The stale "Rebirth" terrier has made the best drama of the season, which is not to be missed

"Restart Life" is over, and Asami will never be reborn.

There is no Kato who sings "Powder Snow", Asumi Koasari, round1's sticker, and no embarrassing fries given away by Fukuda ...

In fact, before watching the final words, I didn't expect that "Restart Life" would usher in such a happy ending.

It appropriately responded to all the memes laid out before, and also made it easy for the foursome to get their wish and die.

In the strange spectacle of revenge, big heroine, cool drama, and rebirth to the peak of life, the entire environment of TV series creation is extremely tame.

And looking back at Asami's several rounds of life, all you can think of is the moments of Yoshimitsu Katawa mentioned at the beginning of this article.

It is precisely this sense of participation that makes us suddenly realize that "Restart Life" is just a long-lost Japanese drama.

Make the big things small, but the small things big.

In fact, at the beginning, the show was inconspicuous in the winter file, but gradually from little attention to the current circle-breaking explosion.

At the beginning, only a small audience gave it a high score of 9.2 on Douban.

But as more and more people have seen it, they did not expect to rise instead of falling, causing huge discussion on various social platforms.

What's more, its cast is not a traffic that can be out of the circle.

Sakura Ando, Asami Mizukawa, Natsufan, Someya Masada, Kuroki Hana, etc. all clearly point to a fixed Japanese shadow audience.

All this makes the heat and discussion inspired by "Restart Life" more pure and original.

Just like the "TV drama club" founded by four elementary school students in the play, they have lollipops in their mouths, and every day after school at the commissary, they seriously discuss whether to Yutaka Takeno or "Century of Love".

This is the luxury and magic of Japanese dramas, and its huge resonance unfolds in the absence of plot.

Throughout the show, there have been many dangers of sliding into routines, but they have been carefully avoided by the screenwriter's stupid rhythm.

The setting of the story is a "rebirth" meme that has long been out of fresh.

The main line is also very simple -

An ordinary woman can't accept reincarnation as an anteater, a fish, a sea urchin... Therefore, we continue to be reborn and accumulate yin virtue in order to realize the desire to be reborn as a human being.

But at the beginning of the first episode, it took less than half an episode from death to rebirth to be explained.

With her cold, solemn and somewhat humble tone and expression, Ando Sakura makes the choice from ordinary civil servants to becoming a "Guatemalan anteater" or "reborn and accumulating" become reasonable.

And what the series is special about is an extremely trivial situation.

For example, Asami, Natsu, and Mabel's small talk, how to do a group of unfolding thinking wandering, first celebrate a birthday and then move to the second booth of KTV, and finally sit in front of a convenience store to eat ice cream.

There was a long discussion about whether to accept free fries when you were full.

In the end, I still ate it all, and I didn't even feel enough.

This subtle shift between light and heavy is even more pronounced in the final episode.

A typical heroic plot to save a crashed plane, quickly ends.

The details of the dialogue of the four's reunion in Taipei are constantly sorted out.

It turns out that the butterfly effect caused by restarting life countless times is just a change in my nickname calling you.

That's why "Restart Life" seems to be chattering and has a lot of repetitive plots, but it doesn't feel boring at all.

In fact, the main line of the story is advancing very quickly, telling more than a dozen rebirth stories of different characters in just 10 episodes, but there are indefinite delays at some nodes.

In simple terms, this is the "anti-genre" rebellion of the screenwriter's dumb rhythm.

If you often watch Japanese variety shows, the audience must be no stranger to this Paradise employee.

While sighing at the talent of neon funny artists, you will nod deeply and agree with the screenwriter's outlook on life.

The so-called big things happen fleetingly, and most of life is the fragments of big things, and the concrete ones after continuous decomposition.

How the truth brought through the death of her friend, and how to endure her hundred years of loneliness.

How Asami saved her misdiagnosed grandfather, and how she gave up the opportunity to reincarnate as an adult.

These "big things" are dissolved, transformed, and sunk into a kind of dry humorous de-energizing system.

In this drama, what is used to sensationalize is not the climax of sacrifice and dedication, but a tacit understanding.

After witnessing various specific situations of the heroine's life, we launched a wide range of self-brain supplements.

It is the tacit understanding between Asami and her friends, it is also Asami's tacit understanding with herself when she was a child, and it is also Asami's tacit understanding with you and me.

The force field carefully built in those trivial life flows and daily conversations, there are no lines that must be said, tears that must be shed, only invite you to fall into the fall, replacing each character with your own face.

At the press conference of "Restart Life", one of the leading actors, Kinam Haruxia, described the characters in the play: "No personality".

Indeed, they are all ordinary to ashes, in the words of the official spit on:

Since you are reborn, why not take the Nobel Prize, save the life, or according to the usual logic, buy a house, earn money, and go to the peak of life.

But he chose to continue to repeat the days of taking pictures with friends, changing stickers, raising electronic pets, and sisters.

The problems Asami solves every time she is reborn are nothing more than picking up garbage, preventing kindergarten teachers from cheating, helping childhood friends stay away from scumbags, and other small things.

It logically deconstructs the teleology we hold as truth, and refreshes another view of life and death.

What does it really look like to be reborn as an ordinary person?

From infancy to starting school, making friends, and being exposed to collective society, are you sure you can do better than you are now?

Under the condition that the personality remains unchanged and the basic plate remains unchanged, can you avoid or hold up to relive the same pain?

At which point did the so-called irreversible choice start to go wrong?

Is the joy of winning the Nobel Prize really greater than entering a stationery store with friends in elementary school, and it is as clean and refreshing as entering another world?

"Rebirth" does not mean opening and hanging here, of course, but gives Asami a distance of examination.

She can sit down and try and experience, and come to conclusions about something that would otherwise be vague.

At the beginning, although she did not act according to the usual cool text, she did have specific goals -

In order to accumulate virtue, reincarnation as a human being.

But you'll find that the focus of the series from Asami's perspective is all extremely trivial feelings, and they are all subtle enough to require your full dedication to obtain.

For example, the happiness of "hard to buy and end early", the happiness of finishing after hard work, and the happiness of social animals coming home to see old friends buying beer and waiting.

Another example is the joy of growing up with musical TV series that is painstakingly portrayed in the play, which is not a tacit understanding that requires endurance maintenance.

The music in Asami's headphones ranges from Mika Nakajima to Kazuyoshi Saito to RADWIMPS, and the TV series in her mouth range from "Century of Love" to "Jido Freshman" to "SPEC".

These things are the changes of the times and the chronicles of a specific person.

At this point, when Asami turned around and gave up the opportunity to reincarnate as a human, her purpose had been reconstructed.

You also completely forget to ask why.

Because just solving these little things is enough to relish.

At this time, Asami and Truth use an infinitely extended life to learn and exercise.

Transforming one person's accumulated virtue into the perfection of more people is already a disguised practice of "immortal martyrs".

And what the screenwriter's stupid rhythm wants to talk about, of course, is not all a contemporary urban story of "friendship is greater than the sky".

He uses the usual perspective of a funny entertainer - equal and withdrawn observation, logic that is held high but must be gently put down.

Let us wonder, where does the sweetness of being born human come from?

When Asami learned that she would be reincarnated as a fish in Erzhoume, the staff played by Stupid Rhythm replied to her like this:

"It is better to think that it is better to reincarnate as an adult, that is the concept of people, there is no order of reincarnation, most animals are reincarnated or want to be the current species, unicorns want to become unicorns, even cockroaches."

And obsessed with the beauty of people, what cannot be let go is not money, power, love, nor the social logic of the king of the volume, nor is it a worldly successful life.

She just hasn't lived enough.

In Asami's pure and pragmatic concept, people are born to care about human nature.

The meaning is probably those moments that make you feel that you are alive.

But they're so easily slighted and bland that you don't know what to do.

At the end of the final episode, Asami almost replicates her state of purpose for a week, and the bizarre reboot in the middle seems to turn into a dream.

This wonderful look seems to equate our daily repetition with Asami's revival life.

Living every day, making a little improvement over the previous day's process, is it the "rebirth" of a forerunner?

In the play, Fukuda, who has suffered so much to pursue his musical dreams, is one of Asami's few tasks without intervention.

The story does not hesitate to show his mediocrity and reluctance, how he sang for eight hours in an uninhabited station and ran the trick for the TV series made by his classmates.

But Asami, who has opened the perspective of God, knows that after returning from the feather he will meet his future wife, give birth to a lovely child, and start another story.

This is the parallel time and space of Futian, and it is also the essence of ordinary people.

There is no inevitable consummation, only your wishful thinking, as long as you fully experience and try, every moment is not a restart.

This is also why Asian audiences can empathize with Asami so easily.

In the twisted discourse of competition and extreme portrayal of human nature, she lies flat enough and has no ambition enough, and just wants to go back to her hometown, as long as she knows the people and familiar things.

After all, just changing small things, or living a good life like Toruko Miura is brave enough.

Finally, let's talk about Sakura Ando.

Asami in the play is unmarried and sterile, and for 170 years of "not seeking advancement", the whole body exudes a calmness of "your", which is the temperament brought by the actor.

Her cunning and sense of stability make the tone of the whole show so cute but unpleasant, deep and not preachy, which is probably the kind of weight that the screenwriter longs for.

At the recently concluded Japan-Olympic Awards ceremony, Sakura Ando won Best Supporting Actress, and she said in her acceptance speech:

When it's hard work, just be able to go back to your favorite "scene".

The word "live" is very subtle, it's not star aura and box office earnings.

Rather, it points to an "unfinished progression," a enjoyment of the absolute "moment" and the creation and experience itself.

In this sense, looking at Sakura Ando on the podium will also coincide with Asami in a trance.

In a parallel universe, they share similar life themes -

Truly and fully feeling the experience of this moment is also a rebirth, isn't it?