Mediaboss Marketing

A flurry of delivery-worker deaths reported earlier this year generated a great deal of interest and resulted in a rare consensus, with labor, management and the government agreeing that overwork is a problem and something needs to be done about it.

Despite so many meeting eye to eye so quickly, much was lost along the way. It is not all that clear whether the number of deaths is out of the ordinary given the large number of workers in the delivery business and the demographics. The mechanics of the process has also been somewhat glossed over. In a business where so many layers are coordinating to get a package from A to B, it has been easier to talk simply about the massive logistics companies at the top and the poor wretches on the road, leaving out the middlemen and the network of locations that are all important in making sense of the job. It is in the end far more than a traditional management and labor story. It is one of many managements and an abundance of workers at many levels in a tale of moving boxes and shifting responsibility. Importantly it is one in which accountability has been lost in the shuffle as everyone in the equation scrambles to make money in the delivery boom. Q. I hear delivery workers have been overworked. A. The overwork of deliverymen has been an issue for many years. But it recently got a lot of attention when 15 workers died during a very busy time earlier this year. Because of the pandemic, people are ordering more from home, and that has increased the demand for delivery. The number of packages being delivered has increased around 10 percent every year since 2015 in line with the growth of the online market. But the growth this year was somewhat faster than normal. The number of parcels delivered last year totaled 2.79 billion, according to data from Korea Integrated Logistics Association. More than half of that figure, or 1.6 billion parcels, was reached in the first half of this year. But the number of delivery workers has not kept pace. CJ Logistics, which had a 47 percent market share last year, has kept its delivery headcount 21,000. Hanjin Transportation and Lotte Global Logistics increased their numbers by 14 percent and 18 percent, respectively, this year.

Delivery workers load packages onto a truck at a terminal in Seoul on Nov. 13. [NEWS1]

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[Shortcut] Sorting out the delivery deaths - Korea JoongAng Daily

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Digital Marketing Is The Key To Securing The Bag in 2021 - Black Enterprise

Express News Service

Mainstream language tells us, Men are generic, women are special. Men are thought to be the default form of humanity, while women are a specific subcategory. Mankind, for example, refers to all of humanity, but womankind is just women. There are several manifestations of this around us, but in cinema, theres one in particular. Its how when a character isnt defined by their gender, by default, the character turns out to be male.

The Call, a Korean supernatural thriller on Netflix, breaks this trope. It has two women play the lead, and the narrative is refreshingly devoid of sexism, or whether or not these characters bear the brunt of patriarchy. Seo-Yeon, who lives in the present, is connected to Young-Sook, who is twenty years behind in the past through a phone call.

Their lives get entwined and take a dark turn after a murder. These characters could well have been male without any major difference to the story or the narrative. To have women in a seemingly androgynous narrative becomes important because it shatters our limited perception of what constitutes a womans story. However, one also needs to understand that women dont always behave like men, even in generic situations. Just flipping the gender doesnt end in creating a good character.

The accumulations of their experiences, in tandem with their identity, would give them a different set of thoughts and reactions. I loved the fact that The Call acknowledges this. Neither does it amplify stereotypes, nor does it make its women caricatures. The scars and blood co-exist in happy harmony with the nail polish. The female serial killer uses hot water and fire extinguishers as chosen weapons.

And even the fights and clashes are structured in a way that makes sheer will power the core emotion, rather than brute force or strength. Not all films document this difference in thought processes or actions, even ones that have gendered storylines in place. Take the new Mulan for example. While the animated version from 1998 had a bumbling, clumsy Mulan training hard to become a soldier, the new one has an exceptionally gifted Mulan.

The story might remain the same, but the superhero treatment eradicates a relatable emotion that was omnipresent in the animated version: You dont have to be extraordinary to do what you want. Any character should be able to do it. A normal man can become a soldier without any great merit, but when a woman becomes the same, why does she need to be extraordinary? It doesnt stop there though. The animated version had Mulan thinking differently, bringing solutions from a new perspective. One of the first tasks she is given is climbing a high pole with two heavy medals.

She finds an ingenious solution that can be used by other people as well. However, the new film has Mulan climbing up a hill with two water buckets. It just becomes a matter of strength, with the character following an existing course of action. In the animated version, Mulan had a distinct personality. Here, she falls into line, becomes another regimented soldier, and her skills are attributed to her chi.

This isnt to make a case against women superheroes, or women performing complex martial moves. That is important too. However, there is no need to make every woman character a superhero. We dont always have to struggle against patriarchy and sexism in order to be a protagonist. We dont need to be extraordinary in order for our stories to be heard. How about allowing us to just be?

The rest is here:
'The Call': In search of the normal women - The New Indian Express

This year has presented a potpourri of shows on the K-drama front. With numerous performances that left everyone talking, which includes stars like Lee Min Ho, Park Seo Joon, Hyun Bin and Kim Seon Ho, we want to know from you, who do you think is the best actor of the year?

It was an interesting year for K-drama lovers. An array of dramas made its way on the small screen. As the COVID-19 induced lockdown forced people to go under house arrest, more and more people turned towards K-dramas for solace and as a result, a number of Korean dramas and Korean stars became popular. From Crash Landing On You to Itaewon Class from the pre-COVID-19 era to The King: Eternal Monarch and It's Okay To Not Okay, dramas were discussed and dissected online.

With every drama, the conversations around each actor's performance also became the talk of the town. Lee Min Ho and Kim Soo Hyun made a highly anticipated comeback from military training with heart-fluttering performances in The King: Eternal Monarch and It's Okay To Not Be Okay. Hyun Bin swept fans off their feet with his enduring portrayal of the North Korean military officer in Crash Landing On You, whereas Kim Seon Ho being the epitome of the second lead in Start-Up.

Park Seo Joon stepped out of his comfort zone to deliver a mellow but powerful performance in Itaewon Class. Meanwhile, Lee Dong Wook shed his skin as the Grim Reaper (yes, we know he did other dramas after Goblin) to get under the skin of the gumiho (mythical fox) in Tale of the Nine-Tailed. We also saw Park Bo Gum deliver a refreshing take on a young, relatable character fighting for his dreams in Record of Youth before he donned the uniform for his compulsory military training. Amid these, Jo Jung Suk wrapped us with a blanket of wholesome with his soul-filling performance with Hospital Playlist.

Now, with the year ending, we are struggling to pick one best performance. So we leave it up to you, who do you think was the best actor this year? Vote and let us know in the comments below.

If you think there were actors apart from the mentioned list that left you impressed, drop the names in the comments below.

ALSO READ:Record of Youth Quiz: Do you think you know everything about Park Bo Gum, Park So Dam & Byun Woo Seok's drama?

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Lee Min Ho, Park Seo Joon or Hyun Bin, who was the Best K drama actor of the year? VOTE - PINKVILLA