8392225
Well, friends, the last thing I expected was to like a lakorn called 'Miss Culinary', starring Gybzy Wanida. I never liked her lakorn before, and I never liked her. As for Jason Young, I never as much as COUNTED him as an actor. As for the younger generation couple, I don't know. I don't like two-generation stories and I sure don't seek out period setting. And I don't care for COOKING the slightest! LOL. But, this was great. See, I say it all the time that it's not about what the lakorn is ABOUT:) However, it had a huge flaw, not concentrating on its theme (being food), rushing heroine's career line too much, while plaguing the screentime with weak "romance" line.
I do like work dramas so that aspect worked well with me, obviously. The main heroine aspires to be great in her work and I seem to always enjoy that trope. I'm not keen on the whole story being actually narrated by somebody else, but never mind. I was enjoying the main heroine's journey to become a great chef so much I could spare romance line completely. But no, she has to have a double one. Both the guys she meets are good, both the romance lines are lame and go from nowhere to nowhere, but we dwell painfully long time on it. While it's funny one of the guys is half her age and it's not the one portrayed by Jason YOUNG, I wished we could just focus on the work drama.
That's very pleasant, well executed, the main heroine knows passion for her craft, willingness to learn, humility and endurance, AND in stark contrast to her "romance" behavior, isn't picky. She gets to work for vastly various people. The topic of cooking (which does NOT interest me) is made as interesting as possible, the work challenges are engaging, visual works perfectly and the acting - including those actors I previously never praised - is commendably understated. No cheap overacting in this lakorn: and that's something in the case of Jason Young, especially:) Who directed this? Let them make more lakorns, please.
With the series progressing, we repeatedly change the main heroine's workplace rather abruptly, while I wouldn't mind to spend way more time in there. We then spend the time with the modern generation couple, which is not a couple, but another threesome. The guy talks straight to the camera explaining various ways how to determinate which of the two girls he actually loves. I say if he loved someone he'd hardly have doubts, THAT would not be his problem, lol. In short, I'd prefer if this lame guy would concentrate solely on telling the story of his mother: and preferably the one about her success, not about "how his mother met his father". Luckilly, we always return to the period line (perhaps this should rather be a story of his GRANDmother? if she "invented" that much of thai cuisine), but even there we have the same thing going on. Soon, Gybzy Wanida's main heroine is asking her friend which of the two guys who are crushing on her should she choose. I felt like smacking her face. Didn't she already moved in with one of the guys, introduced him to his mother, told him she loved him and nobody else? Seriously, this should just concentrate on her work-related journey. She seemed like completely different person in her spare time! When I was watching the work side of her, I was cheering for her so much. I wanted to keep that. Therefore, I wanted to watch the work drama where I got a heroine I rooted for. Not the relationship drama where I got a leading lady acting like a c*w.
Period line was bearable only partially (when whole episode got dedicated to relationship stuff only, it was a disaster). The present line was completely unwatchable. Again and again, one of the girls was asking the son of the main heroine which of the guys his father was. Again he did not reveal it. I wanted to shout: I don't care! LOL. The son definitely knew about his mother's lovelife in too much detail. Seriously, all I wanted was for this series to stop dealing with it. I would accept gladly had the mother chosen either of the guys, even the one I liked less, as long as the other one would immediatelly pi** off. And while we're at it, the son might, too. Both the period surplus guy and the whole present time "story" could (and should) be axed. Let the mother have just one guy, let's focus on her work story, and let's keep the son only as voiceover. Would that be so hard to do?
This way, the series felt long despite having 13 short-runtime episodes only. While the relationship drama got overplayed in a loop several times over, the work drama was interrupted and incomplete. As a result, half the time I loved this series, half the time I wanted to drop it immediatelly (yes, without getting to know who the modern line guy's father was, or which girl he chooses, geez I would take pride in NOT learning it). How to rate it now? This series was definitely successful in making me enjoy a story about pursuing a career in cooking (though it ends up in weird paradox of her still not knowing the same as nearest street vendor), and even more particularly successful in making me resent watching a romantic line (despite the otherwise likeable characters), which always used to be my favorite. Gee, I could recommend this show if you call yourself incurable romance junkie and wish to get cured. Try this one, it might do the trick;)
I do like work dramas so that aspect worked well with me, obviously. The main heroine aspires to be great in her work and I seem to always enjoy that trope. I'm not keen on the whole story being actually narrated by somebody else, but never mind. I was enjoying the main heroine's journey to become a great chef so much I could spare romance line completely. But no, she has to have a double one. Both the guys she meets are good, both the romance lines are lame and go from nowhere to nowhere, but we dwell painfully long time on it. While it's funny one of the guys is half her age and it's not the one portrayed by Jason YOUNG, I wished we could just focus on the work drama.
That's very pleasant, well executed, the main heroine knows passion for her craft, willingness to learn, humility and endurance, AND in stark contrast to her "romance" behavior, isn't picky. She gets to work for vastly various people. The topic of cooking (which does NOT interest me) is made as interesting as possible, the work challenges are engaging, visual works perfectly and the acting - including those actors I previously never praised - is commendably understated. No cheap overacting in this lakorn: and that's something in the case of Jason Young, especially:) Who directed this? Let them make more lakorns, please.
With the series progressing, we repeatedly change the main heroine's workplace rather abruptly, while I wouldn't mind to spend way more time in there. We then spend the time with the modern generation couple, which is not a couple, but another threesome. The guy talks straight to the camera explaining various ways how to determinate which of the two girls he actually loves. I say if he loved someone he'd hardly have doubts, THAT would not be his problem, lol. In short, I'd prefer if this lame guy would concentrate solely on telling the story of his mother: and preferably the one about her success, not about "how his mother met his father". Luckilly, we always return to the period line (perhaps this should rather be a story of his GRANDmother? if she "invented" that much of thai cuisine), but even there we have the same thing going on. Soon, Gybzy Wanida's main heroine is asking her friend which of the two guys who are crushing on her should she choose. I felt like smacking her face. Didn't she already moved in with one of the guys, introduced him to his mother, told him she loved him and nobody else? Seriously, this should just concentrate on her work-related journey. She seemed like completely different person in her spare time! When I was watching the work side of her, I was cheering for her so much. I wanted to keep that. Therefore, I wanted to watch the work drama where I got a heroine I rooted for. Not the relationship drama where I got a leading lady acting like a c*w.
Period line was bearable only partially (when whole episode got dedicated to relationship stuff only, it was a disaster). The present line was completely unwatchable. Again and again, one of the girls was asking the son of the main heroine which of the guys his father was. Again he did not reveal it. I wanted to shout: I don't care! LOL. The son definitely knew about his mother's lovelife in too much detail. Seriously, all I wanted was for this series to stop dealing with it. I would accept gladly had the mother chosen either of the guys, even the one I liked less, as long as the other one would immediatelly pi** off. And while we're at it, the son might, too. Both the period surplus guy and the whole present time "story" could (and should) be axed. Let the mother have just one guy, let's focus on her work story, and let's keep the son only as voiceover. Would that be so hard to do?
This way, the series felt long despite having 13 short-runtime episodes only. While the relationship drama got overplayed in a loop several times over, the work drama was interrupted and incomplete. As a result, half the time I loved this series, half the time I wanted to drop it immediatelly (yes, without getting to know who the modern line guy's father was, or which girl he chooses, geez I would take pride in NOT learning it). How to rate it now? This series was definitely successful in making me enjoy a story about pursuing a career in cooking (though it ends up in weird paradox of her still not knowing the same as nearest street vendor), and even more particularly successful in making me resent watching a romantic line (despite the otherwise likeable characters), which always used to be my favorite. Gee, I could recommend this show if you call yourself incurable romance junkie and wish to get cured. Try this one, it might do the trick;)
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