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Before there was Parasite, Bong Joon Ho was already a well respected name in the film community. Though they did not get as much exposure as Parasite, his previous works are still masterpieces in their own right. One of those films is Mother. 

Mother (2009) is a South Korean film directed by Bong Joon Ho that leaves you with an eerie feeling. Yoon Do-Joon (Won Bin) is in his mid twenties, but is too dim witted to take care of 

himself. He lives with his overprotective mother (Kim Hye Ja) in an impoverished home, holding a reputation as the village idiot. He wakes up one morning to the cops at his doorstep, implicated in the murder of a high school girl. Distraught by her son’s arrest, Do-Joon’s mother makes it her singular mission to free him from jail, and will go to any length to do so. 

The film earned dozens of awards, all of which it deserves. It would take hours to go through all of the things it does well in one sitting, and that’s not what I’m here to do. What I would like to focus on is the idea of trope inversion, and how it made Mother so great. 

A trope, in this context, is a theme, idea, or narrative tool that is used repeatedly in fictional storytelling. It is similar to a cliché, but not quite. A cliché implies a lack of originality. Tropes are used repeatedly but can take various forms depending on the story it is in. If done right, a story using a trope can remain narratively unique. Just look at how many different stories there are that use the hero’s journey. But don’t get me wrong, they can be done wrong too.

And where there are tropes, there are trope inversions. It’s easy to confuse trope inversion with the concept of a plot twist. A plot twist is an unexpected development, whereas a trope inversion is a twisted take on an existing theme. Game of Thrones is a good example. There’s plenty of plot twists that I won’t spoil, but one prominent trope inversion in the show is its approach to revenge. A YouTube channel called “The Cosmonaut Variety Hour” has a great video explaining this concept. To paraphrase him, most revenge stories have us rooting for the vengeful character because we see it as justice, and they usually win in the end. Game of Thrones has its fair share of vengeful characters, but instead of letting those characters succeed, the show inverts the revenge trope by punishing those characters. Every character who sought vengeance is killed at some point in the show, except for one.  

Mother inverts the…I don’t what to call it…The redemption trope? When a main protagonist is wrongfully implicated in a crime and must solve it themselves in order to return to their normal life. Typically, the character in question is able to endure hardship and come out the other end having defeated the antagonist. Some movies have different interpretations in which the protagonist emerges having lost something significant or even having failed. Mother’s take on the trope, however, is something I’ve never seen before.

SPOILERS

A majority of the movie is spent watching the mother looking into every possible method to free her son. Meanwhile, she is the only person in the entire town who believes her son is innocent. No matter what happens, we as an audience are certain that Do-Joon did not commit this murder. The mother’s investigation eventually leads to a suspicious looking man who was at the scene of the crime.                     

At this point, all the typical signs are in place. A mysterious murder. A misunderstood son and mother having to endure disbelief and hatred. A crime that the mother is slowly unraveling and a suspicious man who we’ve caught glimpses of. We as an audience are certain that the suspicious man is behind it all. The climax of the film must be about catching him.

But when the mother confronts him in his old shack, we find out that he wasn’t a criminal, but a witness. A flashback scene of his account shows us that Do-Joon killed the student with a rock and left the scene. The mother, overcome with shock and denial, impulsively kills the old man and burns his shack to the ground, leaving no witnesses. On Do-Joon’s side of things, the police suddenly find strong evidence against a different subject, and Do-Joon is freed. The mother and Do-Joon reunite and return to their normal lives; Do-Joon still unable to piece together that he killed the girl, and the mother in complete denial that it ever happened. 

The protagonist wasn’t wrongfully implicated in some convoluted plan. It was as simple as it seemed. The mother and Do-Joon didn’t have to overcome some climactic adversity to return to their normal lives. Everything suddenly just works out on their own.

I would’ve still enjoyed the movie if Do-Joon was actually innocent and the mother actually frees him in the end. But once we learn the truth, we are in uncharted narrative territory. We have no frame of reference for the story unfolding before us, because it doesn’t fit any structure we’ve seen before, making it all the more entertaining. 

In hindsight, it seems so simple. It’s just flipping everything we expect to see in a redemption trope. And yet, this kind of backwards thinking combined with such masterful storytelling, is hard to come by. Mother is proof of how powerful a trope inversion can be and that even simple ideas can be turned into so much more in the right hands. 

Go give it a watch!   

There’s no doubt that the Marvel superhero franchise of the past decade has been a cultural milestone for the current generation. Its most recent production, Avengers: Endgame boasts a box office of 2.798 billion USD. BILLION!! But, no matter how much we may be absorbed by the stunning visual art and masterful storytelling, Hollywood is a business, first and foremost. And this business has something called proof of concept.

Proof of concept, in terms of the film industry, refers to a story, a franchise, a ‘concept’, that has proven to be successful before, and thus, has potential to be successful again. Behind each blockbuster is a studio and long list of sponsors, all of whom are gambling millions into this high risk, high reward industry, and they’re looking to make a profit. So, how do you get some assurance that you won’t lose millions of dollars on a movie? You make one that’s made millions before. That’s why you decide to make another Star Wars sequel, a Terminator remake, or even a Sonic movie. This is how Hollywood has been for decades now. 

So, what’s the point I’m trying to make? Well, the Marvel Cinematic Universe utilized proof of concept, drawing from its widely popular comics, and used that nostalgia to draw in a large audience. Obviously, its reach has extended beyond comic book readers now, but its success set an example for the industry nonetheless. As the popularity of the Marvel movies have grown, so have the amount of action/sci fi movies that try to copy them. I used to think that the lack of original ideas in recent years was because many of them had already been exhausted, and while that may be true to some degree, it’s also because original ideas don’t have a high success rate.

Those who’ve watched any of the recent Marvel movies will know what I’m talking about when I say comedy is a staple in these films. The studio has gotten good at intertwining punch lines with crazy action every five minutes, and that’s part of the appeal of these movies. People just want to turn off their brains and be entertained. Marvel is proof of the action/comedy concept. But when others try and replicate it, it just doesn’t land. So many of us have watched DC or Star Wars movies try to replicate the quippy writing in Marvel movies, but  most of the jokes are either not funny, childish, or straight up cringey. But similar jokes seemed to work in Marvel, so why does it feel so weird everywhere else? 

Well, a few problems come to mind. First is the matter of tonal consistency. Marvel has a decided advantage at the moment, simply because of how many movies it has under its belt. When people enter a theater to watch a Marvel movie now, they expect it to be a light-hearted, action/adventure experience. The humor could hardly detract from the movie’s tone, because it has long been established that humor is a part of the ride. Let’s compare that to Zack Snyder’s DC movies. They have a dark tone and attempt to introduce mature ideas. There’s even a gritty looking color filter in all of them. But at random points, characters are delivering goofy lines or doing slapstick comedy. So of course it feels forced.

Another issue is the variety in humor. Here’s one of the funniest exchanges ever written in the Marvel cinematic universe. 

DR. STRANGE

Alright, Let me ask you this one time. What master do you serve?

STAR-LORD

What master do I serve? What am I supposed to say? Jesus?

The takeaway here is that this was an obvious setup for a punchline, but it didn’t feel out of place, because these characters would say these things. Dr. Strange was a professional doctor and is a sophisticated master of sorcery. Star-Lord is a goofy space pirate from Minnesota stuck in 80s culture. These characters are charismatic and distinct from one another, so even their jokes are tailored to their personalities. A big reason why punchlines in other movies feel awkward is because they are derived from the same comedic persona. They all seem to be going for that awkward, relatable teenage kind of humor. The result is a bunch of different characters dispensing the same kind of jokes that don’t fit with any of their character traits and feel forced in the end. 

This also relates to how Marvel approaches their projects as opposed to other franchises. The people who write the Marvel movies have an extensive knowledge of the material they are working with. As such, they are able to craft unique and engaging stories that put characters in funny scenarios. You wouldn’t get hilarious characters like The Grandmaster or Drax if the writers didn’t know their stuff. Simply put, Marvel really cares about what they put out. The same can’t be said for other franchises. Even in the case of Star Wars, the writing hardly takes advantage of the vast cinematic universe at its disposal. If the jokes aren’t tied in any way to its story or its world, then it’s usually a cliche one that can be repeated in any other genre. 

Marvel comedy isn’t always perfect by any means. In fact, many would argue that it’s forced in some places too. But it is probably the most consistent in terms of comedic value, and when done right, it’s hilarious. If there’s a lesson to be learned here, its that studios should take a second look at the factors that drove Marvel’s success. 

As I stepped into my new dorm in Brandscomb Quad, I was flooded by the tsunami of boxes, heavy luggage, and exasperation from dealing with the bureaucracy of the airport. I had just flown back to Nashville from Baltimore, Maryland. I was in desperate need of sustenance, but I dreaded opening my GET app to find the usual culprits of chicken tenders or burgers that plagued my fall semester. Yet, a miracle descended from the heavens when my eyes glanced upon the glorious words, “Randwich”. Alleluia! I had come to believe that this famous sandwich was an urban legend, a comrade sacrificed in the new Covid-19 protocols of the university. I went through the options and made gasps when I saw I could choose a pretzel roll as my bun and basil aioli as my dressing. Who was this Randwich? This meal item began to take on an identity as I personalized it with my preferences. I grew audibly excited, and my stomach couldn’t have been happier.

I made the short, yet beautiful journey from my humble abode, past the string lights of Rand, and through the black doors to a destiny I never could have imagined. I flashed my Commodore Card for the first time in 2021, and boy, I was not disappointed. As I unveiled the sandwich, I felt like I was going through a religious experience. All throughout the fall semester, I constantly complained to my friends that all I wanted was simple food from the dining hall. I didn’t need complicated gnocchi or grilled, fishy salmon. All I wanted was an old-fashioned sandwich!

As I took my first bite, I basked in this newfound warmth that radiated from the sandwich. My pretzel roll was perfectly toasted with a slight crunch, with a mouthwatering saltiness. The turkey to provolone cheese ratio was so expertly done I wouldn’t be surprised if Gordon Ramsey himself stepped out from the Rand kitchen. The crispy freshness of the lettuce with the smoothness of the basil aioli created a juxtaposition even Shakespeare would be jealous. The homemade chips were like mini-intermissions between the melodic bites of perfection that was my Randwich. To top it all off, my sparkling water washed everything down to create a perfect back-to-campus meal. I was pleasantly surprised at this new option, and so excited to have a meal to look forward to in my new semester once classes get chaotic.

But, another catastrophe struck my freshman experience. Apparently other people seemed to enjoy their Randwich as well. The order ahead option became so busy that I now have to order my Randwich a week in advance. My new bright spot on campus shined too bright, and like moths to a light, starving college students flocked to this beacon. I’m not surprised since this sandwich impacted me in a way I didn’t know was possible, and I know what you’re thinking. Zoe, how can a sandwich impact you? You must not do anything fun. And you would be slightly right, considering we’re in a pandemic, so my food experiences constitute a major portion of how I find enjoyment safely and healthily.

This sandwich was like the fire at the Olympic opening ceremonies. It represented my excitement for new experiences, a craving for collegiate learning, and bravery for trying new things. The Randwich is a symbol of my excitement and hope for this new Spring semester, since the fall left much to be desired. The Randwich has left a permanent impression on me, since it was how I happily reunited with Nashville and Vanderbilt in the middle of this pandemic, filled with so much stress and fear. It may just be a sandwich, but I think we can all find a little hope in the return of this beauty.

Our freshman experience is definitely not what we hoped for, but there’s nothing we can do to change that. I remind myself, and anyone reading this, to focus on your own spheres of control and find hope in the little things. For me, it was the experience of my first Randwich. What will yours be? No matter what it is, just remember to have fun, stay safe, and make memories! Welcome back, Commodores!

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Syllogism – Ciphers are fun; ciphers are fun. Therefore, ciphers are fun.        

If some of you nerds did Science Olympiad, you likely know of the event Codebusters. However, some of you non-Science Olympians may not be familiar it. Here’s the likely unexpected overview of the event: you bust codes*. Yes yes, stay in your seats, ladies and gentlemen.

*Technically a code is an encryption where a word is given a new meaning, while a cipher is an encryption where a letter is given a new meaning. For this article we’re going to use code as an all-encompassing term.

The event involves cracking various types of codes, but the most prevalent is the mono-alphabetic simple substitution cipher. As the name suggests, each letter in the alphabet is substituted with another letter. Very straightforward. Example code is shown below.

If you happen to find yourself lacking something to do and aren’t in the mood to watch Netflix, try breaking some codes! They have a wide range in difficulty, so do not worry if you’re not considered pro status.

How does one go about solving these jumbles of letters???

Well, the primary thing to look for is word patterns. The first four words I look for are the, that, a, and I. A and I are typically the only letters that can be by themselves, so they easy to spot. Plus, they’re common vowels, so once you can fill them in, you are much on your way to breaking the rest of the code. The is a great word to look for because it’s so common. Repetition of a three letter word throughout a code should make your mind immediately consider substituting the. That is a great one because it starts and ends with the same letter. Plus, take b as t, if you’re looking over a code and see b frequently, including at the start and end of a four letter word, you can make a solid guess the word is that. (T is the second most common letter, so when you see b frequently here, you figure hmm t is likely quite frequent here.)

It’s also a good idea to look for apostrophes. The vast majority of the time, the letter after the apostrophe is s or t. And, another point of note is the importance of making guesses. Guard against staring and staring at a code, unwilling to make a reasonable guess for fear of having to use your eraser.

I encourage you to go find yourself some codes. Try searching the web for some practice mono-alphabetic substitution ciphers. Also check out the site cryptograms.org. Note: I think breaking codes is much more satisfying when solving them physically on paper, but it’s still fun to solve them on a screen.

If you read this article and think ha!, this writer is a fool, she is failing to properly educate aspiring codebusters, please tone down your judgement a little. I am most likely a fool, but in this instance it’s possible I would be awarded more of a fool characterization than is deserved. I am aware that some exceptions in term of cipher form exist. This article is merely meant to provide a basic overview.

Those with questions or statements of some kind on all things code, feel free to leave a comment.

Appendix-ish Here are a couple codes to try cracking. As labeled, the tables simply show letter frequency within the cipher text (!), not within the cracked code. Letters e t a o i n are the most commonly used in English. When you see, in the code below, that D is the most frequent letter, it’s reasonable to think hmm, this is quite possibly e, t, a, o, i, or n.

I don’t know if I’m able to post a whole document to this post, so I just attached pictures of the codes. If your heart desires, just save them as pictures, then print them. #IThinkItIsFunToUseThePrintersHere.

NOTE THE ANSWERS TO THE TWO ABOVE CODES ARE LISTED BELOW.

Before anything else, let me just be clear. This feature isn’t just for Koreans.

Korean digital entertainment has made incredible strides in just a couple decades. K-pop is the most obvious one, reaching billions of fans worldwide, and earning billions as well. Then there is Korean cinema, which is, in my opinion, some of the most underrated content in the world. I’ve been an avid consumer of Korean movies for a while now and can’t help but notice its superiority in a lot of aspects (story, characters, cinematography, etc.) compared to Hollywood blockbusters. Not only that, but it is often done with a fraction of the budget.

The good news is, Korean cinema is getting noticed more and more. Oldboy, The Host, and Memories of Murder are just a few classics that let Korea first break into the global scene. Back when I was a middle schooler, I began to notice more and more Korean movies coming to American theaters, and it’s how I was able to enjoy titles like New World, A Taxi Driver, and Along With the Gods. And last year, Parasite became a global must-watch that made history at the Oscars, winning four academy awards. These movies show that Korean movies don’t just have to be for Koreans, and that good movies can transcend language barriers. I highly recommend you see these titles for yourselves.

But what about Korean TV? In my opinion, it’s an entirely different industry. Most of the market is saturated with romance soap operas, called K-dramas, aimed at middle aged women. As a result, they suffer from a host of problems, like crummy acting and lazy writing. This isn’t necessarily an issue, however. If the content is entertaining for its demographic, and the show serves its monetary purpose, then there is no reason for its producers to try any harder. But now, we’re beginning to see these shows coming onto streaming platforms like Netflix, and reaching a wider audience of all ages. We’re seeing these shows adopt more modern premises and casting actors that are popular among younger audiences. If you haven’t already noticed, they take up a significant portion of everyone’s Netflix browsing page these days.

Personally, I cannot stomach most of these shows. Some of you might recognize titles like Crash Landing on You and Itaewon Class. Don’t let me spoil these shows for you if you enjoy them, but they are objectively lacking in a lot of ways. After sifting through these shows, I finally stumbled upon one that truly engaged me, and stands far from the rest: Extracurricular. Let’s talk about what Extracurricular does well, and what typical K-drama problems it avoids.

When you first start a K-drama, it’ll probably be great. I reluctantly watched Itaewon Class by a friend’s recommendation. the first two episodes were great and genuinely moving for me. Then, things started to slow down a bit in the third, and I began to worry if I was being led into the same trap that I had fallen into many times before. Sure enough, the story came to an agonizing crawl by the eighth episode. In the ninth, there is a scene where a child gets lost chasing a cat and the main characters look for her and find her in a playground. That’s it. It didn’t change the characters in anyway or have any impact whatsoever on the overall story. That’s when I decided I couldn’t take it anymore.

This illustrates a fundamental issue with K-dramas. They exist for monetary gain and do the absolute bare minimum for it. The writer’s hook you with the initial episodes, then stop trying in the middle, then try again on the final episodes to leave you with a good impression. These middle episodes are riddled with scenes that exist just to waste your time, but they are sprinkled with just enough cliff hangers to keep you wondering and hold you over until the end. As far as the producers are concerned, you’ve just watched their entire show and put more cash into their pockets.

Another problem with K-dramas is the lack of subtlety. They are extremely clear about what they want you to be thinking and feeling at any given moment. If it’s supposed to be a funny scene, enter goofy music. If we’re supposed to be sad, enter the violins. It’s pretty much one song for each emotion, and they get played every single time. If the current scene is relevant to a previous one, instead of letting the audience make the connection on their own, there is always a flashback, even if the scene happened minutes ago. Sometimes, characters will even talk out loud about how they’re feeling when they’re all by themselves. Who the hell are you talking to?   

Finally, what I always complain about on this feature: the characters. First off, I can’t get over how they talk. It’s an understood rule with these shows that every single line the actors deliver have dramatic pauses between them. But why does this have to be the case? I get that it’s supposed to make them sound cooler, but nobody talks like that. Not only can I not relate to these characters as a result, but “dramatic” moments are ruined because of how hilariously stupid it sounds. Characters are also simplistic. Each one has pretty much one trait, then every scene featuring them is devoted to shoving that trait in our faces, as if we’ll forget it if they stop. The bully won’t stop going out of his way to show people how much of a bully he is. The character who wants revenge won’t shut up about how much he wants it.   

To be honest, I could go on forever about all the things these shows do wrong. The important takeaway is that Extracurricular avoids all these problems. It follows a high school student’s life in the harshly competitive and stressful 21^st century Korean society, and his illegal side hustle that lands him in trouble. Characters are unpredictably deep and change over time. The show conveys deep themes using clever symbolism and metaphors. And the show’s social commentary on modern Korean society and its students is chillingly dark. It’s also just shot better. You can tell that the producers actually cared about what was occupying the screen.

To me, Extracurricular is the beginning of Korean TV finally following in the footsteps of Korean movies and rising from its status as a niche form of entertainment. As I said before, this show doesn’t have to be just for Koreans. If the past decade of Korean movies has said anything, its that you should give Extracurricular a chance.