F4 Thailand: Boys Over Flowers Episodes 10-16

“I want to define what I mean by a “great flawed film.” It is simply a masterpiece that has aborted, an ambitious project weakened by some errors in the making: a fine screenplay that is “unshootable,” an inadequate cast, a shooting contaminated by hatred or blinded by love, or an inordinate gap between the original intention and the final execution. This notion of “great flawed films” can apply only to the works of a great director—one who has demonstrated that in other circumstances he can achieve perfection. In an overall view of his achievements, a true cinéphile may, on occasion, prefer such a director’s “great flawed film” to one of his acknowledged masterpieces—thereby preferring, for example, A King in New York to The Gold Rush, or The Rules of the Game to Grand Illusion. If one accepts the concept that a perfect execution often conceals the film-maker’s intentions, one must admit that the “great flawed film” may reveal more vividly the picture’s raison d’etre.

“I might also point out that, while the masterpiece does not necessarily arouse the viewer’s emotions, the “great flawed film” frequently does—which accounts for the fact that the latter is more apt to become what the American critics call a “cult film” than is the masterpiece.

“I would add that the “great flawed film” is often harmed by an excess of sincerity. Paradoxically, this sincerity makes it clearer to the aficionados, but more obscure to the general public, which has been conditioned to absorb mixtures that give priority to gimmicks rather than to straightforward confessions.”

“We will not let any actor die in the series. Everyone must be good in their own way. And every time we had an extra take and the boys fight until they can do it right, the audience saw it and appreciated it from the heart.”

“Being based on HYD really simultaneously helped and shot this series in the foot. It wouldn’t have gotten as many sponsors and freedom to do what they wanted if it hadn’t been based on this tried and tested cash grab. They also wouldn’t have gotten as big of an audience.  

But having to follow the original plot also cost them a lot of really good character development and growth. Thyme’s character development was handle excellently. They did the impossible: they truly redeemed the male lead in a Hana Yori Dango adaptation😂”

I feel bad that I can't join you, but please to share with your audience my disappointment that F4T (maybe b/c the HYD framework they couldn't escape) was not ultimately Gorya's story. I feel the last couple of episodes let her down a bit, especially considering how well drawn she was in the first several episodes.

“Something came to me before I rewatched 16- I’d been saying that I thought the creators  were prioritizing their sociopolitical commentary over the love  story - economic inequality, power dynamics, anti-patriarchal lens-  and they did those things incredibly well. BUT then they hit  14-16 and in February were like oh wait fml we gotta wrap up this teen love story honoring the narrative of the manga, feeding a ravenous fandom and having it make a wee bit of sense. Hmmm. OK GUYS I GOT IT…DANCING!”

“To me, it’s the longhand and metaphorical way of showing that Thyme loves Gorya’s authentic and messy self that can never be dulled with any appearance, any beautiful dress or any expensive jewelry”