
Second Shot at Love Season 1 Review – A wholesome K-drama with a mediocre ending
Season 1
Episode Guide
Episode 1 -| Review Score – 3/5
Episode 2 -| Review Score – 2.5/5
Episode 3 -| Review Score – 3/5
Episode 4 -| Review Score – 3/5
Episode 5 -| Review Score – 3/5
Episode 6 -| Review Score – 3/5
Episode 7 -| Review Score – 3/5
Episode 8 -| Review Score – 3/5
Episode 9 -| Review Score – 2.5/5
Episode 10 -| Review Score – 2.5/5
Episode 11 -| Review Score – 2.5/5
Episode 12 -| Review Score – 2.5/5
Mini slice-of-life K-dramas hit just the right spots and usually crop up right after a barrage of intense, ambitious and melodramatic shows. They are perfect for a quick binge session with light angst that is quickly resolved, lovable ensembles and hilarious antics. We can easily recall several such wholesome shows like Once Upon a Small Town, Summer Strike and Hometown Cha Cha Cha. And the latest to join this genre happens to be Second Shot at Love.
Second Shot at Love is an exciting K-drama from tvN which is known for fun rom-coms like Lovely Runner, What's Wrong with Secretary Kim and True Beauty. Said to be a wholesome rom-com, it has everything from small-town chaos and drunken mistakes to first love and healing.
The cast includes Choi Soo-young, Gong Myung, Jo Yoon-hee, Kang Hyung-suk, Kim Sung-ryung and Kim Sang-ho among others. It is created by writer Myung Soo-hyun who is known for comedies with a message like Monthly Magazine Home and Drinking Solo.
The K-drama follows Han Geum-ju, a genius mechanic and bubbly woman who loves drinking. But after her engagement falls apart, she loses her job and her apartment, her mother, Gwang-ok, tries to get her to stop drinking. As she is forced to move back to her home town, she struggles to come to terms with her alcoholism and the need to get sober. It doesn't help that her sister and father are alcoholics as well and seem to join her in her drunken antics.
On top of that, Geum-ju's former best friend and first love, Dr Seo Ui-joon, hates alcohol and constantly preaches the treatment of alcohol abuse. Despite having a successful practice in Seoul, he moves back to their home town and is more than happy to ignore Geum-ju, much to her annoyance.
Second Shot at Love Season 1 is the perfect mini-healing drama as it is full of minor conflicts which are quickly resolved. Along with it, all the characters grow, heal, find love and acceptance. The light and peppy music, paired with the bright and cheerful town of Bochun, sets up the atmosphere for Geum-ju and her friends to grow and get better.
The physical comedy is hilarious and actually needed to stop the show from getting too heavy, given the tackling of a difficult issue like alcoholism.
But don't worry, the show doesn't take it too lightly either. With alcohol abuse being a rampant issue in South Korea, it seems that the studio has taken it upon itself to churn out a gentle PSA with this show. Without getting too didactic, it explores the different perspectives of those who drink and the bystanders who are affected by it.
It ends up fleshing all the secondary characters and giving them their own, relatable storylines like that of Gwang-ok, Geum-ju's sister and even the town gossip.
The cast also puts on a commendable portrayal of sharing the story of Bochun's alcoholics, clowns and well-wishers. Soo-young plays into Geum-ju's desperation and co-dependency while also keeping it light and funny with all the goofy moments her character finds herself in.
Those who watched Second Shot at Love live will definitely get whiplash from Gong Myung playing a psychopath in Mercy for None and then the lovable dork that is Ui-joon in the same breath. And Kim Sung-ryung deserves a shout-out as her Gwang-ok steals the scene, whether with a hilarious chase sequence or an emotional rant.
Unfortunately, there is a melodramatic plot twist near the end involving damaged livers and transplants. Its purpose is to help the characters empathise with those suffering and to help them grow. The only problem is that the characters have already grown and accepted their mistakes, making the transplant twist unnecessary, except to add some spice to the story.
This seems to be a recurring problem, as the main story is wrapped up in the first 10 episodes. And the final two episodes are reserved for a sudden thriller involving Ui-joon's missing parents. This is the second whiplash of this series, given that it completely changes the tone and is quite unnecessary as well. Had the writers never introduced this thriller subplot in the first place, maybe this wholesome K-drama and Han Geum-ju could have gotten the ending they deserve.
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The Guardian
an hour ago
- The Guardian
Ghibli's midlife crisis: as beloved Japanese studio turns 40 will the magic fade?
Disney, Pixar … Ghibli. For its legions of admirers, the Japanese studiohasn't just held its own against the American powerhouses, it has surpassed them with the impossible beauty of its hand-drawn animation and its commentary on the ambivalence of the human condition. Although he would refuse to acknowledge it, much of Studio Ghibli's success is down to one man: Hayao Miyazaki, a master animator whose presence towers over the studio's output. Making a feature-length anime the old-fashioned way may require a large and multitalented cast, but Miyazaki is the thread running through Ghibli's creative genius. Now, as the studio marks its 40th anniversary, it faces an uncertain future, amid renewed speculation that its figurehead auteur really has wielded his pencil for the last time. Roland Kelts, a visiting professor at the school of culture, media and society at Waseda University, said Ghibli had failed to anticipate a time when Miyazaki, who is 84, would no longer be at the helm, even after the succession question grew more urgent following the death in 2018 of co-founder Isao Takahata. Instead, the studio shifted its focus to commercial activities. 'The studio failed to produce heirs to Miyazaki and Takahata, and now it's a merchandising monster,' says Kelts, author of Japanamerica: How Japanese Pop Culture Has Invaded the US. In 2013, Miyazaki announced that he would no longer make feature-length films, citing the difficulty of living up to his own impossibly high standards. But four years later, Ghibli said its co-founder had had a change of heart and would make 'his final film, considering his age'. The result was The Boy and the Heron, winner of the 2024 Academy Award for best animated film. While Ghibli performs alchemy on the screen, there is nothing it can do to shapeshift itself clear of the march of mortality: Miyazaki's main colour designer, Yasuda Michiyo, whose work appeared in most of his films, died two years before Takahata, while another co-founder, producer Toshio Suzuki, is 76. As a result, the studio is finally looking ahead to a future without its leading creative light, notwithstanding persistent rumours that Miyazaki is not quite done yet. 'Miyazaki is 84 and may not have time to make another movie,' says Kelts. The studio was formally established by Miyazaki, Suzuki and Takahata in 1985 – a year after it released the post-apocalyptic Nausicaä of the Valley of the Wind. It has since become a cultural phenomenon, winning an Oscar in 2003 for Spirited Away, and a second Oscar in 2024 for The Boy and the Heron. Told through the prism of the fantastical, and featuring characters and themes that defy the pigeonholing that underpins much of Hollywood's output, Studio Ghibli's films are widely considered masterpieces of their genre, earning two Oscars and the devotion of millions of fans across the world. Watching a Ghibli movie is like reading literature, says Miyuki Yonemura, a professor at Japan's Senshu University who studies cultural theories on animation. 'That's why some children have watched My Neighbour Totoro 40 times,' she says. 'Audiences discover something new every time.' In some ways, Ghibli shares certain values with Disney, says Susan Napier, a professor of Japanese studies at Tufts University in the US, believes. 'Both are family oriented, insist on high production standards and have distinctive worldviews. 'But what is striking about Ghibli is how for the last 40 years the studio has reflected and maintained a set of values and aesthetics that are clearly drawn from its founders and not from a corporate playbook,' adds Napier, author of Miyazakiworld: a Life in Art. Miyazaki has made no secret of his progressive politics, informed by his experience living through conflict and postwar austerity, and has publicly criticised attempts by conservative politicians to revise Japan's war-renouncing constitution. His films address the themes of war and the environment, but stop short of distilling the narrative into a simple battle of good versus evil. The Boy and the Heron, for example, opens with Mahito Maki, the 12-year-old protagonist, losing his mother in the US's aerial bombardment of Tokyo in March 1945, in which an estimated 100,000 people died. However, Ghibli's decades of independence ended in 2023 when the studio was acquired by Nippon TV – a move that the studio conceded came amid uncertainty over its future leadership. Speculation that Miyazaki's eldest son, Goro, was heir apparent has dampened since the latter voiced doubt about his ability to run the studio alone, and amid reports that artistic differences had contributed to 'strained' relations between father and son. Now it will be up to Nippon TV to develop a pool of directors to gradually replace the old guard, including those with expertise in computer animation, considered anathema to Ghibli's fierce commitment to hand-drawn frames. Ghibli has at least overcome its squeamishness towards broadening its commercial brief. The Ghibli Museum has been a huge success since it opened in western Tokyo in 2001, while visitors flock to Ghibli Park in central Japan, whose launch in 2022 was seen as an acknowledgment by the studio that it needed to build a brand that went beyond film-making. Now Ghibli merchandise is ubiquitous, from My Neighbour Totoro T-shirts and cuddly character toys to high-end leather handbags inspired by Spirited Away and Levi's branded Princess Mononoke jackets. Totoro, Miyazaki's 1988 film set in 1950s rural Japan, was turned into a play by the Royal Shakespeare Company in 2022. Last year a stage adaptation of Spirited Away received a four-star review in the Guardian. While computer-generated animation and AI make the painstaking, aesthetically stunning animation that Ghibli is renowned harder than it was a generation ago, Napier is not convinced the octogenarian auteur is ready to retire. 'I can't imagine someone like Miyazaki, with his intellectual and artistic vivacity, simply being content to sit around, so who knows?' Agence France-Presse contributed reporting


BBC News
3 hours ago
- BBC News
BTS is back - but K-pop has changed
"I missed them so much," says Stephanie Prado, a die-hard BTS fan who has been desperately waiting for the group to reunite after a two-and-a-half-year love for the boy band inspired her to move from Brazil to South Korea - so it was no surprise that she turned up last Friday for "BTS Festa", a big party held every year near Seoul on the group's time she has spent waiting, has moved "both slowly and really quickly", Stephanie says, waving an ARMY bomb, the official lightstick used by BTS fans, who call themselves the her is a huge sculpture of the lightstick, a must-have in the K-pop year's event is special because a reunion is finally around the corner. The countdown peaked last week, when four of the seven members, RM, V, Jimin and Jung Kook, completed their military service. And the wait ends on Saturday when the last of them, Suga, is discharged."I hope they rest now," Stephanie says, before adding, "but of course I also want albums, concerts, everything".The 18 months in the military that are mandatory for all South Korean men forced the world's most successful boy band in recent years to hit pause in 2022. Now they are returning, some say, to a K-pop industry that is quite different to the one they knew: faced with stalled album sales, shaken by scandals and increasingly scrutinised over the excessive pressure its puts on absence of a leading band, industry watchers say, was deeply felt."Without BTS, a core pillar was missing," says Kim Young-dae, music critic and author of BTS: The Review. "There have been concerns recently that K-pop is losing momentum. True or not, BTS could change that perception." The ARMY awaits There are no plans yet for all seven members to appear together, but that didn't stop the ARMY from gathering early on a humid morning in long, restless queue stretched to the subway station an hour before the gates for the BTS Festa opened. The snippets of English, Chinese, Japanese and Spanish alongside Korean, threw off a local walking past who asked, "Why are there so many foreigners here?" Inside were more queues - some people were hopping with excitement and others were sobbing after entering the so-called voice zone, a phone booth where you could listen to BTS members' messages. About half of the fans the BBC spoke to teared up talking about how much they missed BTS."It felt like the 18 months lasted forever," said Vuyo Matiwane, a South African who had been visiting BTS-themed venues in Seoul, like their favourite restaurant. "I was crying at every location - it was so emotional."And then she watched the livestream of them being discharged, which was "overwhelming".Being surrounded by all things BTS made a trip half-way across the world worth it, says Fara Ala, who travelled from the Netherlands: "Breathing the same air, drinking the same water, eating the same food as BTS - that's enough for ARMY. If you ask other ARMY, they'd say the same." South Korean military service is a major test for male celebrities, many of whom have to enlist at the peak of their success. In the past, it has proved fatal for some is believed to have staggered it so that all seven members were missing from action for no more than six months. J-Hope, who was discharged last October, has since wrapped up a solo world tour. But the so-called curse can be hard to break. For one, the loyalty of fans could wane as new groups debut almost every week, competing for their attention. Returning idols also face a tough transition because a military stint and a touch of maturity could dampen the essence of K-pop appeal: youthful if anyone can break the curse, it's BTS, Mr Kim of them announced solo projects in the past two and half years, he explains, without hurting their popularity as a group: "It feels like their military hiatus passed by naturally. Their return feels smooth." The shift in K-pop Still, the industry beyond the ARMY can pose a BTS was on a break, the other K-pop sensation, Blackpink, has not dropped an album since September 2022, opting instead for solo releases. These were the leaders of K-pop's third they have been succeeded by fourth and fifth generations that have brought fresh style to the genre. The newer acts - which debuted after 2018 - lack a standout name like BTS because K-pop has become more diverse than ever. The result is a range of very popular and experimental groups. "Most people my age like fourth generation idols these days," says a 13-year-old fan of girl group IVE."Some still like third generation groups, but for teens, BTS kind of feels like they belong to an older generation. A lot of new idols debuted while BTS was away, and they have become popular."But the biggest challenge to BTS's superstar status is what some see as a slowdown in from concerts remains strong, but album sales - a key market metric - have been declining since a peak in 2023. The slump coincides with when BTS and Blackpink were not releasing Korean pop culture critic Park Hee Ah agrees that K-pop went through "some difficult times" while BTS was have also been several controversies, such as the headline-making dispute between hit girl group NewJeans and their agency, allegations of mistreatment by all-powerful agencies and harassment of stars by fans and trolls."Album sales started to drop, and some problems - like questions about companies doing the right thing - came up," Ms Park said. Because of all of this, she adds, we did see more "deeper problems in the K-pop industry". That's also why so many are looking forward to BTS's return, hoping it will bring renewed energy - and maybe even a path forward for the industry."Their return will help people focus on Korea's music scene again," Ms Park says, adding that a BTS reunion is great not just for their fans but also for Korean soft eyes are now on the band's next song. "I will quickly make an album and return to the stage," RM, the group's leader, said on the day he was a new group album may not come until early next year because J-Hope still has domestic concerts scheduled, and Jin is set to hold concerts for fans across the world over the next few months. It's also possible Suga, who landed in controversy after he was caught drunk-driving a scooter last year, may want to lie low for a little millions of fans like Stephanie though, simply knowing BTS is back together is enough - for now."It'll feel like nothing ever changed. The kings are back."


BBC News
3 hours ago
- BBC News
The Dating Game: How dating camp could help China's millions of single men
To say China's women are outnumbered would be an understatement. With a staggering 30 million more men than women, one of the world's most populous countries has a deluge of unattached males. The odds are heavily stacked against them finding a date, let alone a wife - something many feel pressured to do. To make matters worse, it's even harder if you're from a lower social class, according to Chinese dating coach Hao, who has over 3,000 clients."Most of them are working class - they're the least likely to find wives," he says. We see this first-hand in Violet Du Feng's documentary, The Dating Game, where we watch Hao and three of his clients throughout his week-long dating camp. All of them, including Hao, have come from poor, rural backgrounds, and were part of the generation growing up after the 90s in China, when many parents left their toddlers with other family members, to go and work in the cities. That generation are now adults, and are going to the cities themselves to try to find a wife and boost their Feng, who is based in the US, wants her film to highlight what life is like for younger generations in her home country. "In a time when gender divide is so extreme, particularly in China, it's about how we can bridge a gap and create dialogue," she tells the BBC. Hao's three clients - Li, 24, Wu, 27 and Zhou, 36 - are battling the aftermath of China's one-child policy. Set up by the government in 1980 when the population approached one billion, the policy was introduced amid fears that having too many people would affect the country's economic a traditional preference for male children led to large numbers of girls being abandoned, placed in orphanages, sex-selective abortions or even cases of female infanticide. The result is today's huge gender imbalance. China is now so concerned about its plummeting birth rate and ageing population that it ended the policy in 2016, and holds regular matchmaking events. Wu, Li and Zhou want Hao to help them find a girlfriend at the very least. He is someone they can aspire to be, having already succeeded in finding a wife, Wen, who is also a dating coach. The men let Hao give them makeovers and haircuts, while he tells them his questionable "techniques" for attracting women - both online and in person. But while everyone tries their best, not everything goes to plan. Hao constructs an online image for each man, but he stretches a few boundaries in how he describes them, and Zhou thinks it feels "fake". "I feel guilty deceiving others," he says, clearly uncomfortable with being portrayed as someone he can't match in reality. Du Feng thinks this is a wider problem. "It's a unique China story, but also it's a universal story of how in this digital landscape, we're all struggling and wrestling with the price of being fake in the digital world, and then the cost that we have to pay to be authentic and honest," she says. Hao may be one of China's "most popular dating coaches", but we see his wife question some of his he sends his proteges out to meet women, spraying their armpits with deodorant, declaring: "It's showtime!"The men have to approach potential dates in a busy night-time shopping centre in Chongqing, one of the world's biggest almost painful to watch as they ask women to link up via the messaging app WeChat. But it does teach them to dig into their inner confidence, which, up until now, has been hidden from view. Dr Zheng Mu, from the National University of Singapore's sociology department, tells the BBC how pressure to marry can impact single men."In China, marriage or the ability, financially and socially, to get married as the primary breadwinner, is still largely expected from men," she says. "As a result, the difficulty of being considered marriageable can be a social stigma, indicating they're not capable and deserving of the role, which leads to great pressures and mental strains."Zhou is despondent about how much dates cost him, including paying for matchmakers, dinner and new clothes. "I only make $600 (£440) a month," he says, noting a date costs about $300. "In the end our fate is determined by society," he adds, deciding that he needs to "build up my status". Du Feng explains: "This is a generation in which a lot of these surplus men are defined as failures because of their economic status. "They're seen as the bottom of society, the working class, and so somehow getting married is another indicator that they can succeed."We learn that one way for men in China to "break social class" is to join the army, and see a big recruitment drive taking place in the film. The film notably does not explore what life is like for gay men in China. Du Feng agrees that Chines society is less accepting of gay men, while Dr Mu adds: "In China, heteronormativity largely rules. "Therefore, men are expected to marry women to fulfill the norms... to support the nuclear family and develop it into bigger families by becoming parents."Technology also features in the documentary, which explores the increasing popularity of virtual boyfriends, saying that over 10 million women in China play online dating games. We even get to see a virtual boyfriend in action - he's understanding, undemanding and undeniably woman says real-life dating costs "time, money, emotional energy - it's so exhausting". She adds that "virtual men are different - they have great temperaments, they're just perfect". Dr Mu sees this trend as "indicative of social problems" in China, citing "long work hours, greedy work culture and competitive environment, along with entrenched gender role expectations"."Virtual boyfriends, who can behave better aligned with women's expected ideals, may be a way for them to fulfil their romantic imaginations."Du Feng adds: "The thing universally that's been mentioned is that the women with virtual boyfriends felt men in China are not emotionally stable."Her film digs into the men's backgrounds, including their often fractured relationships with their parents and families."These men are coming from this, and there's so much negative pressure on them - how could you expect them to be stable emotionally?" Reuters reported last year that "long-term single lifestyles are gradually becoming more widespread in China". "I'm worried about how we connect with each other nowadays, especially the younger generation," Du Feng says."Dating is just a device for us to talk about this. But I am really worried."My film is about how we live in this epidemic of loneliness, with all of us trying to find connections with each other."So by the end of the documentary, which has many comical moments, we see it has been something of a realistic journey of self-discovery for all of the men, including Hao. "I think that it's about the warmth as they find each other, knowing that it's a collective crisis that they're all facing, and how they still find hope," Du Feng says."For them, it's more about finding themselves and finding someone to pat their shoulders, saying, 'I see you, and there's a way you can make it'."Screen Daily's Allan Hunter says the film is "sustained by the humanity that Du Feng finds in each of the individuals we come to know and understand a little better", adding it "ultimately salutes the virtue of being true to yourself".Hao concludes: "Once you like yourself, it's easier to get girls to like you."The Dating Game is out in selected UK cinemas this autumn.