#this should've been directed/written by a woman and then maybe just maybe they would've both dumped nick and kissed in the end

[foxes-that-run]

The 1

The 1 is talking to an ex and updating them on her life, we got to see it reenacted at the 2021 Grammys when Folklore won AOTY:

The 1 was written between March and July 2020. It had not been long since Harry and Taylor saw each other, we know of at least at Ed Sheeran's Wedding in September. Lover and Fine Line (on Taylors 30th Birthday) came out since then, 2019 had been a big year.

In the long pond sessions Taylor and Aaron talked about how it reflects the whole album. Which is interesting when Taylor also sang in Gold Rush that her mind turns Harry's life “into folklore”.

I see The 1, Cardigan and Exile as one conversation (I'll get to Betty). From pleasantries, expressing support and then rehashing their end.

Lyrics

[Verse 1] I'm doing good, I'm on some new shit Been saying "yes" instead of "no" I thought I saw you at the bus stop, I didn't though I hit the ground running each night I hit the Sunday matinée You know the greatest films of all time were never made

In the long pond sessions Taylor said the opening line has a double meaning, that the sound of folklore was a new direction and that she was being open to new experiences personally.

Taylor has a similar line to the bus stop, in Cardigan, which is almost a continuation of The 1, “I knew I'd curse you for the longest time / Chasin' shadows in the grocery line” both capture that feeling of subconsciously looking for someone

Taylor says she’s busy, hits the ground running and fits as much as she can in. Ironic lines in a pandemic. The matinee line sounds like she made time to see Dunkirk, but maybe that's just me.

“The greatest films of all time were never made.” I love this line, she’s reflecting that their relationship was cut short. She also refers to it as a film later in the conversation in Exile. The wildest dreams music video also refers to them as Taylor and Burton

[Pre-Chorus] I guess you never know, never know And if you wanted me, you really should've showed And if you never bleed, you're never gonna grow And it's alright now

In the pre-chorus Taylor reflects on the different views of their relationship in 1989 compared to HS1. They have both said they don’t communicate in person what they can in song.

'If you never bleed your never gonna grow' there is a similar line in Woman on HS1: "he’s right where I should, where I should be but you’re making me bleed”. The reference here is that Harry should have shared his feelings sooner, or then but didn't.

However, in Cruel Summer however, Taylor said "And if I bleed, you'll be the last to know, oh" so it seems mutual to hide their feelings.

In Olivia, Harry said “This isn't the stain of a red wine, I'm bleeding love”

It's alright is a reference to Fine Line's "We'll be a fine line / We'll be alright"

[Chorus] But we were something, don't you think so? Roaring twenties, tossing pennies in the pool And if my wishes came true It would've been you In my defense, I have none For never leaving well enough alone But it would've been fun If you would've been the one (Ooh)

I love “roaring 20’s” like, it refers to both her age and “it was so Gatsby that year” from TIWWCHNT, referring the party 1989 era before the gates shut in Reputation. 20 is a Haylor theme also

Also tossing pennies and wishes reminds you of I wish you would.

ME! Also includes “I can never leave well enough alone”

Taylor has described their relationship as 'like the mall before the internet' in Coney Island, an incredibly fun place.

[Verse 2] I have this dream you're doing cool shit Having adventures on your own You meet some woman on the internet and take her home We never painted by the numbers, baby But we were making it count You know the greatest loves of all time are over now

I love the second verse, she is hoping that her muse is living a happy new life. To me 'adventures on your own' conjures up Harry's post One Direction career. Which it may have been with his second album freshly released.

'We never painted by the numbers' is similar to 'you painted my nights a colour I have searched for since' in Question..?

[Pre-Chorus] I guess you never know, never know And it's another day waking up alone [Bridge] I, I, I persist and resist the temptation to ask you If one thing had been different Would everything be different today?

Taylor has a few songs that explore Haylor What Ifs:

Cardigan "I knew you would haunt all of my what-if's"

INTHAF Imagines what if they had met as children, and

Suburban Legends imagines a fantasy of them surprising the whole school in a 1950's gym, as a metaphor for being a power couple at a high profile event.

Slut! “Aquamarine, moonlit swimmin' pool / What if all I need is you?”

We were something, don't you think so? Rosé flowing with your chosen family And it would've been sweet If it could've been me In my defense, I have none For digging up the grave another time But it would've been fun If you would've been the one (Ooh)

More Haylor rosé since Maroon: "Your roommate's cheap-ass screw-top rosé, that's how".

Digging up the grave also reminds us of the opening of Look at what you made me do, where Taylor emerges as a Zombie wearing a dress similar to the one she wore in Out of the Woods.

[buddha-in-disguise]

I'm not going to review the season finale in quite the same way as I've usually written something afterwards. I'm ultra tired due to distinct lack of sleep. So it is more truncated than I'd intended. Also unedited so advance apologies if something makes no sense or is misspelled etc.

The episode was facing the challenge of not only being edited after COVID-19 shut down production, but what was intended to be the penultimate episode became the finale. So I'm trying to take that into consideration.

First part in Kara's loft. It was choppy. Don't get me wrong, I had nothing against the humour, or the scenes in general. Although they missed the glaring opportunity to place a "flew here on a bus," moment! It felt pretty disappointing they didn't recognise what has become an iconic line within the SG fandom, and made it even more iconic.

Before the bus though, back at the loft, considering that Lena had literally only just arrived at Kara's, with all that entails, it felt completely out of place for that context. Did it have been overwhelming heavy at that point? Absolutely not. But it was too close to slapstick at times for me and internally I was cringing. I admit, I'm not sure where they could've put it in, but perhaps if they'd just lowered it a fraction, made it a little more subtle a couple of times, it would've helped for me.

Some of the dialogue (especially early on) was also all over the place for me. It did get better as the episode wore on, but I wonder how much was the need to redo parts of the episode because of COVID-19? Unless they think to put an episode as intended in a future season DVD (perhaps S6 DVD), or someone gives us full details via an interview we will probably never know.

Which brought me to one piece of dialogue that I wish they'd not put in at all!

In 5.18, as I've spoken about a lot on Twitter especially, the way Lex screams into Lena's face, and Lena's flinch, and how that had been me 20 odd years ago. They then had the line as Lena talks to Kara; "Go ahead. Scream at me if you have to, I know I deserve it."

I know for many, they'd just see it as a line to use, but .... for many of us who have suffered abuse, who recognised (& in some instances were triggered) by last weeks episode, to not have acknowledged why that line was so problematic is worrying. It heavily suggests they're not going to address Lena's trauma and abuse because they really don't understand it (& again, if anyone believes she didn't suffer trauma and abuse, but accept others in SG do, go away with your bias from my page), but considering they haven't addressed much of Kara's trauma, particularly watching Argo destroyed again, being stuck for months during Crisis like they were, etc - then I guess it isn't a surprise.

But it is uncomfortable as hell to watch a line like that glossed over.

Overall though, I did enjoy the episode. Once that 1st half was over, especially (baring a few moments, including watching Alex do her badass Mission Impossible meet Cirque du Soleil moment because that was awesome) it felt much more like SG of previous seasons. So that was great.

Watching Lena as she watched Alex and Kara hug behind her was so emotional. Watching siblings love unconditionally. Something she thought she had with Lex, only to realise he hadn't changed at all. Lena didn't need to say anything, as once again Katie's acting brought all the emotion Lena was feeling to the fore.

Having Lena and Alex mirror they choice of words in regards Kara was pretty iconic. Then having Alex whisper, "Jinx." really made it work.

Seeing Dreamer in her element, including some great lines again. "I can't believe you left to fight Earth, Wind & Fire without us." "Guess they didn't take the bait? Maybe you should've been meaner?" As they begin the fight with J'onn, M'gann Alex and Dreamer - Alex to Dreamer: "You ready?" Dreamer. "Nope." Alex. "Me neither." Dreamer at her best imo.

Kelly going all, damn my girlfriend is hot & I want sex right now despite the circumstances was pretty cute and funny.

The Kara and Lena monologues being in unison. Now that was pretty amazing and one of the best parts of the whole episode imo.. But again, you feel as if they're matching Lena and Kara together with those scenes as a couple.

Lena not only protecting Kara, but stopped Andrea from going down a dark path as Acrata. Was also great.

Last frame of Lillian. Does it turn out she is the head of Leviathan? Because again they laid out more than once the leader was a woman. It has been noted several times now in different episodes. I was hoping Lena's biological mother, considering she knew of the legend of Acrata, but it is now looking more likely this reincarnation of Lillian is who it is, unless it is a character we've not been introduced to, but I highly doubt that.

The 2nd half of the episode was what we missed so much this season. In fact aspects throughout the episode were missing for too much this season.

This includes the women being the focal point of it. Brainy though absolutely rightly taking a strong subplot to what else was going on. J'onn ably supported by M'gann. M'gann who managed to advise Nia on embracing her dreams and not trying to avoid part of them. Dansen actually working together and both being badass in their own way (after all, this is something I've advocated for much of the season, & while fantastic to see, it never should've taken this long. Now where have we heard that before?)

But we still have glaring unanswered questions that I can't imagine would've been answered in 5.20.

Every indication since 5.17 is Kelly knows Kara is Supergirl. Yet we don't know for certain, because they've failed to show us how or when. I've said before, considering every other person who knows Kara is Supergirl, we had them tripping over themselves to explain to the audience how it happened. I'm pretty annoyed that we as the audience don't get given the same courtesy with Kelly. This is why so many of us feel short changed on some characters this season. The really aggravating thing is would only take a few lines to clear it up!

Now onto Alex. This ties in with J'onn. Where are they getting the money to survive? Did J'onn manage to accumulate enough over all the years he was on Earth to finance everything & pay Alex a wage? No clue.

Also, are Kelly & Alex living together? Or do they have keys to each others apartments? Yes, Kelly was at Alex's in 5.17 so the answer is pretty much yes, but nothing has been said! We knew more about Brainy & Nia's living arrangements from 5a than we do Kelly & Alex.

Kara's trauma. Lena's abuse & trauma. See above.

Lastly, the one most I know want (except a few vocally against), leaning towards Supercorp becoming canon. Again for another season, we end up with the, 'Maybe they'll do it next season.' being said. Particularly as in 5a they really went all out on Supercorp parallels to Clois and at times Dansen, plus even a little on Brainia. But unless something pretty fundamental changes behind the scenes, they're going to recognise what their biggest draw is, keep baiting but never fully go into it. And that is what I fear the most. When you've got media, even non-Supergirl fans saying it, but the show refusing to acknowledge it - that could be their legacy, and it will not look good or have a lot of fans look back kindly on them for it.

The 4 seasons it took for Lena to find out Kara was Supergirl was, in the end, terribly executed. This waxing and waning as well of; is Lena good or bad? Will she follow in the Luthor footsteps?

She is flawed. She's made some pretty awful mistakes. But now they're said she is good. She isn't evil or a villain. So now that line they've drawn needs to stay there! No more ambiguity on her character being a villain.

But you know what's not good? Feeling you can't trust the show to draw a line under that aspect of the character. That doesn't mean you have to have any one of them not be flawed, or to even cross some lines (they've all done it at some point, some moreso than others, but not one character is innocent).

When the show is now generating that level of mistrust on how they could handle future events, that is a problem.

Season 5 overall (particularly 5b) was absolutely horrendously bad. It had some moments of sheer brilliance (either individual scenes, or some episodes), but the rest was just flat out awful. Irrelevant. Messy. No cohesion. 5b became too much of the Lex Luthor show. Certain character additions were vastly unpopular and definitely caused down turns in viewer numbers (& again, from far more than a section of fandom). As did keeping Lena away from everyone for so long.

To sum up. Season 5 was a disaster.

Season 6 needs to have considerably different direction to even try & pull back some viewers (if they can at all). Distrust is rife.

The worst is no-one in the cast deserved this, especially as they're so talented. Some of the performances, even with how poor much of the season was, have been magnificent. But as the saying goes, you can't make a silk purse out of a sows ear.

I've never been so relieved a season is finally over. We'll watch our favourite episodes for sure, of which there aren't many, but a full rewatch of the season we normally do will not be happening. Some episodes were better off consigned to the trash.

[odanurr87]

My thoughts on... Scripting Your Destiny

Release date: March 16, 2021

Episodes: 10

Available on: Viki

Summary: Every human is born with a book that records each moment of their life and that we call destiny. Shin Ho Yoon is one of the many deities in charge of writing those books, known among the gods for his meticulous approach to his work. For his latest project, the destiny of the mortal Jeong Ba Reum, he intends to write a masterpiece, a perfect destiny, pairing him with his first love, Go Che Gyeong, a scriptwriter for successful, if over-the-top, makjangs like Marriage Pact and Sky Cash. However, when Che Gyeong doesn't fall for the fateful encounter that he wrote, he decides to take matters into his own hands and bluntly approaches her to find out how to get her to fall in love. As the two begin to develop feelings for each other, the perfect destiny envisioned for Ba Reum threatens to disappear and a new destiny between a god and a mortal begins to emerge. But can a god of destiny write his own fate?

Rewatch meter: Medium

WARNING: Spoilers beyond this point.

Characters

From left to right: Park Sang Nam as Shin Myeong; Ki Do Hoon as Shin Ho Yoon; Jeon So Nee as Go Che Gyeong; Kim Woo Seok as Jeong Ba Reum; and Gal So Won as Samshin.

Overall, I liked the leads and most of the supporting characters. As far as the leads are concerned, I think Ki Do Hoon was able to deliver a good performance of what a god of destiny might, or perhaps should, be like: standoffish, emotionless, uninterested in the mortal realm beyond the scope of his duties. As such, Shin Ho Yoon feels the more godly of the different deities in the show, what is curious considering he's probably one of the youngest gods of destiny, what is explained through his cycle of rebirth. I wish the writer and the actor had made full use of this cycle by having the character of Shin Ho Yoon grow more emotionless as a result, what would explain why he's different from other gods. Perhaps this was intended, but if so, the results are mixed. You can see he was more impulsive in the beginning of his cycle as a god of destiny than he was, say, at the beginning of the show. However, the last incarnation we're shown of Ho Yoon, in Episode 10, appears to be more upbeat than any of his previous ones, a fact that could've been used to feed into the notion that something has changed (more on that later) and that's why he's having fun at the expense of the "newbies."

Jeon So Nee as Go Che Gyeong was very good throughout, standing out from her male counterpart, perhaps due to the nature of her character that allowed her to show more range. I never found her to be over-the-top, and she was able to pull off the comedic and emotional scenes very well. She also passed off as a high-schooler better than Ki Do Hoon, despite the fact that she's five years his senior, but I guess that's the power of female hairstyles! My only complaint about her character is that I wish she had been a little more creative writing her own fate. I mean, she is a talented scriptwriter that even a god stole from.

Park Sang Nam's Shin Myeong had good chemistry with Ki Do Hoon's Shin Ho Yoon, echoing the Goblin-Reaper duo from Goblin, what should come as no surprise as writer Kim Eun Sook is a producer for this show. They even paid homage to that iconic walking scene in the first episode. Unlike Ho Yoon, Myeong comes across as less devoted to his duties and more lazy. He himself admits to a disapproving Samshin that he copy-pastes destinies, but also makes an interesting point about only writing main events so that humans can fill in the gaps themselves. I'll let you decide whether this is really his intention or just an attempt to placate Samshin's anger. Consequently, his transition from a somewhat lazy god to a more serious one towards the end of the show was unexpected, but I guess it stands to reason given his worries about Ho Yoon, plus one shouldn't forget he's actually the older god. I do believe the show wasted an incredible opportunity to have Shin Myeong be the linchpin of our story.

Ho Yoon shields precious Samshin from Myeong's words on how to passionately express love.

As for the characters of Jeong Ba Reum and Samshin, I can say the former was functional to the plot and gets immediately sidelined once that function is completed, while the latter definitely stole every scene she was in (and she's 14!). I would've loved to have seen more of her, even though I feel her arc was a little disconnected from the overall storyline and could've been tied better if the last episode had gone in a different direction.

Execution

What if that something are meteorites?

The show has a lot of fun making fun of kdrama tropes, either through Che Gyeong's job as a scriptwriter or through the gods of destiny themselves, who take turns between being writers and viewers when coming up with the destinies of mortals. When Ho Yoon is having trouble understanding "the depth within humans which is beyond divine comprehension" (aka love), Myeong steps in to give him some advice on how "For love to happen you need to isolate them," stranding the pair in an island somewhere and having them stay in an inn with only one room available. Other gems from Shin Myeong include, "They got rained on, they're cold, their clothes are soaked. If they start a fire, we're 90% there." and "A woman always falls for a man who takes care of her when she's sick. Under one condition. He has to be good-looking." If you ask me, I think Myeong has been watching too many kdramas. Unfortunately for him, so has Che Gyeong, who makes her living writing them.

Are they gods or kdrama fans?

As you can see, there's a lot of comedy to be found in the gods' numerous, and failed, attempts to get Ba Reum and Che Gyeong together. However, as I mentioned before, the character of Ba Reum is mostly functional. We learn little to nothing of who he is, how his life has been, what his dreams are, what is a bit off considering he's supposed to be Ho Yoon's "masterpiece." With Ho Yoon and Che Gyeong slowly starting to get closer, as the former tries his best to understand the nebulous concept of love, Ba Reum falls into the background, what isn't really much of a shame as he doesn't contribute a whole lot in the second half of the show, to the point he could've been taken out completely with slight rewrites here and there.

The writing is similarly flimsy when it comes to the rules of the universe. For instance, early on it is stated that whatever gets written on a fate book cannot be erased, and yet when a character accidentally spills coffee on his fate book the ink on the page vanishes as if it were Voldemort's diary (there is also another instance of writing mysteriously vanishing that isn't explained). In another case, it is stated that anyone who knew a certain character got their memories of that character erased, yet one (very secondary) character still seems to be able to recall everything. These sort of plot contrivances are odd in that they are unnecessary and could've been worked around with relative ease.

It means we have a problem, that's what it means.

Another, more important, mystery that doesn't get explained is how Ho Yoon is able to "resurrect" multiple times. One of the rules of the universe states that any god who interferes with mortals, beyond the scope of their duties, and develops feelings for them, gets the Thanos treatment. However, it is eventually revealed that Shin Ho Yoon got the boot several times for this and yet was able to return every single time, with his memories erased. No explanation is provided for this and, instead, the show suggests, in the last scene of the last episode, that this is the case for all gods, as we see a couple of them return from extinction.

Personally, I feel there was a lot of potential left untapped here and this relates directly to my comment on how Shin Myeong should've been the linchpin of the entire story. If you'll recall the web drama One More Time, the reason why the male lead was stuck in a time loop was because of a contradiction that arose in the terms of the contract made between the female lead and the Grim Reaper. In a similar vein, I think the show could've suggested that Myeong first met Ho Yoon as a human kid and maybe wrote for him a fate that implied him falling in love or something similar. However, the human Ho Yoon died before that fate could occur and so became the god of destiny Shin Ho Yoon, destined to continuously "resurrect" until he could embrace his fate. A loophole such as this one could've neatly explained Ho Yoon's rebirth cycle.

The ending itself was a little underwhelming and it's easy to understand why, as it it suggested that Ho Yoon and Che Gyeong are stuck in an endless loop of the former falling in love with the latter and vanishing, with Che Gyeong being the only one able to remember all of their interactions. As fates go, it's rather depressing so it doesn't really jibe well when the show's upbeat main theme starts playing at the end. When I did my episode recaps for the show I suggested that, with some rewrites, we could've made Episode 9 the series finale and the show would've been better for it. How?

Imagine at some point in the show both characters remember everything, perhaps at that wind/lamb farm where Che Gyeong desperately calls out for Ho Yoon who, instead of running to her, walks away out of fear of vanishing for good this time. I would've planted seeds throughout the show suggesting Ho Yoon is developing emotions yet isn't vanishing from some inexplicable reason, and there are already some seeds of this in place. Perhaps he has a talk with Myeong about how strange that is and decides to see how far he can take it. The show would end as Episode 9 did, with Ho Yoon returning to Che Gyeong and asking for a caramel macchiato, the most expensive item. They both smile at the reference to their past encounter and we cut to credits with the main theme playing in the background. Ho Yoon's actions could serve to inspire other gods of destiny to try and write their own fates, like how Samshin (even though she's not a god of destiny) follows in his footsteps and decides to attend school.

Music

If you've read any of my reviews, you know that, usually, all of my recommended shows are accompanied by a soundtrack that not only has good music in it but that is used at the right time. This show has some very good tracks that stand out from their more atmospheric counterparts, such as Lee So Jung's "Skyline" (the show's main theme), Jeong Sewoon's "Time Machine," and Yongmin Ryu's "Chaotic." As far as instrumentals tracks are concerned, the obvious standout bar none is "The Deity of Fate." Other instrumental tracks aren't bad but they just can't hold a candle to this magical piece by Yongmin Ryu that has traces of Hotel del Luna's excellent soundtrack.

A couple of examples that prove how these tracks are expertly used include the end of Episode 7, that shows us how Ho Yoon and Che Gyeong first met through a flashback, with "The Deity of Fate" followed by "Skyline," and another scene in Episode 9, where Ho Yoon recalls his past and we see a quick transition between different days at Che Gyeong's coffee shop as she serves him a caramel macchiato, with "Time Machine" playing in the background. However, in the same way Ho Yoon conjures up a magenta pink moon to distract Che Gyeong, I do believe the show sometimes relies on such scenes to divert your attention from some of its plot holes or inconsistencies, hoping their beauty and poetic nature will thwart any deeper analysis that it might not withstand. It's up to you to decide whether you can let it slide or not.

Conclusions

In short, Scripting your Destiny is a fun show that doesn't take itself too seriously and that successfully creates a universe and characters I'd love to see more of, while trying to convey a timeless love story that has elements of One More Time, Goblin, and Angel's Last Mission: Love. I don't believe it succeeds in this respect, certainly nowhere close to the OTPs in any of those shows, in no small part because Shin Ho Yoon never makes that transition from deity to boyfriend that is present in shows like Goblin and Angel's Last Mission: Love. The romance between Shin Ho Yoon and Go Che Gyeong is one that looks good on paper and should've translated better to the screen. Having said that, their interactions are quite fun to watch and one could certainly envision a future where the two become a couple, provided Ho Yoon somehow manages to stop getting lobotomized. It's a shame but the series finale makes it lose several points as it doesn't make the most of the show's premise or message.

Would I recommend it? If you've watched and enjoyed the other shows I mentioned, yes, absolutely. Despite its flaws, which can be considered relatively minor to an extent (this is a web drama after all), Scripting your Destiny is still a much better investment than many kdramas and at a fraction of their time, and the comedy value of seeing how it makes fun of kdrama tropes again and again cannot be discounted. You're bound to have a good laugh for sure. Additionally, it features some gorgeous and creative (look at that last picture!) VFX-enhanced sets that rival fantasy dramas like Tale of the Nine-Tailed, which definitely had a larger budget and tried to recapture some of that Goblin magic but couldn't. And if you haven't watched the shows I mentioned watch this one anyway so we can have more good web or mini dramas (Handmade Love is an excellent one that runs the length of a movie) that give kdramas a run for their money. Until the next one!