in all, from a superficial stance, WAYG
does seem rather enticing; there are many places that GFriend visit and
coupling that with the ladies having fun with games and of course being
together, the show seems to excel in the realm of reality shows. However, as I
will argue, this is not the case: Where
Are You Going?! is a rather repetitive, boring show. Even if GFriend
themselves provide appeal on the basis of their own acts, the show’s structure
greatly hinders the potential of the show.”
Message: Although I
was—and am—going to review GFriend’s “Navillera,” due to preparing for a summer
class final and currently attempting to revise the current song review outline
so as to make it more concise (and to soon continue with subtitling a video
project for Fiestar’s subbing team), I have decided to review a show in the
meantime as a bonus. Besides, if anything, this review will create anticipation
for GFriend’s upcoming review as it clearly does involve the ladies. And before
continuing further, the linked playlist is an official upload by MBC, a
broadcasting station. English subtitles are also included from MBC and thus,
every reader here has no excuse to not watch it—or is that actually the case?
Explaining the prior statement and
in regards to why I have even decided to review Where Are You Going?! (which will be abbreviated as WAYG for the purpose of ease), while I
have been watching many videos on GFriend as of the late (indeed, I am now a
huge fan of them), this is the first show of any K-Pop group where I have found
it to be rather lackluster. Indeed, harshly said, this might be the first show
where I advise readers to not watch.
Now certainly GFriend in of themselves make the show as fun as possible and of
course fans are always grateful to have the members on any show, but WAYG is perhaps the most redundant show
I have yet to watch. I personally felt the urge to constantly skip ahead
throughout the show because, comically yet seriously said, WAYG is essentially a running show; if readers have ever been
curious as to what runners experience, then WAYG
provides an answer. A vast majority of the episodes simply involve walking or
running, and although interesting events still happen throughout said walking
and running along with some form of variety, this show is simply too lacking
and does not expand on multiple activities even when there are certain moments
for that to occur—an example being showcasing more footage from GFriend when
they were resting and talking to one another versus having even more footage of the ladies running and
And so to answer where GFriend is going,
while there are truthfully many answers, if we changed the question to “what are you doing” then problems arise as
there are only minimal answers—and generally said, that does mean a show would
Summary: For the
following plot summary, I will reveal the main highlights of what occurs in the
show, but of course details will be saved for those who desire to watch the
show. In terms of what WAYG even is,
it is a reality show with some tints of being a variety show as there are games/missions
involved. Nevertheless, given that the main focus is on keeping the footage as
“natural” as possible and that they are not in a studio such as in Weekly Idol (or basement if we want to
be accurate), “reality” is an appropriate label. As for, in a summarizing
sentence, what the show is about, WAYG
follows GFriend as they travel around to various locations—examples being a
beach, landmarks, and so forth. Furthermore, however, the ladies are split into
two teams that compete with each other in various tasks. Predictably, winning
or losing the tasks results in punishments or rewards. A simple example is that
the losing team would have to walk and use buses to get to a landmark while the
winning team gets a personal ride there.
All in all, from a superficial
stance, WAYG does seem rather
enticing; there are many places that GFriend visit and coupling that with the
ladies having fun with games and of course being together, the show seems to
excel in the realm of reality shows. However, as I will argue, this is not the
case: Where Are You Going?! is a
rather repetitive, boring show. Even if GFriend themselves provide appeal on
the basis of their own acts, the show’s structure greatly hinders the potential
of the show.
Analysis: Although as mentioned show reviews
are mere bonuses and therefore the ratings should be taken lightly, WAYG does rate as slightly below average—and
agreeably so. In regards to the issue with the show’s format, as discussed
earlier the show lacks variety and depth in its content. Now certainly there is
some variety as noticed by, for examples, how the ladies are seen picking
tangerines to then jump-roping on a beach to then bicycling to then running and
seeing a landmark (and even much more), but if we are to gauge in a more
critical, open view then these activities are not as different as expected. The
following are still unappealing points that are not addressed even with
supposedly the variety of activities introduced: all of the activities are
based as games—there is a winner and loser; the teams’ compositions do not
change throughout the entire series; and lastly but arguably most importantly,
all of the activities are still too akin to one another.
To elaborate on those points, the
first one may appear confusing; why is there an issue with having the
activities all take the form of a game? After all, doing this allows for
viewers to become immersed in the competitive side of GFriend and likewise provides
incentives—goals, even—for GFriend and thus viewers are doing more than just
watching GFriend walk around and exploring sceneries. These are all valid
points but one aspect is overlooked: repetitiveness; mundaneness. It is not
inherently bad at all for games to occur—in fact it may even be beneficial.
However, when an entire reality show series revolves itself utterly on games,
one could not help but wonder if the series is even a reality show as much as a
variety show (though not to say that variety shows are bad). Perhaps as many
could agree to, with WAYG, it might
be expected that besides competing against each other, GFriend would still have
many moments of eating, touring, or exploring new places. But, with much of the
emphasis being towards the competitive side, WAYG soon feels more akin to a fancier game show than a show that
would bring various angles to GFriend. In terms of the second point, although it
is a weaker critique, randomizing the teams throughout might have also provided
more variety—and with how repetitive the show becomes, every bit helps.
Taking a look at the third main
critique, this is where I find the show most troubling. On the surface, yes,
the show is varied; it sounds extreme to say that the show lacks diversity in
its activities when quite blatantly the ladies do partake in many. Where I would challenge that notion, however,
is that quantity is not quality—as cliché as this is; it does not matter if
GFriend is shown running, walking, bicycling, taking buses, and so forth when
all of the activities are ultimately for racing against each other.
Furthermore, even within the different games—who can pick more tangerines, jump-rope
more, and so forth—there could have been much more competitions. For example,
it would have provided more appeal if some games were not “quantity-based” and
instead—to draw a sudden, random idea—were that of judging which team made the
most appetizing “eating-broadcast” (I will hope some readers understand that
term) or even the best sand castle. Again, the overly emphasized point of games
and that said games are not even diverse are the main culprits to the lower structural
Optimistically, though, for where
the show still flourishes, GFriend is always entertaining. From their jokes to
how intense they can get with desiring to win, the ladies do provide purpose to
watching. Also, even if I do harshly bash the show’s structure, there still are
moments where the show provides what very much has lacked: moments of simply
GFriend being together and talking; moments of GFriend enjoying food and not
running out of breath; moments where usual touring and exploring occur. Additionally,
for a praise to the show itself and not the participants, WAYG should be credited for its simply layout: no ostentatious
captions; not relying on the constant use of songs (though admittedly hearing “Me
Gustas Tu” ‘s introduction for the hundredth time proved vexing after a few
episodes); not having dramatic footage editing of the ladies; and so forth.
Especially as many reality shows of the late are focused on providing as much
appeal as possible through excessive stimuli, watching WAYG does provide a relief through its clean, sharp delivery.
In the end, for my personal recommendation,
I will boldly say this show is worth skipping over unless if one is a fan of
GFriend. Watching for the ladies themselves does prove worthy, but if one is
simply looking around for reality shows to watch for be it in hopes of getting
into GFriend (or a group in general) or for plain entertainment, there are many
other shows to look forward to instead. Of course, though, it should be kept in
mind that this review may come with much heavy bias—even if reviews are
innately going to be biased. Since I currently lack the skills to find what are
in fact strengths and weaknesses to shows, many of these points might be rooted
moreover in my take than in more serious, neutral reasoning. (This is why show
reviews are bonuses, after all, compared to that of song reviews.)
As always, thank you for reading
even if this is moreover a bonus review. Since a reader is curious on a review
to GFriend’s “Navillera,” I will work hard to quickly finish the review. That
said, I am also looking to further concise reviews as it would be extremely
pleasing to be able to release a review per comeback, but nothing has been
finalized yet. At most, I am considering keeping the outline the same but to instead
change my analysis so that it is not so much on each aspect to a song, but
instead the points that provide the biggest discussion. Social digressions will
continue, though, whenever appropriate as I do find it a responsibility to
discuss topics that arise in pop culture. (An example is I might finally
discuss “slut-shaming” and even double-standards in Hyuna’s recent comeback.)
Point is, more experimenting will take place to see how reviews change. GFriend’s
“Navillera” might have to be the unfortunate test subject.
Overall, to answer where we are
going, look forward to GFriend’s “Navillera” to come, and afterwards I very
much plan to review Stellar’s “Crying” before focusing on more recent songs.
Jisook – Coming Sook: Jisook’s Fantastic Life
Stellar’s “Sting” is once again delayed, I have decided to alter the review
schedule as February is coming to a quick end. Through finishing the month with
show reviews or shorter song reviews, the blog will have at least around four
to five reviews, and that will satisfy my personal goal—even if to the lowest
degree. With March, I do plan to continue the current path: to review only
artists who have yet to be reviewed at all. However, MAMAMOO’s latest comeback
of “You’re the Best at Everything” will be heavily contesting that plan, and
similarly, if Fiestar and SPICA have their comebacks within that month. What
will hopefully occur, though, is that during my one-week Spring Break, I will
catch up on multiple reviews. Thus, recent comebacks, regardless of artists,
may still be covered. On topic, for this review, it is not on a song or album:
it is on a short reality show starring Rainbow’s beloved Jisook. “Coming Sook:
Jisook’s Fantastic Life” (I will refer to it as “Coming Sook”) has admittedly
been a show I have been “binge watching.” That is understandable, however.
Jisook is, after all, truly a “happy virus” and “vitamin”; watching her show
will put anyone in a great mood regardless of how they felt prior.
Sharing how I happened to come
across Jisook’s contagious virus, after reviewing Rainbow’s
“Whoo,” I decided to check out the group since, as stated in that review, I
was quite unfamiliar with them and thus desired to know the group for more than
their music. Somehow, Jisook’s show was the first video I came across. Needless
to say, though, I am exceptionally grateful for this outcome. Jisook has
utterly infatuated me, and after watching her videos, I will definitely look
more into Rainbow—both with songs and videos. Jisook is sincerely, as mentioned
above, a “vitamin.” The only other idol I know that possesses equal high level
of cheerfulness would be Dal Shabet’s Serri, but point is, both ladies are incredibly
positive. I personally aspire to also be full of love and joy like the two, and
admittedly, Jisook is someone I now also look up to. She showcases my personal
idea of a “perfect” life. (However, MAMAMOO’s Solar is my main role model; I
strive to be exactly like her in every possible way.)
For one, Jisook greatly prioritizes
happiness and laughter—two very crucial aspects I would argue that are vital
for an enjoyable life. On that line of thinking, she also cherishes love and
affection for her friends/members, and likewise, those are also essential
aspects to a good life. In fact, it is debatable that what the world needs more
of is just that: love for others and self. And of course, health and hard work
are also valuable points that Jisook lives up to, such as with dedicating
herself to her hobbies to release stress, and for the obvious example, working
hard in her career as an idol. Lastly, on a materialistic level, she has the
best house one could ask for: not a mansion, but rather, a pretty, organized
and comfortable smaller house. Although I do not wish for readers to interpret
the prior and following words as “the right way” to live, I am against
materialistic living (such as prioritizing money as the source of happiness;
for examples, finding joy in owning the most expensive clothing and makeup
products). Instead, at most for a materialistic lifestyle, money should be
orientated towards (after basic living needs) items that help bring emotional
wealth. Returning to the example of owning the most expensive makeup products,
the joy from such should not stem from the value of the makeup product; rather,
the joy in that has to be within the makeup itself. But as said, to each her
own; as long as he finds his own source of happiness and shares love and
compassion, then all is well.
Overall, I do greatly envy and
aspire to have Jisook’s lifestyle and am very excited to begin my own
independent life in a few more years—though “independent” is not quite true as
I do plan, at the least, to live with a dog. (As shared before, I would love to
adopt a child if financially and emotionally capable, even if as a single
parent.) Although unlike Jisook I would not have a career as an idol since my singing, dancing, and
appearance would cause visual and audio related injuries I lack the
intelligence and physical abilities. I would be extremely more content with teaching
high school freshmen students with English and dedicating myself to loving
friends, child and dog, makeup and fashion, exercise, hobbies, and so forth.
And jocularly and randomly to share, I have strongly desired a dog lately. I
cannot be blamed though; as the saying goes: “dogs are woman’s best friend,”
after all. (And if I am correct, a few may suddenly claim that the phrase is
wrong as it should be “man’s best friend.” I will discuss in depth this topic
of “gendered” language below.) All in all, Jisook is an amazing human and I
will strive to lead a cheerful, intellectual, caring, loving and compassionate
life as her.
Now, to discuss my prior use of “woman’s
best friend” (feel free to skip to the review now—though to confess, I have
sorely missed saying that very phrase), there is one topic I have surprisingly
never discussed at all before on the blog: the importance of language, and more
specifically, how language is reflective of social power—examples being
“gendered” language or “heterosexist” language. Nevertheless, it is shocking to
have never discussed this. Given my personal passion for English and sociology
(and teaching, as many would guess), this specific topic of language should
have been one discussed ages ago. It is, after all, the literal intersection of
the two subjects: seeing how sociology (social aspects and topics, etc.) applies
to language (words, daily communication, language arts, etc.) itself. Returning
to the phrase of “dog is woman’s best friend,” many would argue that the proper
way to state such is to change the pronoun of “woman” to “man.” After all, there
is no harm to saying “man’s best friend” or even other phrases such as
“mankind” or “man-made.” Words cannot ever be truly influential. This is why
that vapid saying exists: “sticks and stones may break my bones, but words will
never hurt me.” Unfortunately, though there is no direct harm such as jabbing a
knife into someone, arguably that level of damage is still true with words: it
just happens socially rather than physically.
Language is more than pure
communication, such as with day-to-day conversations; language is more than
beautiful art that can come from great poetry; language is more than mastering
grammar, vocabulary, and argumentative essay formats. Language is, in addition
to the listed examples, also reflective of social equality and power or the
lack thereof. What we say or do not say carries significant social weight, and
from there then are words translated into physical, affecting actions. In other
words, views on gender will influence language, and as a result, language will
influence views on gender. Views on race will influence language, and
similarly, the opposite occurs. There is a cycle with language and social
aspects and thus, it is critical to realize the connection between the two
subjects. Specifically with this digression, although I certainly do equally
hold important the language arts side to language, or the semiotics and linguistic
side to language, I do wish to discuss the sociological aspect to language. And
to begin, “human’s best friend,” a dog, will provide an example.
The largest issue with “man’s best
friend” is it contributes to an underlying assumption many societies have: that
males are automatically the default of everything. To very extreme points,
there are those who even believe that females are “inverses” or “castrated”
males, even though females are simply females—their own sex (and equally
valuable ones; every sex—male, female, intersex—are indeed all worthy). (And,
assuming my biology is not that awful, the mentioned idea is easily disproved
as, scientifically, every human starts out as female. So, if the prior idea is
to be used, it is not females that are “inversed” males, but instead, it is
males are “inversed” females.) On topic, already, there should be a noticeable
issue with having males centered as normal. As a copious amount of reviews have
discussed, males being deemed at the center when, equally and equitably it
should be both sexes, leads to various issues. Androcentrism is a direct
example: the idea that masculinity is the normal for how to think and act. For
a visual example, think of how it is permissible for women to
“cross-dress”—such as wearing a suit—and conversely, atrocious if a man
“cross-dresses”—such as applying BB cream and eyeliner. (Though there are
cultural differences to account for. Yes, in some cultures males using makeup
is nothing surprising versus in, for example, Western cultures. Nevertheless
the same idea holds when it comes to, for a simple example, whether crying is
allowed for males.) This disparity is due to androcentrism: that masculinity is
always accepted, and anything remotely feminine is of lower status and is,
especially in males, never allowed.
Before getting off track, in regards
to language itself, it is important to pay attention to as it provides
reinforcement to social ideas. When societies constantly reiterate “dog is
man’s best friend” or that cars are “man-made,” what messages are being said?
To clarify, I do not wish to antagonize people who do say those phrases. Absolutely,
I do believe that when a person says those phrases, they are connoting: “dog is
anyone’s—man or woman—best friend” and “man-made is something made by
humans—whether man or woman as both are capable of being engineers.” In truth,
many people who say those phrases and other gendered phrases are most likely
very much opposed to sexism. Nevertheless, what I desire to emphasize is that,
intended or not, using gendered language has gendered consequences—again, even
if unintended. Language is more than “colloquial.” By using phrases that
include only males on the surface, no matter how benevolent the intention,
there will be repercussions. The following example might highlight such.
Say that I went to the doctor and
that there is awful news: I am dying from Boa-itis, a rare disease caused by
being overly obsessed with SPICA’s amazing leader. (Alright I admit this is
bad. I will directly apologize for this joke.) Searching for comfort, I share
to my close friend that my doctor revealed to me horrible results. Knowing my
friend, she might eventually reply: “What did he say?” Now while Boa-itis may
not be true despite how
Boa has halted my heart a few times, if this were to occur, I would
forget my dying state and reply with a sharp: “My doctor is a woman; a she; a
female” (and that is true; my doctor is actually a woman). Notice, though, the
language instilled there: assumption that the doctor is a male. During these
cases, what should be said is “they”—even though, yes, it is plural (but
dictionaries now do define it as both singular and plural). Nevertheless, when
this situation occurs (and it does tend to be somewhat frequent), saying “they”
is the overall best route to take. Maintaining gender-equal and gender-neutral
language is what has to occur if gender equality in an even larger form is to
take place. After all, how can society ever accept amazingly skilled male
makeup artists and hair stylists if everyone keeps saying “she” in reference to
At this point, one may have a keen
reply to the prior example: that it is not language that is influential, but
rather, ideas that then translate to language—and that is it; no cycling occurs.
Perhaps we tend to say “he” for doctors not because of language itself, but
rather because we have a socialized idea of who is a doctor and thus merely
state that. That is certainly a true point, but again, the recycling of
gendered language is important to hold in mind: this is why it is best to say
“they” if the pronoun’s gender is unknown. If it is a held common belief that
doctors are males, breaking down that assumption is to break down the language
involved: using “she” or “they” instead of an automatic “he” when one discusses
“doctor.” And furthermore, on this note, there is one example of gendered
language itself being quite influential: the use of “guys.”
Many readers may now be questioning
their own use of the words or synthesizing justifiable reasons for using
“guys,” but as many may now think after reading the prior paragraphs, the use
of “guys” is the one of the most common examples of gendered language in
English (or at least American society). That said, to reiterate an older point,
using gendered language is not based on intentions; using “guys” does not make
one sexist. Not even remotely. Rather, “guys” has been incorporated into
standard English language—akin to “mankind” for example—and that is what needs
to be challenged. Using “guys” is questionable as it does subtly imply that
males can represent females when that should not be the case, and even if that
should be allowed for whatever reason, the fact that the opposite cannot occur
showcases even more inequality. Take the following example. I can refer to a
group of females as “guys,” and that is acceptable. In fact, that is “normal”
and anything otherwise may seem absurd. Strangely enough, however, should I
refer to a group of males as “gals,” many would find it absurd. To some, even
offensive. And yet, “guys” to a group of females is not insulting as the word
has become normalized despite how “guys” does indeed refer to males. Even if colloquially
“guys” has become connoting of both genders, again as highlighted, should this
be accepted, then “gals” has to also be equally accepted, but as unveiled that
is not the case at all.
In terms of solutions, glancing at
other languages may provide a few answers, and in addition, may showcase how
absurd using “guys” truly is. Cantonese and Korean will be used as examples. In
both of the mentioned languages, from my understanding, “guys” is not used to
refer to any cohort of people; “guys” is used to refer to, as expected, a group
of males—a group of boys, men, males. Only in English (or at least American
society) is “guys,” a word that does indicate only males, used to represent any
group of people regardless of sex. Now, for a predicted disagreement, one may
claim that “guys” is in fact used in Korean or Cantonese to refer to a group of
people. A video subtitle said so. As a response, this is where “direct
translation”—or lack thereof—becomes an issue. (And as a subtitler, I do try to
directly translate whenever possible for this very reason. I wish to respect
what the language itself says.) From my understanding (as said before, though I
am not fluent in Korean, I am confident enough in this regard, and with
Cantonese I am rather knowledgeable with it), the literal word of “guys” in both
refer to solely males. It would be silly to attempt to say “guys” in reference
to a group of people. Instead, for what is said, common ways to address a group
are “everyone” in Korean or “they/they all” in Cantonese. Nonetheless, however,
as disclosed neither Korean or Cantonese follow the unique form of how English’s
“guys” can be used for both.
Clarifying, this is not in any way
to downgrade English and American culture (I am American after all) or to
praise Korean and Chinese language and culture as better. That would be
absolutely pathetic and, from this perspective, arguably racist and for sure
ethnocentric (since, as reviews have discussed, racism is based on “dominant
group,” and with writing in this perspective of Chinese and Korean culture, it
would appear I am bashing non-Korean and non-Chinese cultures). Point is, it is
true that in Korean and Cantonese “guys” is not flexible: this is the point I
wish to emphasize. In English, the word “guys” is indeed rooted as males only—akin
to how “gals” is rooted as females only. Thus, with that holding true, “guys”
in English should not be used to refer to both males and females; it should
refer to only males. If one is to refer to both females and males, more
inclusive terms are always available: “they,” “you all,” “everyone,” and
perhaps for the best solution, “guys and gals” or “gals and guys.” All in all, “guys”
is not worth using unless if it is exactly intended: to refer to a group of
And so, there may now be multiple
responses. Readers may feel guilty, annoyed, or currently preparing methods of
strangling me for being “overly sensitive” to words. Repeating the earlier
point, this is not to accuse nor cause guilt; this is to bring awareness.
Truthfully, whether my views are accepted or not does not matter to me: what
matters is that readers are critically thinking about my position. Perhaps
using “guys” or “mankind” are indeed acceptable and even empowering to every
sex. Or perhaps that using “guys” should be allowed but that we should now also
start using “gals” instead of utterly removing the current way we use “guys.”
No matter the response and stance readers have, what matters is why they have
their specific stances. Through critically analyzing what I have argued, that
is what I hope for as, if social inequalities are to be solved, mature and open
discussions have to occur. Directly sharing what my own take is, I personally
favor three options: using “all”; using “gals and guys” and “guys and gals”;
and, using “she” and “he” individually yet equally (such as by saying “it’s every
woman for herself; he needs to find his own cup of coffee”)—though there is the
issue in the latter two examples of not including intersex people for example.
In the end, as I encourage in
readers, it is about equality and equity: having love, respect, compassion, and
understanding for everyone regardless of their social attributes, be it
religious affiliation, gender, race, class, sexual orientation, able-bodied or
disabled-bodied, and more. With this digression, I do urge readers to bear in mind
using inclusive language; language that includes people no matter their gender
or sexual orientation or race, and so on. Language has significant social
consequences, but thankfully, language is in control by a vast majority of
people. Using “you all” instead of “you guys” may indeed help contribute to
gender equality in the long run, and so will using “they” instead of
automatically assuming that an engineer is a “he” or that a nurse is a “she.”
After all, every human deserves understanding and compassion, and I can attest
with full confidence that Jisook would agree. Let us all be a bit more like
Jisook: loving, caring, joyful, and thoughtful to others.
beginning the review, admittedly I forgot how much fun it is to apply sociology
into (Korean) pop culture. Before entirely beginning, for technical notes, it
should be noted that any review that is not of a song can be considered a “bonus”
review: reviews that are meant to overall be fun and to provide variety from
just songs. Therefore, the following ratings I give are, in full honesty,
worthless; the numerical ratings hold minimal value in terms of giving insight
to the show. Juxtaposing song reviews to this review should reveal why: there
are only two ratings versus the abundant amount in song reviews. And certainly,
shows are as equally complex as songs and should indeed have much more
categories that just the current two I have. Optimistically, however, unlike
past show reviews, this time I am able to link the episodes themselves as this
short reality show is luckily entirely on YouTube—officially, to be specific.
(This means there will not be copyright removals, etc.) That said, I did link a
playlist, but I recommend starting with this episode: “Jisook’s New House Tour.” Reason being
that it provides background to both the show and Jisook herself. Also, for
readers who may hesitate to watch as Korean is not known to any degree, no
worries: there are English subtitles. This means that everyone reading is obliged to watch.
Jisook’s show is more important than caring for children, school work, going to
Focusing on the actual review, as I
have not done so in a while for show reviews, for this one specifically, I do
in fact have pictures prepared for the Plot Summary. Before analyzing the show
itself, it is best to summarize the show so that readers have a general sense
of what “Coming Sook” is even about, and what better way to do such than
through visual aids?
“Coming Sook” is about Jisook, a
member from Rainbow, taking viewers along with her for some of her personal
activities. For one episode, she is touring viewers her new house, but for
others, she may be showing her hobbies or doing other miscellaneous activities,
such as adorably dressing up a dog. Furthermore, personal tips may be given,
such as—for what many men and women may desire to learn of—makeup. That, in
essence, is the show. Nothing more or less. The following pictures will
hopefully grant viewers quick ideas on the show’s aesthetics, format, and so
on. But there is now a very valid question: Why watch this? Is this show worth
an hour or so of my time? On the surface, this show would seem only enticing to
fans of Rainbow or Jisook, but the Analysis category will explain otherwise.
Jisook introducing her house.
Jisook sharing makeup tips. In this case, she is sharing her tip with concealer.
Woori and Hyunyoung, fellow members of Rainbow, visit Jisook’s house. Specifically here, they are looking around Jisook’s bedroom.
Jisook shares her playroom to viewers.
Jisook shares ways she does her hair.
Dali, a model dog, joins Jisook with making dog clothing.
With the assistance of a carpenter teacher, Jisook creates a wooden speaker for a fan.
Analysis: True, the structure to the show does
appear tedious: Jisook does one specific activity and viewers watch that for
seven or so minutes. Then the next episode is her doing another activity. Then
the same. Then the same. Then the same. The same. Same. How is that supposed to
be appealing in any form? Although the overarching structure is indeed the
same, the change in the content does provide enough variety to provide appeal
(and a score of seven). For example, the camera setup may be the same for when
Jisook explains her makeup or how she styles phone cases, but just the simple
change in topics allows for much variety. How Jisook explains and acts greatly
differs; she is not robotically going through her activities (more to be said
on this later). Furthermore, even in watching the various activities, all are
significantly different. Sure, Jisook is simply covering hobbies she does
versus, for example, one day going out to shop and the next day to a restaurant,
but the change in activity provides for a lot of content. Watching her share
hair styling tips and then later watching her play with a model dog, while systematically
similar, are exceptionally different in content itself, and that is what helps
provide appeal. Additionally, “Coming Sook” is not just of Jisook’s hobbies.
There are episodes where she is up-and-about with touring her house, cooking
snacks, or playing video games with her members and f(x)’s Amber.
As for what truly does make the show
entertaining in whole, even if the structure is slightly repetitive, Jisook is
entertaining in every sense possible: her words; her humor; her wits; her
actions; her goofiness; the list goes on. Jisook knows how to ace her job of
being an idol—a person whose job is to entertain others and to provide
excellent role modeling. At first, readers may be reaping entertainment through
the activities themselves, but after one or two episodes, that source switches:
Jisook herself becomes the main focus for the show’s entertainment. In fact, if
the show still continued, many would still be content even if the show ran low
on new ideas. Essentially, Jisook could be doing anything and she would somehow
make it all entertaining to watch. For all that is concerned, she could be
putting together a table or, for a drastic example, filing away paper and many
would still be invested in watching. It is not the activities that matter; it
is about Jisook doing said activities. She brings entertainment to the show—after
all, “Jisook” is in the show’s title. Overall, she truly is a hilarious and
joyous lady. I have yet to watch an episode without laughing, let alone not
smiling or squeezing the life out of my stuffed penguin at how cute the show
Answering whether this show is worth
the time, I conclude a strong “yes.” The activities she does are entertaining
on their own to many people, but in addition, Jisook herself provides much
laughter and positivity. Every episode is memorable. She is truly a contagious “happy
virus” (laugh included) and can make an episode of watching paint dry turn out incredibly
funny and entertaining.
Regurgitating what is usually but
sincerely said: thank you so much for reading. Whether read in full, skimmed, I
appreciate any given time to the blog and review. For readers interested in
upcoming reviews, I do apologize for not having a strong finish to this month. The
past days have been full of essays and studying for upcoming midterms, hence
why reviews have been slow. Or perhaps that this review being around 4,500
words could have been two reviews. But as said, March is where I have a week to
catch up on reviews, and thus, I will do my best to do so. Especially as song
reviews are becoming much more concise, there are a lot of expectations to be
able to review numerous songs within a month. For an idea as well, I also plan
to experiment with how often social digressions occur: rather than including
them in every review, I will only include them for every third review. This
way, various readers will have enjoyable content: those who desire both reviews
and social discussions receive their share, and readers moreover interested in
reviews have their share. And on my end, I have both sides of being able to
review more song and to write less, but to still engage with important topics
especially if relevant and elicited by a song.
For the next review, it may be
another show review to wrap up the month, or it may finally be Stellar’s “Sting.”
Either way, stay tuned for whatever it may be. It will be “Coming Sook.”
Before this review starts, I would like to give a few excuses disclaimers. For one, as some readers may know, I do not possess an actual show review outline; my show reviews are a mixture of highlights and my general opinion of the show. That said, there is no numerical rating as seen in my song reviews. Secondly, since this show is not too popular, finding pictures to utilize is nearly impossible. As a result, to keep my tradition of how my show reviews contain pictures, I am putting extra effort by taking my own images from the show. Unfortunately, the downfall of that appears in the lower quality of the pictures. Apologies for such, and keep in mind, these show reviews can be considered moreover “bonus reviews” than dedicated, thorough ones. Music reviews will always remain my top priority.
Anyhow, to digress slightly more, I would like to give some comments in regards to T-ARA’s first home concert. T-ARA holds a special throne in that they are one of my personal favorite groups in general, and that I highly admire and look up to the ladies. Hopefully one day I am as intelligent and skilled as Soyeon (a huge role model to me), and that other traits such as being exceptionally friendly, responsible, caring, tough, and more, are also achieved. And, I also hope one day I will be as pretty as her, but that is impossible less important than the other significant characteristics. Back to the concert, after 5 years (I might be wrong with the years), T-ARA has finally had their first solo concert in their home country (they have done a few in Japan and China, but not Korea). It is incredible to see their growth over the years, and I hold high expectations on their future activities.
Going on another tangent, in regards to their song “ORGR,” there has been a lot of debate and confusion to the lyrics, and I will offer my own perspective on it (and at this point, feel free to skip below). Whether it is due to pure coincidence or clever composing (or simply pronunciation), the key phrase of the song can be considered a pun involving both languages of Korean and English. Firstly, “ORGR” is abbreviated for “Oh Ready Go Ready,” which is heard in the lyrics in the form of “oh ready, go ready, go.” This is where confusion occurs; people hear three phrases: “Oh ready, go ready, go,” or “Oh let it go, let it go,” or if taking account a Korean phrase of mockery (not too sure on this), a rough meaning of “Na na na.” So, to offer my own opinion, I believe T-ARA is saying the English phrase of “Oh ready, go ready” since the song title is the abbreviated form of those words. However, I find that the key phrase could also reflect the latter phrases. To explain why people hear “Oh let it go, let it go,” it has to do with the pronunciation of the English phrase of “ORGR.” The letter/sound “R” in English is replaceable with the letter/sound of “L” in Korean assuming the following letter is a vowel sound (for example, Sistar’s Hyorin can also be pronounced as “Hyolyn,” both are valid and correct; Rick can also be heard as “Lick,” and similarly, be correct) . This leads to “Oh ‘leady’ go,” but now you are wondering why the “D” sounds like a “T,” and that is simply that; in Korean, the English “D” sound/letter is a “T” sound. A simple example is the Korean slang/saying of “daebak” (means “awesome/amazing/cool”). In this case, the “D” sound is softer and moreover sounding like “taebak” for English. Factoring this into the equation, the phrase of “ORGR” now becomes “Oh ‘leaty’ go” which sounds like “Oh let it go.” As for the Korean mockery phrase, that is also correct to be heard (assuming I am accurate about the phrase). While “Oh ready, go ready, go” is heard as that in English, in Korean, the same sounding phrase could mean a teasing, mocking saying of “Na na na.” Anyhow, point is, regardless of what you hear, they all match the overall song’s lyrics, and in the end, all are technically accurate. Apologies if my formatting here induces eye strain.
Now ignoring the extremely confusing, unorganized language lesson, in terms of how T-ARA’s concert relates to “Star Camp,” I wondered how rigorous and strenuous the preparation leading up to the solo concert was; dancing and singing for hours is an extremely difficult feat, and thus, preparing for such an event would seem equally challenging. Thankfully, this show gives some insight. While it may not be focused on T-ARA, it does focus on idols who are equally charming, talented, and stunning as those ladies. ZE:A is a group I highly respect. If I recall properly, I believe I did a review on one of their songs, but considering it was during the newbie days, that review would hold as incohesive and horrendous. Perhaps a future review will need to be done to correct the past. Anyhow, whether it were songs that I overlooked such as “Step By Step,” singing and dancing skills, their humor, or their general sweet, affectionate interactions, “Star Camp” reminded me of how incredible these men were.
With all of that said, it is time to truly begin the review. The gentlemen of ZE:A held their own home concert a while back, and thanks to “Star Camp,” some behind-the-scene footages are revealed. Furthermore, for those curious on Star Empire Entertainment’s building (ZE:A’s label company; they also home Nine Muses, Jewelry, Soreal, and V.O.S), this show tours the place and reveals the layout. Is this show worth watching, and does it accurately depict ZE:A’s struggles? Through taking a camping trip to the land of the star idols of ZE:A, we will find out.
For the first section of “Star Camp,” touring Star Empire Entertainment’s building was the main objective. ZE:A’s hyung (used by males to refer to older males), Kevin, “good-looks” Heechul, and Jewelry’s sparkling Yewon were the hosts of the tour. They covered multiple stories (pun intended) of the company, and gave their own personal anecdotes such as trainee day experiences.
Peering at the first floor, there were two sections to cover: the cafeteria and the recording studio. For the cafeteria, besides some teasing on Yewon’s excitement to eat, “Star Camp” revealed the layout. Additionally, Kevin shared ZE:A’s trainee experience involving the place. Before they had a cafeteria worker, he was in charge of cooking meals for his group whether it was a formal dish or simply preparing ramen.
Later, although strangely in the show the order was not chronologically (it went from first floor, second, third, then back to first), the recording studio was unveiled. Unlike the cafeteria, some fans of Star Empire Entertainment’s artists may recognize the location due to other videos (an example such as Nine Muses’ Sera’s audition). Unfortunately, not much was covered since a V.O.S member was in the midst of recording an actual song.
Eventually, “Star Camp” proceeds to the second floor. Here, other ZE:A members are seen; Minwoo and Dongjun introduced viewers to the company’s fitness room. While the physical location is unveiled, the ZE:A members discussed their rigorous workout regime; weightlifting and running were their prominent forms of exercise. Also humorously, the members mentioned their CEO’s office being nearby. This led to Kevin’s jocular impersonation of the CEO should he catch idols improperly exercising.
Adding another example of “Star Camp” ‘s unusual order, the three hosts dived into the basement to showcase the vocal practice room. Similar to the recording studio, fans will recognize this place from other videos. Social media accounts from Star Empire’s idols have depicted short, miniature clips of them singing in this room. Likewise with the recording studio, idols are seen actively working; during the filming, the group of Soreal was seen practicing their vocals.
Now if fans have not recognized the other locations, positively, the third floor will be instantly identifiable; this floor holds the dance practice room, the same location of dance practice videos be it for ZE:A, Nine Muses, Jewelry, and even the other groups. On this floor, additional ZE:A members are encountered; Hyungsik, Siwan, and Taeheon were witnessed practicing. In preparation for their concert, they rehearsed a certain song: Apink’s “No No No” (a future review might be on Apink’s latest song, “Luv”). Readers familiar with Apink will know they are a female group, and some may hold the stance that males performing their choreography is either “wrong” or “awkward,” but ZE:A disproves such. Although “Star Camp” showcased solely a fragment of the dance, the gentlemen combated away those stereotypes and displayed a phenomenal, cute and catchy dance. Adding a quick digression, gender limitations is nonexistent; the concept of certain objects or actions being restricted to a specific gender is something socially constructed. In summary, hopefully viewers do not ever hold the idea of how a group’s choreography is limited based on gender. Reality shows there is no “female dance” or “male dance,” and even with different subjects such as cosmetics, hobbies and more, those limitations should be challenged and questioned.
Once the touring is completed, “Star Camp” focuses on specific moments of the gentlemen prepping for their solo concert. A specific scene disclosed their extreme dedication. From the beginning of the day to 4 a.m., ZE:A members were observed singing and dancing relentlessly. As Hyungsik mentioned, with 9 members in ZE:A, extra time must be invested in order to create perfect synchronicity among them. Despite how tiring and tedious the training proved to be, they all remained diligent and focused, and surprisingly, very cheerful and continued to encourage one another.
Further practice was also observed. During the day and prior to the concert, ZE:A rehearsed on the actual stage itself. With time pressuring the members, they scrutinized every detail of the stage; whether it was the choreography itself, time to transition and change costumes, or introductions, everything became thoroughly checked and had both ZE:A and staff members giving feedback. Ensuring an excellent performance would ensue was their main objective.
After all of the gentlemen’s hard work have been shown, the actual concert itself is filmed. Although in short bits, “Star Camp” disclosed the stage’s numerous fans and ZE:A’s outcome that came from dedicated, tiresome work. “Star Camp” ended on the message of how success derives from hard work. Even with the agonizing days of sheer preparation, in the end, ZE:A’s concert became augmented due to the invested time and energy.
These are the main overarching ideas to the show. Firstly, although I overviewed the main points, I did not include every conversation and story that occurred, and thus, in that regard, I still recommend watching the show for those moments (fans of ZE:A and Star Empire Entertainment would be interested). However, overall, to address the mechanical aspects of “Star Camp,” this was a straight-forward show; it went from touring the label company to showing ZE:A’s sessions of practice. On the positive side, it allowed more focus to some behind-the-scene footages, but in the entertainment perspective, it was not too exciting (and considering this is moreover a show versus a documentary, I hold some entertainment accountable). I anticipated more personal sides to ZE:A, and although there were a multitude of interactions seen, it all revolved around “Star Camp” and practicing versus their usual affection towards each other. In comparison to, for example, OnStyle’s “The TaeTiSeo,” “Star Camp” adds the behind-the-scenes aspect, but unlike “The TaeTiSeo,” general interactions were not seen. Everything was under the industry working lens (mainly rehearsals), which is not bad in itself, but considering this is labeled a show and, as stated, not a documentary, entertaining components should have been added besides the anecdotes and such.
Scrutinizing the show for other aspects excluding the mechanical piece of being a show, like the general K-Pop related ones, the overall general vibe was one of cheerfulness. While positivity should be rife in people’s lives, “Star Camp” displayed the typical one-sided story to idols. ZE:A may have been seen to be drained physically of their stamina and such, and whether their emotions of feeling positive and joyful were genuine or not, the show placed emphasis on glamorizing the men’s jobs of being idols as perfect and utterly rewarding. Some people may recall a specific incident months ago involving Star Empire’s CEO and ZE:A’s leader Junyoung; their battle over fair, humane treatment in terms of simple respect and fair payment became acknowledged all over, and with that scenario holding as true, their fight would completely contradict “Star Camp” ‘s depiction of how ZE:A members possess an easy and positive, although tiring job that simply involved practicing for performances.
Following up, there is a significant aspect to this show’s tone due to the sole basis of editing (and of course further technicalities such as specific clips used, manipulated context, and more). For example, contrasting this show to pure footage and documentaries (such as Nine Muses’ documentary), the lens in which viewers witness this show become utterly transformed into one that is expecting entertainment and a welcoming, friendly atmosphere. With “Star Camp” having their own crew, the members of ZE:A addressed the show with a persona that would appeal to the public; the men appeared exceptionally positive and cheerful. The issue, however, that arises from the change in behavior is what covers the K-Pop industry’s shadier and crueler side. To use a specific example of how ZE:A (and others) adapted their behavior, when it came to the show’s initial introduction of interviewing idols (Kwanghee’s interview is the picture above), sadly, a high chance of their answers were potentially scripted. Although strangely kept, with Kwanghee’s interview, he confessed he had to include “nest” due to a given script for his answer to “What does Star Empire Entertainment represent to you?” On the surface, the awkward phrasing was jocular, and knowing Kwanghee’s upbeat and comical personality, his confession of having a script becomes insignificant. However, ignoring the lighthearted perspective, the fact that he was given a script to answer interview questions that should have elicited genuine, personal answers from his own thoughts, creates some questioning to both the show and potentially other shows and footages involving other K-Pop idols.
Mechanically, “Star Camp” revealed a hindered perspective to ZE:A’s behind-the-scenes practice. Although crippled in showcasing solely positive experiences, it gives the most blatant layer to an idol’s work. In terms of other mechanical details such as being entertaining, while the stories tolds were amusing, more interaction among the members excluding work would have been desired. For the critical aspect, “Star Camp,” like the predominant concept of every K-Pop related show, solely displays positivity and happiness. And while the gentlemen could have truthfully and legitimately felt utter joy to be practicing, showcasing only their successes gives a limited perspective to their jobs, and unfortunately, undermines struggles they could be undergoing (and fast forward in the future, the example of ZE:A’s leader Junyoung and Star Empire’s CEO having their hefty argument). In short, this show is worth watching if ZE:A is a group of interest, and if Star Empire Entertainment holds some interest as well. Additionally, and even if it is one-sided, for those curious on practice protocols, a limited sight is given. For what I would recommend, however, is after watching this show, compare it to Nine Muses’ documentary, “Nine Muses of Star Empire,” to see significant changes and the additional layers to practicing and an idol’s experience (without leaking too much, the documentary includes staff members’ interaction with idols, the harshness, and more).
Perhaps in the future I will review the documentary, and even with my opinion of how solid Nine Muses’ documentary is, everything should still be questioned. A review on the documentary will include my thoughts regarding it, but that will be for the future. Ending on a slightly happier note (although people should still retain the idea of being critical), if the positivity and such seen in shows are forged, at the very least, I will argue that the affection between members are usually genuine. Using ZE:A as an example, Junyoung’s confrontation with the CEO was heavily driven in a desire to protect his members. Even different groups such as the somewhat older news of B.A.P attempting, as a whole group, to terminate their contract with their company is another example. After all, if the reality holds true that the K-Pop industry is rigorous and atrocious towards idols, surviving it via having love and compassion towards other members for support is a likely outcome.
Anyhow, my opinion on the show has been given. Thank you very much for reading, and hopefully this show review adds some variety to the standard song reviews I create. To add an extra piece to this show review trend, I will look over Nine Muses’ own reality show, “Nine Muses Cast” and give my stance on it. After that, song reviews will be resumed, and with a milestone of six reviews for January, I will aim to release four song reviews as soon as possible and in high quality. Songs in mind include Apink’s “Luv” and perhaps a desired review of Girl’s Day’s “I Miss You,” but as always, any song is up for grabs. In fact, I might review ZE:A’s “Ghost of the Wind” since that is a very solid song along with having the best choreography I have seen so far. Thank you once more, and stay tuned. (As a side note, I did finish this review on December 31, but I am holding it off until January 1, and I am hoping the pictures are formatted properly)
Before we dive into this show review, allow me to have a brief update. As many of you can tell, I’ve been quite busy with schoolwork, paperwork, E-Sports, and more. Nevertheless, I am still alive. I have three reviews lined up; T-ARA made a very exciting comeback and I have so many things to critique about their latest song, so the review for “Sugar Free” will hopefully be out soon. In addition, I haven’t forgot about Nasty Nasty’s debut with “Knock”. The only thing that has held me back about it was I haven’t been in the mood for reviewing a sexy concept, but I will still get “Knock” out shortly. Another song for review is going to be Hyuna’s “Red”, although that will be later. And actually adding one more song, I did receive another song request, but goodness have mercy. I won’t reveal that song yet, but I will claim it’s the most atrocious K-Pop song I have ever heard.
Anyhow, moving past the quick update, I’m finally going to be reviewing another show. To be honest, I doubt I’ll do more show reviews unless if they involve a group/idol. As a result, I have no template on how I’m reviewing the show. I’ll probably point out the highlights, as I did with “Jessica & Krystal” (check out that review if you haven’t).
On to the big question of, “What is ‘Hyuna’s Free Month’ about?” Well for one, it is a free month in multiple aspects. From the start, she was given a special black credit card with no limit on expenses. Viewers will already get a quick taste of her silly personality from the beginning teasers; despite her idea to “monopolize” a store and to purchase a brand new TV, she ended up spending as little as possible.
For other perspectives on “Free”, this reality show brought the audience down to her own personal life. Partially. Her free time was revealed, although quite limited. She would go around shopping, swim around, and play with her extremely adorable puppy. Unfortunately, there wasn’t much else revealed in terms of her hobbies. This also brings me to my next point: free promotion.
While “Hyuna’s Free Month” has a slight objective of showcasing Hyuna versus HyunA (stylized name for stage/industry work), it doesn’t do the best job at all. In comparison to another reality show, “Jessica & Krystal”, this show falters on getting audience members to truly connect with Hyuna. What I personally gleaned from this show was more of a behind-the-scenes look for Hyuna’s solo era of “Red”. Nevertheless, it still shows different sides of our sweet idol, even if it’s not as efficiently done.
For what’s personally revealed about her, “Hyuna’s Free Month” showcases her sweeter, kind side. Many people recognize Hyuna for her sexy concepts and stage images, however, underneath all the heavy lipstick and eyeshadow, one must remember there’s a hardworking, smart, and talented lady. Despite the cameras being on, she wasn’t afraid to show her sillier acts, such as dancing on bed with a fake mustache.
Another aspect about Hyuna that was unveiled were her feelings toward her family; she cherishes them greatly and in fact, shed a few tears after reminiscing about them. And no, for those wondering, I did not cry here nor elsewhere for this reality show. Hyuna reflected on how her family is the driving force that allows her to live her dream. This would also explain her tattoo of: “My mother is the heart that keeps me alive." Family is important, and Hyuna is here to remind us all of that.
Continuing on, the first episode is practically as close as viewers will get in terms of connecting with Hyuna. The other episodes were primarily focused on her work during her solo comeback with "Red” (which I will review in a week or so). As compensation, however, there are footages of her adorable puppy, Passion (although that might be false translation, so forgive me if I’m wrong). Anyhow, the hectic schedule of training, practicing, and working hard to have a successful stage is shown. For many days, she is seen in the practice room tediously rehearsing the choreography. In addition, she’s constantly monitoring each dance; every movement must be in sync with the song, and every backup dancer must follow suit.
Besides dance practice, there are other tasks to handle. As her job is being an idol, photo shoots are quite common. For an entire day, morning to midnight or so, she was subjected to constant camera flashes. Nevertheless, she tackled the job with optimism as she aided the camera crew by offering her own opinion and feedback, and thus, allowed the shooting to progress quite smoothly.
Peering at the highlighted components of this show, my final stance is this show is worth watching for those who are fans of Hyuna. Even then, “Hyuna’s Free Month” does a mediocre job at truly showcasing her personal self. This reality show came across as a promotional piece for “Red”, and although there were funny, cute scenes, it focuses too much on her song.
Another issue of this show was it came across as pure fun; there were little to no challenges presented. While it’s understandable that no label company would ever reveal the harsh atmosphere of being a K-Pop idol, I find it completely one-sided to display an idol’s work as utterly glamorous and joyful. There were primarily two struggles presented: composing one of her own songs, and roaming the streets. For the first struggle, a conflict was recorded between her song producer and herself. Hyuna composed her own song with a key phrase similar to, “Screw the haters”, which does come off as rude. Due to that, her song producer tried modifying the lyrics. As expected, Hyuna became heavily upset and some tension was created. When it comes to her second problem, it was rather interesting. Since a plethora of fans recognize her from only her stage persona (extremely heavy makeup, stage costumes, etc.), people around her were dubious on whether she was a random lady, or if she was their loved idol. This proved quite jocular. The only time she became surrounded was when she spoke; her casual makeup and clothing may be vague, but the moment she speaks, everyone knows it’s her voice. Nevertheless, the second issue is something every celebrity faces in terms of becoming followed and crowded.
Overall, I would still recommend this show. From an entertainment point-of-view, it does its role. Behind-the-scenes are revealed, there is an exceptionally cute, fluffy puppy, and there is Hyuna being her comical self. Scrutinizing it a little more, however, and one can see that the show fails to truly show any significant sides of her life. Furthermore, I’m not in preference for shows disclosing an idol’s life as pure fun and games. If “Hyuna’s Free Month” showcased more of her free time and allowed her to have moments to speak personally to fans, that could potentially help. Also, while I didn’t address this earlier, I was hoping to see some interaction between her and 4Minute.
“Jessica & Krystal” will still hold its throne of being the best reality show I’ve seen. “Hyuna’s Free Month” remains quite entertaining, but falls short in some places. As always, thank you very much for reading. This review may be quite disorganized or lacking details. My excuses lie in the fact that I have no show review outline (as I don’t intend to review shows) and that I refuse to spoil the show.
As I mentioned before, I have many song reviews to release soon. Look forward to them. Feel free to check out “Hyuna’s Free Month”. Once again, thank you and I hope this review is still entertaining and sufficiently insightful. Stay tuned for T-ARA’s “Sugar Free” review.
Alright so I don’t know exactly what I’ll be writing for a show “review”, but perhaps this might just be my personal opinion of the show. Anyhow, this is by far one of the better, if not, the best (reality) shows I have ever seen. It’s heartwarming, funny, cute, dorky, and full of emotions. Heck, this is the first show I’ve watched that made me genuinely cry, and although I can get emotional easily when watching things, I’ve never shed an actual tear until this show. So props for that.
Anyhow, what is “Jessica & Krystal” about? Well as some of you may know, Jessica is a member of Girls’ Generation, a veteran group of the K-Pop scene (Check out my review of “Mr. Mr.” by them) and Krystal is a member of f(x), a solid quintet group (And see my review of “Electric Shock”). And of course, Jessica and Krystal are both sisters; the Jung sisters (last name). While they both work and perform for the same label company of SM Entertainment, they hardly have time to truly spend time with one another. Nevertheless, their affection and love for each other only grows stronger with being apart. For this show, the crew takes us on a ride. We get to see the real sisters; not the singers/dancers, but the actual, sweet independent ladies they are.
What’s great about this show is it breaks a lot of the created images of them. People have known Krystal as rude, arrogant, etc. and some have thought that for Jessica as well. However, through following their actual lives and seeing their hectic schedules, people are truly able to understand what they go through and how they truly act. Krystal is a reserved, shy person, not someone who refuses to talk since they’re rude.
Another great thing is they show being an idol isn’t all fun and games; it’s a job. A hard job. Although, in my opinion, the show makes lightly of how busy they are, at least they reveal that. There was an episode showing Krystal getting only a few hours of sleep (2 to 4?) and then having to film and practice for the entire day. This also includes running straight into nighttime. After all the work is done, she has time to sleep for a few hours, and then it repeats. A tough job it is, even if it looks glamorous and fun on the outside.
Now besides seeing an idol’s personal life, what this show does focus on is their relationship: Jessica and Krystal. It is extremely heartwarming to see how close they are to one another. They eat together, laugh together, cry together, they share so many moments with each other. Of course, being able to do this was thanks to the show. Without spoiling anything, pretty much the ladies have thanked the show for allowing them to spend time together, since normally they would never have time to do that. Anyhow, their love for each other is something everyone can feel and reflect upon. Love truly is everything. I think that’s a message people forget, so remember to love those who are close to you.
Well I guess I just covered points on highlighted things of this show. I sort of just went into this post with nothing in mind, but hey I wanted to share it with you guys. This show is just awesome, it really is. Full of charms and laughs, it provides entertainment and it provides a great behind-the-scenes look at the lives of the Jung idols. I really wish they went for another season, but in reality, this show is meant as a one-time deal; going further wouldn’t have the same, momentous effect it currently has.
If you haven’t seen this show, check it out. In fact, there are some English subtitled videos for it, so that’s neat.
Anyhow I’ve come to really love this show and adore these sisters. I’m still shocked that “Jessica & Krystal” made me cry, but that goes to show how genuine the show is and such.
As usual, thanks for reading. Even though this isn’t the usual music review, I hope you find it just as entertaining. This is more of just my opinion on the show and such, but I hope it’s insightful. I didn’t go into much detail, since spoiling this incredible show would be dishonoring. Check it out for yourself to see.
For my upcoming review, I’m making a complete change of plans to f(x)’s “Red Light”. That’ll be a really, really fun and critical review, so stay tuned for that. I’m also going to post an “Upcoming Song Review” blog for those wondering what my future plans are. Adding diversity is my main goal. Anyhow, thank you for reading this, check out the ladies’ amazing show. For now, I’m actually going to finish the remaining, precious 8 minutes or so left of the last episode. See you in the next review!