绣春刀

二 |     If there is anything apart from Shah Rukh Khan's films that have raised the bar for romance for Indian fans, it's definitely Korean dramas. Over the years, K-dramas have redefined what on-screen love can look like. More than just visually stunning, these dramas resonate because they are rooted in sincerity, good storytelling, layered characters, and meaningful writing. K-dramas don't just show dreamy love stories, many of them spotlight social issues, evolving relationships and personal growth.     So, scroll through our list of some of the most romantic K-dramas for every mood and moment.     In This Article      Crash Landing on YouAll of Us Are DeadGoblin (Guardian: The Lonely and Great God)Twenty-Five Twenty-OneCoffee PrinceOur Beloved SummerCrash Landing on You                                                  Director: Lee Jung-hyo     Cast: Hyun Bin, Son Ye-jin, Seo Ji-hye, Kim Jung-hyunCrash Landing On You is the drama everyone will ask you to watch if you are new into Korean shows. It follows Yoob Se-ri (Son Ye-jin), a successful South Korean businesswoman who accidentally lands in North Korea after a paragliding mishap. There, she meets the Captain in the Korean People's Army Ri Jeong-hyeok (Hyun Bin), who gives her shelter and helps her return back home. Se-ri navigates the harsh realities of North Korean life and bonds with her new neighbours as well as Captain Ri's subordinates. The two of them slowly develop a deep bond.     On the other hand, Seo Dan, a wealthy North Korean woman who is engaged to Captain Ri is not happy with Se-ri's arrival. However, destiny brings her closer to Gu Seung-jun (Alberto Gu), a charming yet morally grey South Korean conman.     All of Us Are Dead                                                  Directors: Lee Jae-kyoo and Kim Nam-su     Cast: Park Ji-hu, Yoon Chan-young, Cho Yi-hyun, Lomon, Yoo In-soo, Lee Yoo-mi     All of Us Are Dead isn't a conventional love story. It unfolds in the middle of a terrifying zombie apocalypse. The story follows a group of students trapped inside their school after a deadly virus outbreak turns their classmates and teachers into zombies. Confined within those four walls, they fight for survival and are faced with tough choices that make them question their believes and morals.     Amid this chaos, the show explores the tender moments of young love. Childhood best friends Lee Cheong-san (Yoon Chan-young) and Nam On-jo (Park Ji-hu) begin to realise their feels for each other as the danger around them grows. Their bond becomes the emotional core of the series. Another romantic thread involves Su-hyeok (Lomon) and Choi Nam-ra (Cho Yi-hyun), whose budding romance blossoms slowly, even as the world around them falls apart. The drama also explores questions of survival, friendship, and the erosion of social norms during a horrible incident.     Goblin (Guardian: The Lonely and Great God)                                                  Directors: Lee Eung-bok and Kwon Hyuk-chan (Ep. 5–16)     Cast: Gong Yoo, Kim Go-eun, Lee Dong-wook, Yoo In-na and Yook Sung-jae     One of the most popular K-dramas, Goblin tells the story of Kim Shin aka Goblin (Gong Yoo), a general from the Goryeo era who is cursed with immortality after his death. Bound to live forever as a punishment for all the people he had killed in war, he carries a sword invisibly logged in his chest. The only way to free him is if the Goblin's Bride appears and removes the sword. Enter Ji Eun-tak (Kim Go-eun), a cheerful yet lonely high school girl who can see ghosts. When she accidentally summons the goblin, their lives intertwine in unexpected ways. She realises that she might be the destined bride who can end his eternal life.     Adding a dash of comedy is the hilarious dynamic between the Goblin and the Grim Reaper (Lee Dong-wook), whose constant bickering bring in some of the show's most iconic moments. Goblin became a cultural phenomenon in South Korea after its release.     Twenty-Five Twenty-One                                                  Director: Jung Ji-hyun     Cast: Kim Tae-ri, Nam Joo-hyuk, Bona, Choi Hyun-wook, Lee Ju-myoung     Twenty-Five Twenty-One is a coming-of-age romantic drama set between the late 1990s and early 2000s. It follows Na Hee-do (Kim Tae-ri), a passionate high school fencer whose life turns upside down during South Korea’s IMF financial crisis. Her fencing team is disbanded, forcing her to shift to another school. She crosses paths with Baek Yi-jin (Nam Joo-hyuk), once the son of a wealthy family but now struggling after his father’s business collapses. Forced to juggle multiple part-time jobs, Yi-jin slowly rebuilds his life and Hee-do’s fiery spirit brings warmth into his bleak world. Hee-do also crossed paths with fencing prodigy Ko Yu-rim (Bona), her idol turned rival and later close friend, class clown Ji Seung-wan (Lee Ju-myoung), and loyal friend Moon Ji-woong (Choi Hyun-wook), each pursuing their own dreams while navigating the changes of youth. The show ends on a bittersweet note with Na Hee-do and Baek Yi-jin growing older and moving in different directions, not becase they stopped loving each other, but because they couldn't find a way to grow together in the same direction.     Coffee Prince                                              Director: Lee Yoon-jung     Cast: Gong Yoo, Yoon Eun-hye, Lee Sun-kyun, Chae Jung-an     Coffee Prince tells the story of unlikely romance between a tomboyish woman and a young food empire moghul. Go Eun-chan (Yoon Eun-hye), a tomboyish woman who disguises herself as a man to get a job at Choi Han-kyul’s (Gong Yoo) cafe, Coffee Prince. Han-kyul hires her believing she’s a boy, and the two grow close, leading him into emotional turmoil as he begins to fall for her. When Eun-chan finally reveals she’s a woman, the confusion gives way to a genuine romance. Their relationship is later tested when Eun-chan moves to Italy to train as a barista, but Han-kyul supports her dreams.     Our Beloved Summer                                              Director: Lee Yoon-jung     Cast: Gong Yoo, Yoon Eun-hye, Lee Sun-kyun and Chae Jung-an     Our Beloved Summer follows to ex-lovers, Choi Ung (Choi Woo-shik) and Kook Yeon-soo (Kim Da-mi), who breakup and promise bever to meet again. However, the documentary they filmed in high school goes viral, forcing them to face each other once again.     As they work together again, old wounds resurface, but so do old feelings. Ung, now a rising illustrator, still carries unresolved hurt, while Yeon-soo, a successful PR professional, confronts the emotional walls she built to survive her difficult upbringing.     Also Read: 12 Winter-set K-dramas To Watch On Cosy Nights In: Goblin, Romance Is A Bonus Book and More。如果你讨厌一部电影，看一会就会关掉；如果你吃完后不喜欢一家饭店，第二次去那的概率也微乎其微。人类趋利避害的本能，总是让我们倾向于把宝贵的时间花在能带来愉悦感的事物上，不适的就会去远离。

三 | 但在竞技体育的世界里，好像并非如此。看球一直是一种爱憎分明的活动，几乎每个球迷都会有偏爱或者讨厌的队伍和球员。过往，大部分人在面对自己不喜欢的队伍时，都会选择不去看或者关注。但现在，越来越多的人选择做另一件事：批评式观看（hate-watching）。顾名思义，批评式观赛指的是明明不喜欢某支球队或某个运动员，却还是专门守着比赛直播，就为了盼着他们输。图源：Reddit最初，这个词是被影评家用于影视领域，形容观众明明觉得一档节目很烂，依然一期不落地追，为的就是挑错、吐槽，再从批评中获得满足，在2013年前后大量出现。

四 | 那个时间节点，恰好也是社交媒体逐渐成为大众主流发声工具的时候。当然了，这种盼着死敌倒霉的心态在球迷文化其实并不陌生，但过往这种期待往往只是热爱主队的副产品，因为我支持A，所以我顺便盼着B输。但是近一两年在体育社媒上更明显的变化，是这种「讨厌」逐渐脱离主队关系，单独成为一种观看动力。因为很多时候，一些人批评式观看的两队，哪个都不是自己主队。而且由于有了这样的归纳性术语，很多社媒上都开始出现一些追本溯源的帖子，比如你一生中最好的批评式观看经历是什么？其中很多都是十几二十年前的案例。那么，为什么批评式观看能成为一种文化现象？一个很重要的原因，就是这种心态本身带有的情绪奖励。幸灾乐祸这个词大家都知道，现实里，这种情绪不太体面，也没有人提倡这种心态和行为。但是，体育赛事某种程度上却为此划出了合法区域，某个队伍的失败也会反向加强自己的身份认同。更深一层的满足也来自观点自证，一些球队因为张扬的行事风格或者球迷文化，给外界留下了极差印象，当一个人认定它名不副实或者「迟早出事」，每次输球都是对批评式观赛人群观点的确认。

五 | 而且，有些时候看主队比赛是一种历劫，要常备速效救心丸，一场比赛就能尝遍人间的酸甜苦辣。但看死敌比赛，相当于是纯粹的享受，是一种零风险、高回报的情绪投资。

六 | 甚者，一些深受「阴间」赛程折磨、主队比赛时间对中国球迷极度不友好的球迷，为了多看球就会去早场较多的其他联赛认领第二主队，再顺着球队关系找出第二「死敌」。花几个小时时间看主队输球be like 图源：Reddit读到这里，有些人会觉得这个心态过于扭曲，但我们需要厘清一个极其重要的边界：纯粹的互联网喷子，和批评式观赛不是一回事。绝大多数时候，后者只是一种「乐子人」的情绪消遣心态，而不是真的要去对他人造成实质性的伤害。某种程度上，批评式观赛也能当作一种时间管理工具。

七 | 今天这种信息爆炸的时代，一个人能挤出来的看球时间太有限了，很多人希望在主队之外多看点比赛，所以就选择去代入一些情绪，让自己有更有动力和代入去看更多比赛。如果一定要做个不太严谨的比较，一个连比赛都不看的喷子，和一个认真看完比赛的黑粉，哪个更差？大家大概都有自己的答案。那为什么要一定去批评式观看，而不是纯粹享受竞技本身？因为体育迷能做到这件事概率，比实现世界和平还要艰难。

八 | 而且，一个球员和队伍越强，越容易成为批评式观赛的对象。这两天，《独树不成林》的主播仲树关于《奥德赛》采访导演诺兰的视频出圈，其中有一个极具穿透力的观点：现在我们生活在一个「需要为伟大道歉」的时代。图源：@仲树这种对伟大的天然警惕甚至排斥，在体育世界中其实一直存在，并且表现得淋漓尽致。很多时候，一支球队的统治力越强、建立的王朝越是漫长，就越不可避免地会成为众矢之的，批评式观赛很少是针对弱队的。不过，一个行为能成为现象，除了个体行为和心理机制外，也跟社会和媒介的发展离不开关系。批评式观赛文化的彻底爆发，很大程度上是由于社媒和其算法的推波助澜，且扮演了一个双刃剑的角色。一方面，其让批评式观赛变成了一种能找到同好圈子文化，变成某种调侃。但另一方面，社媒也让这种原本应该无伤大雅的乐子人心态，面临着随时变味的风险。当下各大平台的底层逻辑，都在奖励负面情绪和观点。有理有据的战术讨论，信息流都不愿正眼瞧一眼；但某个失误画面配上一嘲讽，算法就像是看到菠菜的大力水手。在这样的机制喂养下，批评式观赛有些时候也变得跟比赛本身无关，而是变成了一场巨型的互联网社交表演，很多人开始模糊底线，让其上升为人身攻击和骂战。如果到了这个地步，那批评式观赛就与纯粹喷子的行为并无区别。我想，这种脱离于原本意义和目的的行为，是所有人都不愿意看到的。毕竟，树立某个「反派」可以让人更投入的看比赛，但如果最后搞得戾气横生、丧失底线，脱离圈子去攻击他人，那这好不容易挤出来的宝贵时间和睡眠，可就真的不值当了。