He’s unmotivated to make a change in his approach to Gyu-ho and uses reticence as even more of an obstacle to genuine connection. He’s ashamed of himself and thinks of himself as dirty, undesirable. Yeong doesn’t even tell Gyu-ho about the HIV restrictions that keep him from applying to the job in China. Easy way out of their relationship, maybe, but it’s more about clinging to shame (is his shame is his remaining connection to his mom?). And in the end, he can’t even give him an honest break-up. His opinion of himself is so low he can’t help but prove it right. I think he sees Gyu-ho shrink into himself and comes to the conclusion he takes up too much space. ("I wonder why you sleep in silence. Maybe it's my fault. Maybe it's yours. Or maybe it was inevitable.")

In prior episodes Yeong's loves came in pairs: Mi Ae/Nam Gyu, Yeong Su/his mother. I wonder if Gyu-ho is the only love represented here. In prior sections love was more or less freely felt or offered even if toxic or lacking honesty. Unable to crack through Yeong's loneliness. Maybe the pair here is the absence of self-love. Or the absence of Yeong's ability to place his love in something external. In this section Gyu-ho shows him the love he was missing and wanted in prior sections but he is no longer open to it. He cannot show that love to himself. And maybe that's represented in the city, in Seoul. Big, teeming with potential, but also a lonely chasm where souls go to be lost.

Yikes, that was long. Largely nonsensical, I'm sure. I am terrified for how this show will end. This episode more than any other made me want to read the book RIGHT NOW (and make my brother read it). That's the sign of a good adaptation!

[somegirlsfromk]

HUR YOUNG JI "L.O.V.E" LES SHOWS HEBDOS

M COUNTDOWN du 14/09/2023: Fullcam: A suivre.

[haveyouheardthiskpopgroup]

Song you might know: L.O.V.E

[shinmiyovvi]

**Casually sneaks in through your window**

So since you sent me an ask about what Zari would think about your main ocs (which I promise I'm working on 😭😭💖💖💖) I think it's only fair I ask you; What would your main ocs think about Zari (both primis and ultimis respectively) ?

Sorry about the ask that you're going to answer, I bet your mind is steaming black smoke of a lot of thinking process there 🥲

Anyways, let's get to each ocs:

Valena:

Being the big sister material to both Leta and Ria, they looked at them as their own little sister itself. To Licia (Ultimis), Ria quite reminded her a lot of Agatha, that being a bit grumpy and a short-tempered woman in which Licia hides a little smile on her face so that no one would ever notice. However, Licia could be a little bit too mean to Ria considering that she has a cold and bitter attitude and would accidentally hurt her feelings. Meanwhile, Lena (Primis) considered Leta as her own little sister, she would take good care of Let whenever she's hur, even a little scratch on the face. She is also the sunshine of the group so Leta could get blind due to the sun rays she's showing with just a little smile on Lena's face or a soft giggle.

Ji Eun

Eunji (Ultimis) tends to feel safe around Leta, but in danger around Ria. Her reason is that Ria gets to have a short-temper and would just start being rude which Euni didn't like and would sometimes gets startled. She tries her best to calm Ria even with her being in a vulnerable state of hers. Ji eun (Primis) is a bit mean to both Zaris, she tends to call them names in Korean if they never did good enough to satisfy her. But she could be a mentor on Leta or Ria but again, she will never stop calling them names and points out their mistakes a lot.

Arthur

Both looked at Leta and Ria as little grumpy walking mushrooms whenever the two are angry in a way that the two British men would laugh and chuckle. Archie (Primis) would like to tease both Zaris and want to see them blow up like a volcano, but he could end up making flower bouquets or crowns for the two as an apology if things went downhill, after all, Archie is a florist back at his country so he would know the majority of the flowers women liked. Arty (Ultimis) looks at two as if he has his own daughters or granddaughters, but he is very much likely to protect them at all cost, just don't let the two show him a spider or they could end up making Arty a heart attack. Much like Archie, he would give the two some gifts, maybe some bracelets that he used to make for his little sister Elizabeth when they were still young.

Dragomir

Drago (Ultimis) is somewhat unexpectedly sweet and nice towards Ria and Leta for a man who is hollow. He could rather look scary to look at but he is very much kind to them, trying to bring up their hopes if they ever feel like giving up. And of course, the head pats are present in Drago as he pats Ria or Leta's head a lot to calm them down. His raspy and deep voice could make the two blush while he tries to cheer them up. Miro (Primis) is the big brother energy to both Zaris. Just like Drago, he always gives the two head pats with an addition of hugs and maybe sweet talks if you will. He is very much similar to Lena but without the sun rays that could end up making the two blind.

(P.S. I wonder if both Zaris ended up blushing with the pretty bois being all sweet to them 🤔)

[k-pop-lovers]

Top rated songs will compete for the best K-pop song of third quarter of 2023

[afabstract]

Love in the Big City Review:  Nam Yoon Su Dazzles in Seoul Hues

Nam Yoon Su as Go Young brightens Korean series 'Love in the Big City', a vibrant, queer K-drama set in Seoul, blending romance, heartbreak, and humor with an unmissable charm.

⭐⭐⭐⭐ Rating: 4 out of 5. Sneha Jaiswal (Twitter | Instagram) Actor Nam Yoon Su could probably be paired with a rusty electric pole and still make you believe he’s a lovesick Romeo, ready to die for the pole—his Juliet or, fittingly, his Romeo, as his character is gay in the 2024 Korean series Love in the Big City. Directed by Hur Jin Ho, Hong Ji Young, Son Tae Gyum, and Kim Se In, Love in the…