#yes this is an extremely mundane thing to find annoying in the scheme of annoying swiftie things

[jakeperalta]

explaining to swifties that taylor didn't use the evermore photoshoot for fearless tv and red tv, she just did multiple shoots in a big session because it was literally lockdown

[drivingsideways]

Misaeng review

Ok, it's been almost a week, so I feel like I can get my thoughts (somewhat) in order. As usual, I'm late to the party, given that Misaeng aired 6 years ago, and is already considered a kdrama classic. Still: thoughts!

(under the cut)

I came to this drama with quite a lot of expectations, both because I'd seen it on a lot of rec lists, and also because I'd watched director Kim Won-seok's Signal and My Mister, which are justifiably as beloved as Misaeng. I'm happy to report that Misaeng mostly lived up to those expectations!

The writing & direction work together to make Misaeng a very immersive experience, which is good, considering the entire run time is over 20 hrs. The level of seemingly mundane detail of the operational aspects of running a trading firm that they delve into (and other dramas might have avoided for sake of pacing) seemed odd to me at first, but eventually result in a world building that's incredibly well fleshed out. The (formerly unlikely!) high stakes of a misplaced piece of paper or octopuses in a shipment of squid end up being parts of an emotionally wrenching narrative whole fairly seamlessly. Still, at 20+ hours, Misaeng also does get into the kind of pacing issues that most of the slice of life kdramas I've watched so far have. And it didn't need to! I think it had a wonderful ensemble of characters, and if they'd maybe given a little more time and space to characters other than Jang Geu-Rae (Im Si wan) and Oh Sang-sik (Lee Sung-min), the mid portions may not have felt quite so, well, stuck.

But more than the strong writing and direction, it was really the actors who delivered. They made what could have easily been a dull-ish office drama into a heart warming story about human connection and the joys and troubles of leading an "incomplete life". I'd never watched Lee Sung-min in anything before, and about half way through the series I was like, HOW IS HE MAKING A SHORT TEMPERED, ALCHOHOLIC MIDDLE MANAGER SO SEXY? Like, serious props, dude. Lee Sung-min is by turns annoying and brash and too shout-y and stubborn and funny and so incredibly vulnerable as a man trying his best to live by his principles in a world that thinks they are an impediment to "success", that you forget that he's playing a fictional character-- he's someone you know, he's someone you've seen in the mirror.

His performance as Oh Sang-sik is very ably matched by Im Si Wan's Jang Geu-Rae. This series would not have worked if these two actors didn't have the chemistry they do, and play off each other in every scene. I had watched Im Si Wan recently- in JTBC's "Run On", in which I liked his performance quite a lot, but I absolutely loved him as the naive and endearing Jang Geu-rae. Misaeng, is in part, a bildungsroman narrative centered around Jang Geu Rae. Im Si wan brought a kind of vulnerability to the role that might have felt cloying and emotionally manipulative in the hands of other actors, but Im Si-wan manages to do it with a light touch. I feel he's one of those actors that uses his whole body in a scene, not just relying on facial or verbal expression, and it's a joy to watch.

Each of the other actors in the ensemble also bring that dedication and talent to their roles, even if it's in a single scene. There are lots of one-off characters that we meet during the course of the series, and every single one of them leaves an impact.

But! I'm going to pick a fave from the supporting cast and that's Byun Yo-han, whom I'd last watched as the broody, troubled (and very sexy) swordsman Lee Bang-ji in Six Flying Dragons. I can't imagine a character more in opposition to that one than Han Seok-yul in Misaeng, but Byun Yo-han just knocks it out of the park as the scheming, cheerful and mostly inappropriate clown with a heart of gold; Han Seok-yul is the definition of Chaotic Good, and you're equal parts horrified by his antics- which include sexual harassment dont @ me -- and yet charmed by him. I wish they'd given him a few more scenes and a larger plotline to work with, but I also suspect that he might have just walked away with the entire series if they did that. (Am I plotting that series in my head as I write this? MAYBE.)

Alright, this is getting a bit too long, so I'm going to get to the bits that disappointed me. That's really one major thing: the gender politics. I don't know how different the show is from the web toon it's based on, so I can't tell whether they made significant changes to the basic plot and characters. As in- I have no idea if the webtoon was as male dominated in every way as the show is, so I'm not sure how much of the show's treatment of women as a class, and its female characters in particular, I should lay at the door of the original writer vs the screenwriter and director. I'm also lacking the Korean context in which this was written and made and aired, so you may take my criticism with a pinch of salt, if you please!

That the show features mainly male characters is perhaps unsurprising and realistic, since we know that the kind of corporate life it depicts is very male dominated, top to bottom. The show also portrays the very real and horrific overt and subtle misogyny that women face in the workplace and out of it; mainly in the character of Ahn Young-yi, played with steely determination and quiet suffering by the lovely Kang so-ra. There are only 3 other female characters that have any sort of real speaking role- Sun Ji Young (played by Shin Eun jung), a senior manager at the company, Jang Geu-rae's unnamed(!) mother (played by the amazing Sung Byoung-Sook) and Oh Sang-sik's unnamed (!) wife (played by Oh Yoon-Hong, who's a delight in every tiny scene she has). There are other women who appear but in very minor roles, and often in "comedy" moments that often rely on sexist tropes to start with.

Anyway, right there you can see one of the problems- 4 women characters that have any kind of real screen time, and only 2 of them are named. Aigoo! Screenwriter Jung Yoon-jung is a woman, and like, I don't like putting the burden on any one woman to y'know fix structural misogyny, but I can't also help feeling disappointed that she overlooked even this "small" thing among the larger things.

But that apart, the main issue for me was that while the show doesn't shy away from depicting egregious sexism in the form of sexual harrassment, verbal and physical and certainly emotional abuse, in a manner that's clear that we are meant to be horrified by it--it falls short of depicting how women deal and work with it. It just doesn't give enough space to women or their worldview.

It's very comfortable depicting victimhood, but doesn't put work into depicting the ways in which women survive by finding solidarity with other women. We have a scene or two where Ahn Young-yi who is this show's poster child for female victimhood interacts with the older women who offer sympathy and understanding, but no real strategy or support. And yes, we see men also being targeted by their seniors for the grossest verbal and physical abuse; and it's men who help Ahn Young-yi strategise on how to deal with her situation. Real life experience tells me that it's the women who do this work for other women. I have certainly been on both sides of this equation, for one, and so has every woman that I know in corporate life. And yes, one of the show's core philosophies is that those who endure, survive--but it is none the less extremely painful to watch Ahn Young yi "endure" the kind of abuse she does as a coping strategy and a survival strategy.

At the end of it, when she slowly manages to gain the support of her sexist team, it's shown as a victory-- though naturally imperfect, because this show takes its Realism very seriously (right until the end where it makes a tonal shift into quirky that I was a little ?? about)-- and y'know, sure, it is a victory. And I absolutely understand the choices she makes and why she does it-- I guess I just got annoyed by the fact that other antagonistic figures in the narrative get a more straightforward comeuppance for their egregious behavior, but Ahn Young-yi doesn't even get a goddamned apology from her abusers. Instead, we have a half humourous, half serious moment where she comments on how she's working at turning herself into "someone cute"- because she understands now that sometimes the right strategy is to "go with the flow". Be the water that slowly wears away at the rock. It's an interesting moment- the men she tells this to are taken aback by her bluntness, but also a little clueless about what she means. It's the kind of nuance that I would and do enjoy. Unfortunately, it also closely follows one of the show's most annoying scenes at the tail end of the series- where it tries to play off workplace sexism and misogyny as comedy- boys being boys-Reader, when I tell you that I had to WORK to unclench my jaw--!

I'm not saying we should have a single and obvious narrative of female emancipation. I'm not against realism in fiction, but god, sometimes, please do remember that when we look for escapism, we are actually imagining a better world. The first step toward liberation is allowing yourself to imagine it.

And the show does allow other characters its moments of unfettered fantasy- Im Si Wan parkour-ing all over the rooftops of Amman- and having a semi mystical + Indiana Jones moment in the deserts of Jordan--so why, I ask, are the women not given that gift?

*looks into the camera *

Tl;dr: I enjoyed it, it made me cry every episode, and I cared about all the characters, and if you haven't watched it yet, treat yourselves.

PS. Yes, Han Seok-yul is a disaster bi, sorry, I don't make the rules. Yes, hotties Oh Min Seok and Kang Ha-neul are canonically naked in a hot tub six feet apart because they are bros. Yes, I will be writing the fix it in which they fuck like angry bunnies. Yes, I am going to put my shipper cooties all over this gen slice of life show, deal with it.

[savagcblooded]

credit (x)

&. BASICS

Full Name: Lucy Vivian O’neal Lynx

Nicknames: predator, Donna, beast

Age: 125 years old

Sexuality: bisexual

Date of Birth: November 18th 1895

Place of Birth: Miami. Florida, USA

Gender & Species: cis woman & (earth) sprite

Current Location: Terra, Concordia

&. MORE BASIC INFO

Languages: English, Spanish, Russian

Religion: atheist

Education: graduated from high school and has been taught on the streets ever since

Occupation: Assassin/Donna of the O’Neal crime family

Drinks, Smokes, & Drugs: yes to drinks and drugs, no to smoking.

&. PERSONALITY

Zodiac Sign: Scorpio -- Scorpio is the eighth sign of the zodiac, and the Eighth House is all about sex, death, and the cycle of regeneration. With their penchant for all things spooky and magical, female Scorpios are natural Queens of the Underworld, and thus usually not ones to shy away from the more intense or heavy characteristics of life. This sign gets a bad rap from most astrologers for being “too much,” overly dark, or even downright evil. This stems more from modern western culture’s inherent discomfort with discomfort with discussing the Pluto-ruled subjects of sex and death (typically not your general everyday dinner-table conversation). Reviled as a Scorpion woman can be, not many can deny her magnetic personality and the aura of mystery, magic, and sensuality that she wears around her like a cloak. This is not a woman who tolerates surface-level interactions easily. She prefers to give her attention to those willing to go deep with her. With a Scorpio’s electric gaze powerfully focused on you, it’s easy to feel like a bug pinned under glass, examined by a curious scientist determined to learn everything there is to know. Scorpios rule over the occult sciences, and the true meaning of the word “occult” is “hidden” – hence, the Scorpionic tendency toward secrecy and inscrutability. Only the most determined (and respectful) will be granted permission to explore the secret caverns within the heart of a Scorpio woman.

MBTI: ISTP -- ISTPs are equally difficult to understand in their need for personal space, which in turn has an impact on their relationships with others. They need to be able to "spread out"--both physically and psychologically--which generally implies encroaching to some degree on others, especially if they decide that something of someone else's is going to become their next project. (They are generally quite comfortable, however, with being treated the same way they treat others--at least in this respect.) But because they need such a lot of flexibility to be as spontaneous as they feel they must be, they tend to become as inflexible as the most rigid J when someone seems to be threatening their lifestyle (although they usually respond with a classic SP rage which is yet another vivid contrast to their "dormant," impassive, detached mode). These territorial considerations are usually critical in relationships with ISTPs; communication also tends to be a key issue, since they generally express themselves non-verbally. When they do actually verbalize, ISTPs are masters of the one-liner, often showing flashes of humor in the most tense situations; this can result in their being seen as thick-skinned or tasteless.

Likes: being outdoors, having her way, gore, breaking rules, power, the woods, Terra in general, inspiring fear into others, day-drinking, confidence��

Dislikes: mundane interactions (for the most part, she warms up to it from time to time), extreme heat, feeling helpless or unheard, crowded places

Bad Habits: her jaw is tensed most of the time and if she talks Lynx has a habit of showing off her sharp teeth to assert dominance. She also just.. stares a lot. 

Secret Talent: (not so secret) killing, negotiating, sensuality

Hobbies: hunting for sport, scheming, watching others from afar, getting to know the newbies and possibly teach them, talking about the old days

Fears: being dominated, being forced into the spotlight for too long, Terra throwing her out, losing her powers

Five Positive Traits: confident, challenging, playful, tough, dominant

Five Negative Traits: insensitive, predatory, cantankerous, obsessive, hedonistic

Other Mentionable Details: has fangs due to her nature and abilities (ref. picture) as well as sharp, claw like nails (ref. picture), almost always wears dark, unassuming colors

&. APPEARANCE

Tattoos: none

Piercings: earlobes

Reference Picture: ref picture

&. FAMILY INFORMATION

Parent Names: William O’Neal (former don, drug dealer) & Meredith O’Neal (socialite)

Parent Relationship: Lynx never really cared for her parents, especially not their authoritarian ways. She killed her own father, so there’s really nothing to be said here other than she didn’t care about them and wanted them gone.

Sibling Names: she has no siblings

Sibling Relationship: --

Other Relevant Relative: None at the moment, she’s a loner.

Children: --

Pets: --

&. BIOGRAPHY

( tw: death, murder, drugs, violence )

She grew up in the wildest of neighborhoods in the wildest time imaginable. Miami was one of the sunniest, loveliest cities in Florida if not the entire United States. Lynx, formerly known as Lucy O’Neal, confronted her surroundings with the reality that she wasn’t too eager to follow rules. As the daughter of a prestigious drug lord, Lynx grew up sheltered, yet surrounded by crime. A spoiled brat, as some liked to call her, always able to command those around her with ease. The constantly increasing demand for drugs had helped the O’Neals enter Miami’s elite. With drugs being widely accepted and legal at that time, Lynx’ father expanded his business to more shady dealings like fraud and bribery of politicians. The O’Neals had no real reputation. Like a shadow in an otherwise sunny city they remained near celebrities of all walks of life while simultaneously waiting for them to open all the doors for them. Lynx, however, didn’t care to be subtle. Within her school years Lynx had developed an aptitude for breaking the law and getting away with it, either through her father or intimidation. Intimidation and aggressiveness she’d learned amongst the ranks of her father, no doubt. Thus began her reign of power and chaos — the reign of a girl boxing her way through etiquette and rules.

Others described her as reckless, selfish, careless, wild — a lot of descriptive words for someone who never wanted to be categorized or labelled. Lynx desired to be her own master without restraints. She was nineteen when the United States prohibited domestic distribution of drugs, weakening her father in the process. She’d been running her own little empire in secret, consisting of assassinations and intimidation tactics. While her father knew about her business and certainly used her talents from time to time, Lynx distanced herself from her father as much as possible. In her early years Lynx began with using poisons, but quickly decided for a more direct and sadistic approach. People always commented on finding fun in work, so she did. Call it irreproachable customer service in which the boss did all the dirty work. Gladly. Lynx fully focused on work and, as the war for customers and booze increased after prohibition in the early 1920s, she got to target someone close to her heart. Her father had dominated the Miami crime scene for decades, forcing others into submission — and Lynx saw an opportunity to pull ahead, to play by her (non-existent) rules. The next morning Lynx called her father and customer to a meeting under the guise of killing one as mandated by the other. With two shots being fired into the round, Lynx left behind whatever shred of rules they had set in place. From that an even larger empire arose. Her targets became her prey after all rules had been abolished. She ruled over Miami all on her own, leaving claw and bite marks everywhere she went, recklessly ripping into every poor soul who dared to threaten or annoy her. 

Lynx oftentimes decided to stalk and expose her prey, no, let them expose themselves before she got rid of them. She pulled the strings, watched them squirm, satisfying her sadistic tendencies in the best way possible: up close, sometimes even while dragging her prey along to display them. While other women her age enjoyed being hunted and hit on, Lynx loved to hunt and hit people, having fun in the only way she’d ever known: with violence, dominance and cunning. After Miami had been hit by a hurricane in 1926, Lynx decided to expand clientele after she’d already made numerous headlines back home, warning of an assassin roaming the otherwise sunny streets of Miami. A killer they couldn’t identify, but given the strength displayed and the lack of attention for detail the press was quickly to pinpoint the assassin as being male, possibly large and in his 30s. While this would’ve been an undoubtedly good disguise, Lynx loathed the idea of giving them even more fodder for their yellow press. She boarded the Horizon to assassinate her last target before eventually expanding all the way up to Chicago or even New York City. That’d never happen — and cats weren’t really known to like water that much. 

Lynx awoke in a strange land, surrounded by a sense of belonging despite everything being so foreign. The sea took her prey, her former home and washed her ashore into a new world, everything she’d once hoped for. Concordia turned out to be a beacon for powerful beings, a birthplace for the wild and creators. Creators of various kinds — chaos or peace, death or life — Lynx joined Terra, accepted her new name upon being reborn, and practically planted herself into its social structure. For the first time Lynx tolerated some rules. She found shelter in one of the caves, though Lynx spent most of her time training with her new powers and causing random battles to test them out. Once the hunt and battles were finished Lynx returned to her cave; a feral predator loving solitude, rarely seen, but if so she was one of the most threatening presence safe for the monarchs and older sprites. The years, however, began to bore her after a while. Without fresh meat and the monarchs back and forth the days felt much longer and all her mice weren’t that interesting anymore, either. The truce opened Concordia, a change Lynx welcomed with open arms. Fresh, innocent meat, ready to be corrupted, turned and molded. Unlike her human years Lynx decided to recruit one or two people if given the chance, to raise, teach and protect a new generation of sprites -- in the only way she knew: with fangs, claws and ferocity.