#Minoru x Yutaka

[gabrielokun]

[itagakimizuki]

If there's something bothering you, I want you to talk to me. It's about the two of us. We should think about it together. Okay. Thank you, Minoru.

BOKURA NO SHOKUTAKU (2023)

[kexing]

It’s an important day. Spending it with an important person is enough.

[itsallaboutbl]

Inukai Atsuhiro as Hozumi Yutaka in each episode of "Our Dining Table"

↪ for @bellepark, happy birthday my Saturn soulmate 💞💞

[wen-kexing-apologist]

I'm so deep in my Our Dining Table Bullshit that I'm not sure I'll ever come out of it.

There was

So

Much

SILENCE

Seriously, the pauses in this episode were pregnant with twins.

There was always just enough silence for Yutaka to think but not speak and just enough silence for Minoru to spiral deeper in his fears about making Yutaka uncomfortable and interrupting whatever words Yutaka would ever possibly try to say. For those who have read the manga, the way that Minoru is so scared about making Yutaka uncomfortable, so scared about ruining this safety that he has built with Yutaka (thanks to @isaksbestpillow for ruining me with that translation in her subs), so scared about losing all this warmth and fullness that Minoru has finally been able to feel after losing his mother that he tries to break his own heart is such a phenomenal set up to the parallel we will have with Yutaka's fears later on. Minoru tries to distance himself from the potential heartbreak that comes with Yutaka's silence. He tries to break his own heart while the wound would not be too deep, where the relationship they had in maybe salvageable.

And the only thing Yutaka ever says to Minoru this entire episode is "Minoru?" and "No, I'm fine," And he is fine, he is completely fine, but even though Minoru is looking at Yutaka, he is so caught up in his fears about everything he has possibly just lost because he couldn't contain himself. Because he altered their relationship by kissing Yutaka that MINORU. CAN'T. SEE. IT.

When Minoru says "I wasn't going to tell you any of this. I knew you would be uncomfortable" he can't see all the words that are spinning around Yutaka's head when Yutaka inhales. He can't see Yutaka fail to find the words he needs to say, fail to figure out where he needs to start in all of this, and he fails to see that with Yutaka's exhale, Yutaka is giving up everything he wants to say.

gif by @laowen

Minoru is so focused on getting that last touch of their hands, so busy promising Yutaka this is the last time they will ever touch, so then they can be friends, and they can go back to how it was, and Yutaka won't have to feel uncomfortable knowing that Minoru likes him, THAT HE FAILS TO SEE HOW MUCH YUTAKA'S THUMB IS TWITCHING.

gif also by @laowen

Yutaka wants to reciprocate physical touch, physical intimacy with Minoru so badly. But Yutaka has to process everything. Yutaka is a) in shock and b) having so much trouble figuring out what he wants to say, what he needs to say, that he can say nothing. Minoru says he wants to go back to the way they were before, and so Yutaka's thumb will twitch with the impulse to stroke Minoru's hand but it will not make contact with Minoru's flesh.

And god

God

GODDDDDDD

I need someone to gif the moment that Minoru pulls his hand away because there was a millisecond of time where Yutaka reaches back out like he's going to try to take back Minoru's hand and he STOPS HIMSELF. And I have not stopped thinking about it. I have not stopped thinking about it.

FOLKS, I HAVE NOT STOPPED TALKING ABOUT IT. LIKE LITERALLY @waitmyturtles AND @lurkingshan AND THE REST OF THE ENTIRE CLOWN SERVER HAVE HAD TO HEAR WAYYYYY TOO MUCH ABOUT THIS STUPID FUCKING SHOW, AND YUTAKA'S STUPID FUCKING HANDS, AND EPISODE 8'S STUPID FUCKING GODDAMN PIECE OF SHIT PREGNANT FUCKING PAUSES.

[sollucets]

OUR DINING TABLE | EPISODE EIGHT

[heretherebedork]

They held hands in the dark and held each other and they found love worth risk, love worth fear, love worth holding on.

(It's about hesitance that becomes bravery, fear that becomes love, friendship that grows, affection that becomes romance.)

[getousmaid]

[waitmyturtles]

Pain, Suffering, and Narratives in Some Asian Dramas/BLs (An Utterly Un-Scholastic, Highly Personal Big Meta)

I’ve been meditating on the topic of pain and suffering in dramas over the last few weeks, as conversations across Tumblr have been taking place regarding the success (or not) of the Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars episodes. I can’t help but connect these thoughts to some of the fabulous older shows I’ve been watching in my Old GMMTV Challenge watchlist project, where I’m catching up on older Thai BLs in order to better understand the fabulous works that we’re seeing airing now. This Big Meta in part comes out of my having just watched He’s Coming To Me and Dark Blue Kiss, but I was also very deeply inspired by a Japanese BL that many of us here have fallen in love with, Our Dining Table, that features a poignant moment recognizing that feeling pain is a necessity in feeling love for another person -- that accepting pain and suffering is a part of the life we decide to live, from an Asian cultural perspective.

I’m using some big generalities here, so let me explain where I’m coming from. During certain large portions of my life, I’ve explored either becoming a Buddhist, or at least practiced Buddhism, particularly Zen Buddhism. While the world of Western capitalism has unfortunately taken up the majority of my current time/life, I do still have a desire to learn more about the history of Buddhism and try to incorporate some kind of practice in my daily life.

The reason why I offer that caveat is that a core of teaching in at least the spaces of Buddhism that I’ve been privy to, is the recognition of pain and suffering in one’s life. Suffering is a core tenet of Buddhism, one of the Four Noble Truths, and one that a human being does good deeds or makes merit in light of (as we see quite often in our beloved BLs) in order to receive “good” karma for a happy existence in this life or the next. (Again, mad generalizations here, but you get the point.)

I’ve been thinking about this because I often wonder if us Western viewers (I count myself as one, as an Asian-American) are too demanding for linear, clean, direct, and/or happy communication, narratives, and endings, particularly in the realm of Asian BLs, in regards to either romantic love and/or love from one’s nuclear parents/family. I think about this very much in the context of the Asian BL genre, where queerness -- as accepted, OR NOT, in Asian societies, friend groups, and families -- may indicate an existence that is not necessarily a happy one. 

There are other issues by way of demands from fans that often determine the outcome of a BL script, such as shipper demands for overtly sexual content. What I’m proposing here is that, in my opinion, some of the best dramas/BLs from Asia are rooted in a reflection and acceptance of the tenets of suffering as a natural part of Asian life and, subsequently, Asian art. I further propose that because of that acceptance of suffering, that we — Western viewers — are often left potentially feeling unsatisfied or unfulfilled by a particular ending of a drama. I posit that the linear/binary/clear outcomes that Western audiences so often demand are limiting in comparison to the non-binary, non-linear journeys and conclusions of art that Asian filmmakers can reach in their work, vis à vis à general cultural understanding that pain and suffering are a part of daily life.

Before I give a drama example, let me use one from real life, that is so very often reflected in art: filial piety. I wrote about filial piety quite a bit in my reviews of Double Savage, a non-BL from Thailand that focused on the plight of a discarded son who was judged by his father as a jinx.

When I try to explain to Western friends that Asian parental love is very often conditional (I myself have experienced it, and my experiences mirror those of my friends), I experience a lot of denial.

“There is NO WAY your parents don’t love you.”  “There is NO WAY your parents will ever give up on you. Even if they treat you badly, they love you.”  “In the West, we ALWAYS end up loving our children. That’s what society demands of PARENTS. We’re CONDITIONED to be like that.”

A major cultural competency issue that Western therapists face with Asian clients is when Western therapists say to Asian clients who are having family issues, “why don’t you just talk to your parents about what you’re feeling?” Talking to Asian parents about a child’s feelings, in MANY instances, is not realistic. The language of that kind of emotion may not even exist. AND, there are unspoken social boundaries AGAINST children having those conversations with their parents in the first place. To have those conversations would very well ROCK the foundation on which Asian families are structured.

My parents may love me — the dad in Double Savage mayyyy have loved his son? — but an Asian parent like that, so rooted in their JUDGEMENT AGAINST an offspring, will often not budge. Time and time again, my Asian friends and family will talk about how they felt unloved as a child -- especially if their skin was darker, if their siblings were more successful in school, if they were a middle child, etc. VERY often, our Asian parents don’t know what us children do by way of work -- my parents don’t know anything about my work, for instance.

The Western perspective and social demands for a STYLE of loving one’s children in a very particular, involved, and empathic way -- those cultural expectations don’t necessarily exist in Asia. So we see parents like, say, Non’s father in Dark Blue Kiss; or Korn’s father in Double Savage; or ESPECIALLY Uea’s mom in Bed Friend, a fantastic example of an Asian parent who takes PERSONALLY every aspect of her son’s social and sexual “differences,” blames him for those differences, and accuses him of ruining HER life vis à vis how he was born to be the way that he is.

And yet, at least for Korn and Uea -- we see those children, for the majority of their dramas, continuing to devote themselves to their parents. Because filial piety -- the Asian cultural and social demand for RESPECTING one’s parents above all else -- is existent and EXPECTED of almost EVERY living Asian, no matter where you live on the continent or your various diasporas. 

The equation is: even if you suffer at the hands of your parents, even if you don’t receive unconditional love and empathy from your parents, you must sacrifice in order to respect and serve your parents. You can imagine how much therapy even one individual would need to process that -- if that individual even ALLOWED themselves to think about what was happening, which oftentimes doesn’t even happen. 

I’m not saying that filial piety EQUALS suffering. What I’m saying is that the practice of filial piety will almost always ASSUME a level of suffering that one must undertake to participate in the practice of honoring one’s parents.

Where I felt this *assumption* most strongly and recently was in my viewings of three Aof Noppharnach shows: He’s Coming To Me, Dark Blue Kiss, and Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars, but I think Double Savage and Bed Friend also fall into this category as well. Very quickly:

1) HCTM was rooted in storytelling around the practice of Thai-Chinese Buddhism. Thun’s suffering was apparent: he was fatherless, he was gay, and could see ghosts. AS WELL, Med’s suffering was that he didn’t know how he had died, and why he was being held in purgatory before moving on to his next life. 

2) Dark Blue Kiss was rooted in internalized homophobia. My big review of DBK is coming next week, but quickly, between the two main couples (PeteKao and SunMork), you had internalized homophobia playing various roles of emotional INTERPLAY, that AFFECTED the external emotional demonstrations of the character -- particularly in Pete, who was viscerally working on becoming a calmer person, but was triggered by Kao’s internalized homophobia to not be open about their relationship, and Pete’s jealousy subsumed him. DBK is the only show I’m mentioning here that has a clean happy ending for all couples involved, but more on that in a second.

3) OS2 x BBS x ATOTS, on the Pat and Pran side, was rooted in a clear but indirect conflict between Pat and Pran about openness and independence. If Pat and Pran had been open about their relationship (à la Pete and Kao) -- would Pat have needed to sound tough to his engineering friends that Pran *depended* on Pat to close loops? And on the Tian and Phupha side -- there is plenty we don’t know about Phupha’s past to make judgements, but I think it’s safe to say that he grew up in such a rural environment in Thailand as to make him assume that coming out and meeting his partner’s parents was an non-reality for the majority of their relationship, until the end of the OS2 series. The journey to get to the point of the ring was a tough one, particularly for Tian, who wanted more openness.

4) Both Double Savage and Bed Friend seem to end happily, especially for Uea and King in Bed Friend. But: Uea loses his parent. Yes -- he NEEDED to lose his mom, because of how toxic she was. But from an Asian family structure perspective -- he only has his sister by the end of that traumatic journey, which is not necessarily an IDEAL or complete ending. The bonds among Korn, Win, and Rung are permanently affected by the behavior of Korn and Win’s dad in Double Savage. The ending is a copacetic one -- they have survived, and will learn to survive together, after all the trauma they have lived through. But it’s not necessarily a HAPPY one. Both of these endings do not necessarily reflect the holistic ideal of the Asian family structure.

I emphasize all of this because, as I said earlier: I think a Western demand to CLOSE LOOPS in Asian dramas is unrealistic.

In Asian life (big generalization, but let me roll with it): you are angry at your parents, and you process it internally, very often without any help, and after a couple days, things go back to the way they were. The children do not demand change from their parents.

In OS2 x BBS, what I DIDN’T SEE -- and, from this framework, what I argue that I DIDN’T *NEED* TO SEE -- were any clarifying conversations between Pat and Pran about how either of them would CHANGE for their relationship. The biggest confession we got was Pat telling Pran, “without you, there is no me,” and Pran quietly agreeing (thank you to @lurkingteapot and @dimplesandfierceeyes for the incredible post on the improved translation of “I can’t live without you”).

But throughout the episodes, we saw their existence together, and arguably, their conditions -- how each of them has organized himself to comport to the other’s immediate needs. How Pran’s larger burden of keeping in the closet to keep his nuclear family structure stable kept them from being totally out, and how Pran designed fibs to be able to have at least one public demonstration of love between him and Pat on stage. They know they cannot solve intergenerational trauma in the span of a series. They’re still closeted two years later. And throughout all of this: how Pat digests Pran’s needs, and keeps his (Pat’s) own needs for openness at bay. We know he feels pain, too, when he makes his confession to Pran in Pha Pun Dao. We know he’s watching Pran as Pran hesitates to put on the bruise cream.

I feel that Pat’s acceptance of this existence is both heart-rending and utterly beautiful from the perspective of seeing Aof’s work as *Asian* art. I feel like, as an Asian, that I KNOW, that PAT KNOWS, what Pran has to lose. Pran has A LOT to lose. And so, Pat -- instead of demanding for outing and openness -- will hold what Pran needs him to hold. He knows when Pran is grumpy, and needs to be grumpy. And Pran’s got a lot to deal with. He’s got so much that he’ll need to go to Singapore, likely to get separation from his mother -- and that will result in him and Pat being separated (and I’m intentionally not analyzing Pran’s need for space from Pat here, but I think we can safely argue that, too, as Pat’s helpful attitude may smother Pran at times) (and there’s also the issue of the nuclear pain that Pat himself may feel at losing trust in his father for his father’s past foibles). 

After the OS2 episodes, I didn’t need to know THE REASONS, the stark REASONING for why Pran needed to go to Singapore -- because, indirectly, it was already very clear to me that these young men were already holding tremendous burdens. Singapore, for Pran AND for Pat, could have ultimately been a motivator for growth. But I don’t need to know this. All I know is that they continue to have various levels of pain that they will be dealing with in their nascent adult lives.

While Dark Blue Kiss ULTIMATELY had happy endings -- how it got there was PAINFUL. Kao was ROOTED in fear that he would upend his family’s stability, while being the breadwinner. He was held back by extremely traditional role expectations of an older son. And he had no communication with his mother about straying from those roles. Pete’s dad served as the first -- and, I’d argue, maybe BL’s first -- paradigm-breaker as a parent, being SO open about his son’s queerness as to encourage healthy sex practices. But what I argue in this thesis is that up until the very last, bitter end, Kao was relegated to ASSUME that he would live in pain. His expectation was that Pete would ride with him. Pete couldn’t take it anymore and bubbled over. And Kao was forced to make a decision, for Pete’s sake, literally, to BE open, and to save the relationship. That shit ain’t easy.

Lots of folks who have read my posts on this site know that I appreciate a good Asian drama rooted in family and/or community trauma, like 10 Years Ticket. It’s the way in which Asian filmmakers depict this trauma that speaks very much to my life, my culture, and my viewpoint on what’s realistic in this world, and how that reality can be depicted in art. What I’ve found in watching Asian dramas is... I don’t always want clean endings. I don’t always want loops closed.

Sometimes, Asian kids can’t talk to their parents (Pran, Kao). If you grow up like that, you don’t immediately learn the language of intimacy for your family members, your friends, your lovers (Pran’s struggles after BBS/ep5, Thun’s coming out and not knowing the words for it). It might be EASY, or culturally UNQUESTIONABLE, to not argue with your parents about the ways in which they engage with their children (Korn, Win, Pran). Sometimes, to make a break in order to survive, you need to leave a toxic family member behind, which is NOT an ideal scenario (Uea). 

Sometimes, you lose the love of your life (Ueda-san in Our Dining Table). Sometimes, you fall in love with someone — and you find that you can’t *exist* without them (Pat to Pran). And you have to live with the pain. I might even posit that the risk of that pain makes the love you have, either for the person living or the person passed, that much more meaningful to you.

I watch Asian dramas because I don’t feel like Asian filmmakers are subject to the Western demand to clean up all emotionally questionable loose ends. This is not When Harry Met Sally. Harry and Sally should have only remained friends, and not gotten married -- even Nora Ephron and Rob Reiner knew that -- but they also realized that Western audiences would not accept such an ending.

“The script initially ended with Harry and Sally remaining friends and not pursuing a romantic relationship because she felt that was "the true ending", as did Reiner. Eventually, Ephron and Reiner realized that it would be a more appropriate ending for them to marry, though they admit that this was generally not a realistic outcome.”

If I don’t get clean clarity in Asian dramas, I’m okay with it. My mind switches to the pain POV, that relativity mindset. Everyday life in Asian cultures can handle the weight of the painful and sufferable unknown. And that’s why I love these shows. 

And, OF COURSE, not ALL Asian dramas are like this! Cherry Magic ended wonderfully. Old Fashion Cupcake ended beautifully. KinnPorsche ended sexily, if not a little confusedly (are they related? kinda? or not? whatever?). Minato’s Laundromat ended happily -- although we’ll see their relationship pain points in the upcoming second season. And we see relationship pain points in the ongoing drama of Shiro and Kenji’s relationship in What Did You Eat Yesterday -- all while they share their happy nightly meals together at their kitchen table.

Life is complicated. I posit that Asian dramas, for my taste, satisfaction, and cultural relativity, do a much better job at depicting that complicatedness than the West can ever do, and that’s why I stand so often on my soapbox to encourage Western viewers to understand these Asian cultural touchpoints more -- to learn about how we’ve accepted pain and suffering as an automatic given in our Asian lives, from our cultures, our spiritual practices, and from living amongst each other.

[respectthepetty]

I'm going to be honest and state that I still don't like Yutaka's family, but I find it interesting that he is the brightest in that room because he now has the Ueda family's love.

Very interesting.

See what love can do for you?

[boyslovesource]

I had to sleep here alone, so I got a little lonely.

[gabrielokun]

[itagakimizuki]

You can touch me. See? It's fine. I still want to be with you after this.

From now on, it might not be the same as before. Is it okay?

BOKURA NO SHOKUTAKU (2023) episode 9

[halliescomut]

Our Dining Table: Costuming Analysis

Alright…week 3..4?? of me begging you to watch Our Dining Table. No spoilers in this one, I actually wanna talk about one of my favorite underrated things in TV shows…wardrobe and costuming.

I’m going to be focused on the wardrobe of Minoru and Yutaka, but I’ll also touch on Tane and Koji (who I may also call Papa).

Wardrobe is one of the most fascinating things to me about film and television, but it is especially important in television (I think) because TV shows more often show a day-to-day story.  There may be time jumps, but in general you’re following these characters through daily life.  Character costuming is intended to not stand out unless that’s the point (see Tankhun) but instead add additional dimension to each character and enhance the information being presented by the script, actors, and director.

Looking at Yutaka first, what we know about Yutaka is that he is fairly simple, not very gregarious, quite kind, and from a monetarily privileged upbringing. He works a steady job, I would imagine likely has a college degree, and while he may be a mid-level employee, he’s probably making a decent salary. His clothing you see throughout the show is often simple, we don’t see loud patterns or a lot of color, he generally sticks with neutrals across the board, which makes it simpler for him to build perfectly fine outfits. His clothing is generally very neat, seems to most often be natural fibers, making it comfortable to an extent.  It also appears to be more on the expensive end, not designer, but not Walmart.

So, what does this tell us about Yutaka? He’s not really interested in appearing fashionable, his clothing allows him to blend in, not be noticed, which we’ve seen is kind of his preference. He takes pride in looking well put together but doesn’t necessarily want to put in a large amount of effort. The natural fibers tell us that comfort matters a bit more than style, but also that he’s not going out of his way to buy something markedly expensive. Touching back on the expense, with his history and being from a fairly privileged family, my interpretation (which is based on experience with friends) is that he’s not seeking out buying expensive clothing for prestige, but more just shopping at the stores he’s used to going to, the stores his parents would have taken him to.  A secondary benefit is that he’s buying higher quality clothing that with care is going to last him a fairly long time, which means less having to shop for replacements.

Moving to Minoru, but also the Ueda family as a whole. They’re clearly a working-class family, but may not be financially struggling, but more just coasting to a certain extent. The family as a whole wears some brighter colors, mostly Tane by the simple fact that he’s a child and children’s clothing is often colorful. I’m not going to say their clothing is unfashionable, because that’s too much of a subjective term, but more I’ll say that it’s serviceable, especially the adults. Papa and Minoru both wear comfortable basic clothing items, rarely anything ‘fancy’. We don’t see slacks, or neatly pressed clothing, just comfortable basics. Minoru tends to stick with cargo pants, jeans and sweats, with cotton t-shirts and hoodies.  Any of these items could be looked at and seen as well used, or possibly even purchased secondhand. In Minoru’s case specifically, it’s likely that much of the clothing is pieces he’s had for several years, as he’s a young adult and isn’t having to purchase new items to accommodate for regular growth spurts.

So, what does this say about Minoru? Comfort is high on his level of importance with his clothing. While his clothing is always clean, not in need of repair, or clearly mended, which indicates that he takes care of his clothes, but also doesn’t feel pressed to make a single item last as long as possible. Again, with the natural fibers, which promotes the individual comfort of the wearer, but also conveys a sense of comfort and softness to the viewer. We’re far more likely to think of someone as comforting wearing a soft, worn sweatshirt versus an itchy wool sweater. By their ages, which are fairly similar, we do also see Minoru looking slightly more juvenile, which could be indicative of him continuing to wear clothing from his teen years because it’s still in perfectly good condition for wear. What look to be the newest items he wears are his coats and jackets and his uniform at the ramen shop, which you can attribute to a combination of outerwear generally being worn less often, meaning less wear and tear, and the likelihood that his uniform is provided by his employer, and therefore replaced whenever it’s worn to a point where they deem it unwearable.

Looking at Tane, his style matches that of his father and brother in that he’s seen wearing very comfortable clothes. There’s occasionally some mismatching going on, which for his age (I’m guessing around 6) could be just because he’s dressing himself or because Minoru and Papa don’t care if he’s mismatched…or both honestly. His clothes, noticeably to me, look to be slightly better quality than what we see on Minoru. They also obviously look newer, but Tane is likely only just getting to the stage where his growth has plateaued to the point that he might wear out an item of clothing before he grows out of it. I also don’t see much cohesion in the styles or themes of his clothes, which to me implies that they’re letting Tane pick a lot of his clothing in the store, versus them picking it out. Generally, when parents purchase clothing for their kids, they stick to the colors and styles that they themselves feel comfortable in. Going off Minoru that would mean Tane in sportswear like sweatshirts, track pants, etc.; maybe jeans but with limited funds, items with more give, would be preferable. Tane also has some ‘nicer’ clothing as well, not necessarily formal, but whatever the child equivalent of business casual would be (I would call them church clothes).

So, what can we read from Tane’s clothing? It’s in good condition, fits well, contains a few what I would call department store pieces, which are slightly more expensive than what we see on Minoru and Papa. This indicates he’s well cared for and that new good quality clothing for him is prioritized over other members of the household. The mismatching, and not so cohesiveness of the wardrobe overall indicates that he’s probably allowed to pick his own clothing and outfits regularly. In some cases, combined with other things, this could indicate lack of adult involvement, but here it’s mostly likely meant to imply that Minoru and Koji are encouraging Tane’s independence, and helping him learn to be self-sufficient (which is in line with general cultural norms of Japan).

Papa, or Koji, now we get to a little more fun. Of all the characters, Koji’s wardrobe and costuming is the most interesting to me and generally the most interesting to look at. His wardrobe, like the rest of the Ueda family is comfortable, well-worn, but also includes far more traditional Japanese cultural pieces than Minoru and Tane, who wear majority 'western’ styles. His clothing is often mismatched outside of the occasions where we see him wearing a full outfit. The styles we see of western clothing is along more classical lines, as opposed to ‘trendy’ pieces.

Looking at what this information is meant to impart, we see some repetition of course, the desire for comfort over being fashionable, serviceable clothing that shows wear as well as care. The inclusion of traditional Japanese clothing pieces emphasizes the generational divide, but also I think serves as an intentional counterpoint to Papa’s clearly accepting nature. As this is a queer story, the audience would have some concern over the possibility of him not accepting Minoru and Yutaka’s relationship. The mismatching outside of full outfits that don’t require decision-making to match, tells us that Koji doesn’t particularly care about looking ‘good’ especially while at home, as we actually only see him in the Ueda house. The classic styles of his western clothing I think serve a two-fold purpose.  The most important is I think an indication of how he is able to be both traditional and modern in his mindset. He can respect and appreciate the traditions and styles of his culture and want to keep those alive without perpetuating outdated discrimination. A common phrase you see in the western vintage clothing community is “Vintage clothing not vintage values”, which I think gets my point across a little better and definitely more succinctly.  The second purpose is that it makes it difficult to determine when a piece would have been bought. Take the polo shirt he’s wearing- the viewer would have no way of knowing if it was purchased in 1984, 2006, or 2019 outside of physically inspecting it (and having a remarkably in-depth knowledge of polo shirts).  We also wouldn’t know if it was purchased new, at a discount shop, or second-hand.

I’m going to make a brief stopover to talk about Yutaka’s adoptive family, just to give some context. All dress very similarly to Yutaka, expensive, higher-end clothing, but not ostentatious. They follow a similar muted color palette of mostly neutrals as well. I would note that Yuki’s clothing is more well-fitted than Yutaka’s perhaps not tailored, or not always tailored, but probably actively tried on in stores where Yutaka would likely just buy the size he knows usually fits and if it’s a little loose who cares. Bottom line is Yuki is a man who strikes me as someone who knows what his inseam length is while Yutaka may not even know what an inseam is.

The Evolution of Yutaka’s clothing through the series

Yutaka’s sense of fashion doesn’t necessarily change, but you can see a progression in him through his clothing. We get a sense of two Yutaka’s in the beginning: work Yutaka and off-duty Yutaka. His work attire is as expected, your standard salaryman suit with an assortment of bland ties. Occasionally he wears a sweater as well, which makes sense as it’s winter. Off duty Yutaka wears jeans, though nice ones, not worn, no decorative rips, with sweaters and occasionally a button-up as well. We only see him in ‘comfortable’ clothing at home. The first time Minoru sees him in ‘comfortable’ clothing is episode 5, when Tane spills something on his shirt and Minoru gives him a sweatshirt to wear. Seeing Yutaka in that style of clothing is him becoming more comfortable with Minoru. He’s okay with Minoru seeing him at ‘less than his best’. We see it again in the next episode with Minoru coming to take care of a sick Yutaka at his home.

The ‘comfy’ clothes indicate Yutaka’s willingness to be vulnerable in Minoru’s presence. We also see a progression from mostly blacks, whites, and greys to more colors. We start with blue, which makes sense to me, as it’s not outside of Yutaka’s comfort zone, but it’s also a color we see a lot of in the Ueda house. This is a visual indication that Yutaka is not only welcome there, but fits in. He can belong there. I feel it also shows Yutaka becoming a bit braver over the course of the show as well.  In our most recent episode, we see our biggest leap-- THE YELLOW SWEATER. 

Interestingly he wears this sweater to his parent’s house. Seeing him in that space…he doesn’t fit in there anymore. That house is all cool-tone neutrals, but that’s not Yutaka anymore. He’s come to life. And do we even need to talk about the metaphor of him taking off the neutral greige jacket and showing that sunshine yellow underneath? Right before he reveals to his brother that he’s found his place, that he’s found himself??? He’s not going through the motions of trying to fit in, he’s not attempting to blend into the background. Oh! It’s beautiful!!  Not to mention we see Tane in yellow throughout the show, which I believe makes the yellow sweater a little bit of a nod to Tane’s youthful kind spirit helping bring life to Yutaka.

In a final wrap up I want to discuss what is one of my favorite things to see in serialized television and that is outfit repeating…or at least clothing pieces repeating. It’s not something you see a lot of in television, though you see it more in long running or serialized television in the west, because wardrobe and costuming can be expensive.  But I specifically appreciate it when you’re dealing with working-class characters. It’s impractical for a character who supposedly depends on their job to live to have an entire new outfit every single day.  Having limited wardrobes for characters and showing items worn repeatedly adds to the realism of a show. It also enables you to add personality. As in real life a character would wear their favorite items of clothing a bit more often. We see Yutaka repeat whole outfits, which probably means that he’s not really thinking about making unique fashion choices, but instead just knows what goes together to look presentable. With Minoru you see different items of clothing repeated but never a whole outfit (outside of his work uniform). But you also don’t see anything that looks contrived or like an attempt at a fashionable or cohesive outfit, which indicates a lack of concern about fashion, but also a lack of concern of other’s perception. He doesn’t care what other people think about the way he dresses; it just isn’t something that has occurred to him at all.

Well, I hope you enjoyed. I don’t know if this will have encouraged you to watch the show, but I certainly hope you will.

NOTE: Many pics were pulled from various posts here, and I wanted to give credit. Link 1, Link 2, Link 3, Link 4, Link 5, Link 6, Link 7, Link 8, Link 9, Link 10, Link 11, Link 12, Link 13, Link 14

[dzv2]

Our Dining Table Lockscreens 🍛!

Hope u like it! ^^

♡ or rb if u save pls

- d

[wen-kexing-apologist]

Yutaka and Yukata

*deep inhale* 

YOU KNOW WHAT I WILL MAKE A POST ABOUT THIS DESPITE OUR DINING TABLE ENDING LAST WEEK! 

Why? Because I have been personally victimized by Ueda-san’s photo album and I want everyone to know about it! 

I mentioned it once in passing on my blog last week, but I’m gonna talk about it again because like many things in this show, one brief moment radically alters how deep the emotional wounds cut. This is not my typical analysis, this is mostly just be screaming in to the void!

“W-K-A, what the fuck are you talking about?” you ask. 

“This!” I reply

“Here! Have just a fraction of the instances that Yutaka is called ‘Yukata’ instead!” 

“Now, W-K-A,” you sigh. “That's because Tane is young and just messes up his name. You don’t even know Japanese, so you can’t wax poetic about the name meanings and their significance. Surely, there can’t possibly be anything contained within this show to make Yutaka’s nick-name hurt more. It’s just a silly little gag! You’re over-reacting, you’re reading too much in to it,” 

Now, on claims of overreacting, I will one hundred percent agree. But like I said at the beginning this show has ways of making the smallest frames, the most off-handed comments, the flashbacks pack a punch. And well, dear readers, this? This shit ruined me:

Devastation to the highest degree in these three translated words. Mika in yutaka. Like????????????????????????

Hello??????????????????????????????

You’re really gonna make me sit here, knowing that the only captured memories we see clearly depicted in that photo album of a one most precious and beloved wife and mother is her wearing yukata????????????????????????????????

When Tane literally only ever calls his new best friend Yukata???????????????????????????????????????????????

And you just expect me to sit with that?! You expect me NOT to read into that?

I cannot describe to you how strong of a blow I took, when I saw this moment on screen last week. This sudden realization that Koji probably spends a lot of time looking over these books. That Minoru and his father spend time making sure that Tane gets to know his mother, through the meals they make together, by having him say goodbye to her in the mornings, by having him share presents with her. 

I don’t know, y’all I’m just thinking about where and how Tane learned the word Yukata, and who and what he associates yukata with. 

And you know, this all would have ended there. With me saying that I was emo about Mika and Yutaka and yukata, BUT I PLAYED MYSELF, because I was going back through episodes to take screenshots for my examples, when I found THIS!

In like…episode 2? 3? Something way early on and, I should not have done this to myself because I saw this frame and all I could think about was the way this mirrors the scene we get in Episode 7, when Yutaka tells Minoru his backstory.

Anyway, this show is perfection and I’m going to go take a long walk off a short cliff about it. 

Thank you for your time.