Terrace House: Boys & Girls In The City, an endlessly fascinating Japanese reality show in which six handpicked, good-looking strangers live under one roof at a time, strikes gold with hip-hop dancer Yuuki Byrnes, who moves in and promptly falls in love with entertainer Misaki Tamori.

By the end of Episode 38, just his third on the show, he has gone out on a dinner date with her, given her a dress at her birthday party and gushed about how cute she looks in it.

Now they are curled up around a sofa in the living room and he is making eyes at her, then confessing his feelings point-blank.

It is the sort of moment that may make you want to squeal, call your friends and bombard them with emoji – and the show knows this.

So it often cuts to television presenters who have gathered round another sofa in another living room: your instant buddies who are watching the episode and reacting or overreacting with you.

Singer You and comic Tokui Yoshimi are the older, wiser people, feeling nostalgic about young love.

Model Reina Triendl is a squealer, getting girlishly excited about romance. Comedian Ryota Yamasato is a scream, giving voice to outrage and envy at the slightest hint that love is running smoothly.

The genius of Terrace House lies in this multidimensional set-up.

On one level, it is an understated fly-on-the-wall show about the intricacies of living with strangers and forming relationships, while being Japanese and extremely polite.

For example, it isn’t a show that does anything as brutal as booting off unpopular housemates.

Instead, they lose their housemates’ favour, are quietly ostracised and volunteer to move out.

On another level, the show has a built-in chorus, the presenters who serve as commentators, cheerleaders and jeerers, amplifying significant moments and spelling out which of the beautiful people is a monster or a user.

When medical student Yuriko Hayata uses her cute voice to charm tap dancer Yuki Adachi into taking her to Blue Note, a pricey jazz club, during an early episode, it is Yamasato who calls her out.

He notices that she wants to go to Blue Note more than she wants to go out with Adachi.

On the other side of the presenters’ room, Yoshimi is the expert at picking up on sexual tension.

When hairstylist Tatsuya Uchihara gives model Minori Nakada a head massage, Yoshimi likens it to tantric sex or “Indian foreplay”.

Then the show reaches a whole other level of meta, when the housemates start to watch themselves on TV.

Byrnes even watches an earlier episode for research.

He is about to ask Tamori to go steady with him and feels the need to study the instalment when she went on a romantic date to Yokohama with a previous housemate, but got rejected by him.

Late in the season, the show implodes a little, when two of the housemates are revealed to have been dating in secret, while pretending on camera that they haven’t even held hands.

And even then, it is kind of brilliant.

On the one hand, such dishonesty does shake to its foundations a show that is supposed to be about real people having real relationships.

On the other hand, the revelation casts a new light on the secret couple’s humdrum episodes.

Now, you might have to rewatch them.

How do and don’t people connect?

It is a question buried in Terrace House and many of Makoto Shinkai’s anime, including his current hit Your Name.

Some of the Japanese director’s works are on Netflix, such as Voices Of A Distant Star (2003) and The Place Promised in Our Early Days (2004), early films where his theme, the distance between people, was still at an embryonic stage.

A more fully formed work is The Garden Of Words (2013).

In the story of two strangers who keep meeting on rainy days, the cityscape is transformed into a landscape that is lush with possibility – where romance, however improbable, may sprout and flourish.

woeiwan@sph.com.sg

This article was first published on January 18, 2017.
Get a copy of The Straits Times or go to straitstimes.com for more stories.

In the South Korean thriller Master, a charismatic organiser played by Lee Byung Hun, fills stadiums with his message of prosperity.

He tells the adoring, clapping crowd that they are among the chosen and their faith will make them rich. Participants, to their horror, discover that they are victims of a massive swindle he has perpetrated.

Director and co-writer Cho Ui Seok, 41, tells The Straits Times that he based the character of Jin on a real-life conman.

In the early 2000s, Cho Hee Pal bilked 40,000 people out of billions by telling them that investments would go to a high-tech medical appliance company.

The operation was nothing more than a pyramid scheme, in which fees paid by recruits are given as rewards to recruiters, until the scheme collapses or the organisers abscond with the money.

“He ran away to China and then a video came out showing his funeral,” says Cho.

Even today, victims still believe the video to be fake and clamour for further investigation, he adds.

Cho, with lead actors Gang Dong Won and Kim Woo Bin, were in Singapore last week to promote the movie.

In Master, which opened last week, the director did not want to make his antagonist just a menacing character – he had to be seductive too, to be believable as a con artist.

“In Korea, there is a saying – we say a person is like a certain bird with eight colours. It’s a metaphor for describing a person with hidden facets,” says Cho through a translator.

The film’s use of topical events includes a critique of current trends, including the notion of instant success.

It is how so many otherwise intelligent people were conned – they saw others getting rich and did not want to miss out.

“In the economic crisis of the 1990s, many people gave up on the idea of hard work, since there was no guaranteed future at the end of it. Young people don’t have dreams any more, they think only about getting rich now,” he says, explaining how scammers came into prominence in South Korea a decade ago and why they are still active today.

The movie has a theme of corruption in government. Currently, it seems that life is imitating art – a bribery scandal is sweeping the capital Seoul and has taken down President Park Geun Hye.

In the film, high officials face justice in the wake of the con.

“The script was written three years ago. My writing partner Kim Hyun Deok and I are shocked by what’s happening today.

328644

2016-09-14 12:48:59

Photo Gallery

Fan Bingbing, Lee Byung-Hun attend Toronto International Film Fest

Source: Reuters

• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–

Our film’s conclusion is a fantasy, but now, it seems that reality is even more like fantasy than the film,” he says.

Jang Gun, the computer whiz and gang member played by Kim Woo Bin, represents the 20somethings of today who seek immediate wealth, no matter what, says Cho.

“He has brains, he’s smart, but he thinks that crime is the easiest way to get what he wants,” says Cho.

The film’s action moves to the Philippines, where Jin (Lee) is lying low and where he plots his next big con.

The location was not picked by accident.

“Korean criminals have ties to the Philippines, where there are many islands for them to hide in,” says Cho.

His crew filmed in the Tondo district of Manila, an area that has become synonymous with slums in the capital city.

However, he points out that Tondo covers a wide area, one that includes more upscale streets, which is where they filmed.

“I filmed in a more middle-class area, which I picked for its colour. The real slum areas would have been too dangerous.”

This article was first published on Jan 18, 2017.
Get a copy of The Straits Times or go to straitstimes.com for more stories.

Jodhpur – An Indian court on Wednesday acquitted Bollywood superstar Salman Khan of using unlicensed firearms to kill protected wildlife almost two decades ago.

Khan, 51, has now been acquitted in three out of four cases filed against him for hunting rare black bucks, a native species of antelope, while shooting a film in the northwestern state of Rajasthan in 1998.

Sporting dark sunglasses, Khan was in court to hear the verdict as hundreds of police deployed outside tried to keep the crowds of fans under control.

“He was charged under two sections of the Arms Act and he has been cleared in both,” Hastimal Saraswat, a defence lawyer, told reporters outside the court in Jodhpur city.

“He was acquitted due to lack of conclusive evidence.” While pronouncing the acquittal, magistrate Dalpat Singh Rajpurohit said the prosecution could not prove that Khan possessed and used fire arms with expired license.

Prosecution counsel B. S. Bhati said they would appeal the verdict after studying the 102-page order. The actor still faces a fourth case on charges of poaching black bucks.

Khan, known for playing a tough guy in Hindi films, had accused the state forest department of framing him in the case.

Shortly after Wednesday’s verdict, Khan thanked his fans for their “support and good wishes” on Twitter where he has 21.1 million followers.

The actor is one of the Indian movie industry’s biggest draws and has starred in more than 100 films and television shows.

Last year his movie “Sultan”, in which he played an ageing wrestler, smashed Bollywood’s box office records.

But Khan is no stranger to controversy and in 2015 he was cleared in another long-running case of killing a homeless man in a hit-and-run crash.

That decision is now being challenged in the Supreme Court.

Indian courts can often take years – and sometimes decades – to pronounce verdicts.

Hong Kong actor Andy Lau has been hospitalised following an accident while filming in Thailand.

According to Apple Daily, the 55-year-old “heavenly king” arrived in Thailand on Monday (Jan 16) for the filming of a commercial which required him to ride on a horse.

A source told Apple Daily that Lau was riding on the horse in Khao Lak near Bangkok when it suddenly threw him off and stomped on him.

According to The Star, Lau could not move after falling off the horse.

In a report by South China Morning Post, it said that he has been treated for a pelvic injury.

Earlier, Taiwan’s EBC news channel reported that Lau was believed to have suffered serious spinal fractures and was taken to a local hospital.

He has since been transferred to a hospital in Hong Kong.

A statement issued by Lau’s company Focus Artistes said that the actor “is currently being looked after by medical professionals”.

“There is no cause for worry,” it added.

The company also thanked everyone for their concern over the incident.

ljessica@sph.com.sg

43822

2013-09-18 17:07:26

Photo Gallery

Andy Lau, his wife Carol Chu, and family

Source: Shin Min, Lianhe Zaobao, Lollipop, Apple Daily Hong Kong, Reuters

• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–
• 
  
  <!–