#nam yoon soo

[loveisactivated]

[chicademartinica]

Did I watch the movie or the drama ? No. Do I still want them to clear out all the awards they can and gag conservative ass South K ? Absolutely. Come on Nam Yoon Soo and Jin Ho-eun.

[iwantoceans]

Heartbreak Love in the Big City (2024)

[tipsyjaehyun]

LOVE IN THE BIG CITY premieres OCTOBER 21 ON TVING!!! <x>

Starring : Nam Yoon Soo, Jin Ho Eun

Synopsis - An audacious tale of two roommates, one a gay man and another a straight woman. Through the eyes of Mi Ae begins Go Yeong’s clumsy love story. Stories of laughter, tears, and wounds between a mother in denial of her son's sexuality and his being unable to escape societal judgment. Go Yeong finally meets a pure love like no other, Gyu Ho, but has no choice but to let him go. With Gyu Ho gone, Go Yeong follows a stranger to Thailand and spends a late monsoon vacation. Reminiscing about the good old days that can never be retrieved, he achieves complete personal growth. Runtime - 8 episodes of 50 minutes each

The movie version, which focuses on the first chapter of the book starring Kim Go Eun and Noh Sang Hyun, is gonna premiere in TIFF and release in cinemas on October 2nd. (teaser)

[tendylemons]

I am super pleased with Love In the Big City!

This is my favourite love scene from the show.

While Yoonsu has A LOT to work on... he is mighty foine!! Oh my. I love a man that's a man, if you know what I mean.

Anyway, he's yummy, and I want him 🤭

[stylekorea]

Nam Yoon Soo & Jin Ho Eun for Allure Korea October 2024. Photographed by Go Won Tae

[waitmyturtles]

Love In The Big City: An Homage to the Best Queer Show I Watched This Year*

(*that actually aired this year, because I watch a lot of old shows.)

(TW: suicide attempt)

The time I spent reading the novel and watching the television drama series of Love In The Big City by Park Sang-Young was some of the very best time I invested in art this year.

(credit: @/khunkinn)

I wanted to try to keep up with the amazing LITBC Book Club (click the tag below to see all the club's meta!) earlier this year, but I couldn't on my mom schedule. So here's a wrap-up homage to my overall thoughts about this amazing book and its equally amazing drama adaptation, and hopefully I won't repeat anyone's points from earlier meta.

Earlier this fall season, as the drama was just released, I noted my overall thoughts on Park Sang-Young's 2021 novel. What's so great about the moment in time when a book and its drama adaptation meet the same levels of excellence in art, is that you get to see what each artistic medium can really offer by way of its specific ability to penetrate and dissect certain emotional states. With the drama adaptation, we got a more in-depth sense of the visual and behavioral whimsy of Go Young's T-aras friend group. We got a living, breathing sense of the simultaneous quiet and frantic pulse of the Seoul that Young occupied. We could almost taste and smell the sweat, the tequila, the apple martinis of the nightclubs that Young danced in at all hours.

I happened to love the novel, as I wrote in my previous piece linked above, because I love to cringe at really well-written, pathetic narrators. Like Proust's narrator, like Karl Ove Knausgard in his hefty autobiographical series, "My Struggle," you can read the internal musings of these narrators, and you squirm and cringe, being all like.... "really, bro? I know I have trouble getting it together -- emotionally, physically, sexually, everything -- but, dude, YOU are taking the CAKE."

The reason for the squirm is because excellently-written narrators like Proust's narrator, like Knausgard himself (okay, we can argue about "excellently written," but that's for another piece), are emotional pathologists, dissecting every minute whim of a feeling into words, cutting words that account for every last iota of mental anguish that these narrators feel at every given moment.

It's a brutal accountability test for us readers to weather. And, of course, as the very best art does -- it forces us, the readers, to face our own recognition of the kinds of emotions these narrators are detailing, and asks us to relate to them, vis à vis how we ourselves understand these emotions. Thus, a resulting squirm and cringe, as we reckon with our own emotional accountability in that very moment.

I had so many of these wonderful moments when I was reading the novel version of Love In The Big City. Go Young was so cringe. So pathetic.

(credit: @/my-rose-tinted-glasses)

And while the novel delved brutally into the reasons WHY Go Young was so pathetic and cringe, I enjoyed the drama's ability to sensually and holistically take me into that WHY place as well.

For me, Go Young's journey into the adulthood he ends up in begins with the intergenerational trauma and the avoidant attachment he must have with his mother. I say "must" because he's all she's got, and Go Young, to his misfortune, knows this, and must deal with it, and with her.

This is despite her utterly rejecting his identity, his sexuality, and forcing him at a young age to face conversion therapy in as abusive a situation as possible, literally being kidnapped into the therapy. We know from the novel that his therapists end up realizing that his sexuality is not his "issue," and that the "issue" is his actually deranged, Christian-devoted mother.

The drama doesn't get into that level of details. I will absolutely estimate that it COULDN'T get into that level of detail due to potential censorship, and the portrayed meaning of such a comparison as to show a devout Christian mother as a neglectful, bigoted mother.

But what the drama showed me, in real time, were the spontaneous movements and moments that punctuated Young's life, that were totally derived from the low self-esteem, the lack of internal love and respect he had for himself for most of the series. The emptiness, the lack of BELIEF that he had in himself, that stemmed from the refusal of his mother to accept him lovingly and holistically. I'd recommend LITBC to any potential parent as a guide on how to NOT parent your kid.

As someone trained in the social services, and as a steadfast lover of intergenerational trauma in shows -- and how dramas demonstrate the long-term impact of intergeneration trauma unto their characters -- Love In The Big City is utterly SUPERLATIVE in this category.

And this kind of neglect that young queer people so very often face in their families NEEDS to be depicted in art, so that we can see the risks of what these young people could, and will, grow up to be, without nurturing love in their life.

So. Man. Go Young goes fucking ham on fucking hipster doofus Yeong Su in a restaurant. Yeong Su, who himself deals with a kind of internalized homophobia that results in him producing bigoted "research" on homosexuality. And Go Young, unconsciously hoping that he could find love with a most unlovable man, subsequently attempts suicide.

Go Young breaks up with Gyu Ho minutes before Gyu Ho is to depart to China. I saw that moment as Go Young "releasing" Gyu Ho from the burden that Go Young assumes himself to be -- emotional baggage, Kylie, and all.

Go Young cavorts with Habibi, a man escaping just about everything by way of luxury hotels and unfulfilling work. After his real relationship with Gyu Ho, Go Young follows Habibi on Habibi's orders, having little to no agency in the coupling until the absolute end, as he leaves Habibi with a note. Habibi, who himself is also a subject of clear internalized homophobia, another example of the absolute wrath that social bigotry can lay waste on a queer individual.

Love In The Big City balanced these brutal moments of internalized trauma, bigotry, and homophobia with LIFE as it could be lived: life spent working, writing, drinking, partying, sucking dick and moving mattresses, catching up with old friends, supporting engagements, comforting friends after break-ups, BEING PRESENT for yourself and your family and your friends.

There was a shift of growth and responsibility in Go Young's life when his cancer-addled mother sank her head down on his lap in the sunlight of a park at the end of the second chapter of the drama. But what was so OUTSTANDING about the drama version of Love In The Big City, is that the drama didn't assume that that shift would be a great dramatic moment. Go Young certainly got into a relationship with Gyu Ho afterwards.... but he damn fucked it up at the end.

AND IT WAS OKAY. Even though we viewers were fucking heartbroken, IT WAS OKAY....

... because I believe Love In The Big City was communicating to us that it's perfectly okay to stumble in one's continued growth, in the movement forward of one's life. Go Young gets a new apartment, new light in his windows and his life, and celebrates the move (and the end of Eun Su's engagement) on his rooftop with his besties.

The novel ends a bit more brutally than the drama. In the drama, we do very much get to see Go Young doing a moving-forward thing. I was screaming and pacing at @lurkingshan when I finished the novel, and I felt slightly more uplifted when I watched the drama.

I love that I felt those two ways about my experience with each medium. Again, it shows what I GOT from the experience of reading and watching this story separately. And the drama very much played up the T-aras group more for kicks and lights (especially in the hospital), but I still got such a brutal sense of Go Young's internal mishegoss, that maybe I needed those gworls, too, the way Go Young always did.

The other best queer show that I watched this year did not actually air this year. That one is 2022's The Miracle of Teddy Bear from Thailand, which I will review soon for my Thai QL Old GMMTV Challenge project. The Miracle of Teddy Bear was rooted in anger and accountability against parents, adults, and society, for the wreckage that bigotry and abuse can render, internally and externally, on the bodies and minds of young queer people. It was an utterly exacting exercise in a brutal breakdown of queer pain.

Love In The Big City, in comparison, was a visual meditation on the mundanity of an individual's life -- depicting all the cringe and the pain associated with it -- vis à vis broken and incomplete love from family and lovers. But Love In The Big City also had LIFE, LIFE LIVED, woven through it all. Go Young kept clubbing with his friends, because he needed it, because he needed his friends, because his FRIENDS needed the club, and because his friends needed HIM.

While I felt a broken heart for his relationship with Gyu Ho at the end of the drama, what I had for Go Young was hope -- a hope that, while I knew the man, in fiction, would still experience hurt while moving forward, would still very much move forward nonetheless, on his own accord.

(credit: @/khunkinn)

(tagging @neuroticbookworm for awareness <3)

[art-n-tings]

they've done something to me

[dramastream]

NAM YOON SU | 👖. via Instagram, Sep. 2023

[koreanwishes]

[lemelous]

buy me a coffee

[dreamingkdrama]

Lee Hyun

Appreciation post

Drama: The king's affection

Status: Second male lead

Portrayed by: Nam Yoon-Soo

One of the most lovely characters of all time. He has a heart of gold, he is loyal, brave, has high moral standards and he is a great friend always protecting the one he loves. He is one of the pure characters that you have no choice but to root for him and you are constantly affraid that something bad happends to him. Also, I have to mention the dimples, he has the sweetest smile.

[chicademartinica]

I think Nam Yoon Soo was so unbothered and relaxed because deep down he knew he really acted circles around 90% of hallyu’s male stars months after giving a goddam kidney to his apa.

[iwantoceans]

Love in the big city (2024)

[tipsyjaehyun]

LOVE IN THE BIG CITY OFFICIAL TEASER!!! <x>

premieres on October 21.

[tianmicons]