If you are looking for a film to entertain you on your day-off, then this one isn't it.

Better Days destroyed me completely. It has been months since I watched it, and I haven't been able to talk to anyone about it at all.



To be frank, I started watching it expecting a social drama about bullying and a bit of romance. What I got was a story that cracked me wide open, wrung me out, and left me crying for days after. This is a movie that doesn’t just tell a story, it changes the way you look at people.

The story follows Chen Nian (Zhou Dongyu), a high school girl crushed under the weight of absentee parents, and the rigorous exam system. Things only get worse when she finds herself the target of the school bully. One day she crosses paths with Xiao Bei (Jackson Yee), a small-time street thug with more scars than swagger. When she sees him getting beat up, she tries calling the police to help, instead gets caught by the thugs. One thing leads to other, and Chen Nian ends up asking Xiao Bei for protection from bullies outside school. Together, they form a fragile alliance, not quite romance, not quite survival pact; but something raw and real that makes your chest ache.

The performances are so good that you believe in the characters and forget that these are just actors playing a role. Zhou Dongyu's performance gives Chen Nian's character a quiet sort of strength that makes you want to shield her from the world and cheer her defiance in the same breath. Jackson Yee, in his first major film role, is shockingly good. He is a small-time street thug, trying to survive on his own and at times we forget how young Xiao Bei is. Behind the rough edges, there’s a vulnerability that makes his bond with Chen Nian extremely tender. Their chemistry isn’t romanticized; it is survival, intimacy forged in fire.

What makes Better Days extraordinary is how it threads tenderness through brutality. The bullying scenes are unbearable. I wanted to skip them, yet sat through them anyway. They are filmed with an unflinching honesty that puts the spotlight on not just cruel classmates but the entire system that lets cruelty fester. And in the middle of all that pain, the film dares to show us love. Pure love. Love as defiance, love as shelter, love as a reminder that even in rubble, something fragile and beautiful can grow.

Cinematically, it is a world of muted grays and dirty streets, a realism that mirrors the suffocating weight on its characters. But it’s in that bleak palette that the smallest gestures - a glance, a touch, and a shared silence shine through like stolen sunlight.

Better Days isn’t an easy watch. It’s brutal, it’s devastating, and it will leave you gutted. But it is also a movie that everyone MUST WATCH. This is a story about youth, cruelty, and survival that refuses to be sanitized, even under censorship pressures. It’s the kind of film that makes you cry not just for the characters but for every young person who has been failed by the world meant to protect them.

Happy Birthday to Min Yoongi, better known as Suga of BTS and Agust D.

This track, which serves as a pivotal moment in the Map of the Soul narrative, is heavily influenced by Carl Jung’s concept of the ‘shadow’—the repressed and often darker side of the self. Through its introspective lyrics, haunting production, and visually striking music video, Interlude: Shadow paints a visceral picture of the inner conflicts that come with fame. It also serves as an intersection between his two personas, blending the introspective vulnerability of Suga with the raw confrontation of Agust D.

The Shadow: A Concept by Carl Jung

Before delving into the song, let’s understand what Jung meant by the ‘shadow.’ Jung, a Swiss psychologist, described the shadow as the unconscious part of our psyche—comprising traits, fears, and desires we reject or suppress. Often, our shadow contains aspects of ourselves we may not want to confront, yet it inevitably influences our emotions and actions.

Jung’s concept of the shadow is part of a larger framework known as the Map of the Soul, which outlines the structure of the human psyche. This framework includes:

- Persona: The mask we wear to present ourselves to the world, shaped by societal expectations.
- Ego: The conscious mind, the ‘I’ we identify with.
- Shadow: The unconscious self, where repressed desires and fears reside.
- Anima/Animus: The inner feminine side of a man (anima) and the inner masculine side of a woman (animus), representing deeper emotional truths.
- Self: The ultimate goal of personal growth, where all aspects of the psyche—both conscious and unconscious—are integrated into a balanced whole.

For an artist like Suga, who has climbed to unimaginable heights, the shadow manifests as fears of losing himself in success, of reaching the top only to feel more isolated than before. Interlude: Shadow is an open dialogue with this unseen self, questioning the cost of his ambitions and the parts of himself he may have suppressed in his rise to fame.

The Lyrics

The song’s opening lines are deceptively simple: “I wanna be a rap star, I wanna be the top”. These words echo the unfiltered ambition of a young dreamer. But as the track unfolds, the tone shifts: “Don’t let me fly, now I’m scared. Don’t let me shine.”—a plea that reveals the anxiety accompanying his rise. The shadow speaks, acknowledging that with great success comes the fear of falling.

One of the most haunting lines in the song—“But my growing shadow swallows me and becomes a monster”—depicts how unchecked ambition and fame can consume a person. This mirrors Jung’s idea that the shadow, when left unacknowledged, can overtake the self and become overwhelming.

As the song progresses, Yoongi acknowledges the inevitable clash between his desires and fears: “The moment I faced myself brought the lowest / It so happens that I'm flying the highest.” This paradox reflects the tension between his public success and private struggles. Facing one’s shadow can be painful, yet it is necessary for growth.

The lyrics also address an internal debate, with the shadow challenging him: “All the things you wanted, you've got it all / So what's the problem? Just enjoy it / Or just let it go, no? Then run, or stop / Don't whine, just choose one or the other.” These words sound almost mocking, as if his own mind is questioning why he cannot simply be satisfied with his achievements.

Toward the end, the confrontation reaches its climax: “We are one body, sometimes we will clash / You can never break me off, this you must know.” This is the moment of reckoning—Yoongi acknowledges that he cannot escape his shadow. It is a part of him, inseparable from his identity. The final acceptance, “Yeah, yeah, can't break me off, whatever you do / Yeah, you'll be at ease if you admit it too”, suggests that true peace comes from embracing one’s shadow rather than fighting it.

This duality of yearning and dread is a recurring theme in Agust D’s discography. In The Last, he lays bare his struggles with mental health and fame, while Amygdala unearths painful memories. Here, in Interlude: Shadow, he personifies the push and pull between his public persona and inner fears.

Check out the full lyrics here.

The Music

The production of Interlude: Shadow mirrors the song’s lyrical battle. It begins with a slow, almost hypnotic melody, reminiscent of a confession. As the track progresses, the beat intensifies, growing chaotic, echoing the sense of spiraling out of control.

Unlike traditional hip-hop tracks, Interlude: Shadow weaves elements of rock and electronic distortions, adding an unsettling, almost suffocating atmosphere. This distortion reflects the turmoil of an artist losing grip on his sense of self.

This sonic chaos is part of a larger thematic trilogy within Map of the Soul: 7, where Persona (by RM) explores the external self, Shadow (by Suga) delves into inner fears, and Ego (by J-Hope) embraces self-acceptance. RM’s Persona is bright and bold, reflecting the masks we wear to interact with the world. J-Hope’s Ego, on the other hand, is celebratory and upbeat, symbolizing acceptance of all aspects of oneself. Shadow sits between them—a confrontation with the parts of ourselves we’d rather ignore, serving as the bridge between wearing a mask and fully embracing one’s true identity.

The contrast in sound across these three tracks highlights their thematic connection. While Persona is energetic and declarative, and Ego is vibrant and optimistic, Shadow is brooding and tumultuous. Together, they create a complete arc—one that reflects Jung’s psychological framework, guiding the listener through the journey of self-discovery.

The Music Video

Embracing the Shadow

Interlude: Shadow is more than just a song—it is a deeply introspective piece that lays bare the cost of ambition. Through its haunting lyrics, turbulent sound, and symbolic visuals, Suga brings Jung’s concept of the shadow to life, exposing the battle between the self we project and the fears we suppress. The song doesn’t offer easy answers because there are none. Instead, it presents the raw truth: the shadow is an inseparable part of who we are.

For Min Yoongi, this struggle is ongoing. As an artist who has climbed to staggering heights, he must constantly negotiate with his shadow, questioning whether success is worth the sacrifices it demands. Yet, through this confrontation, there is a glimmer of resolution. By acknowledging the shadow rather than resisting it, he takes a step toward self-acceptance. The final takeaway isn’t about conquering fears but understanding that they coexist with ambition—that light and darkness are two halves of the same whole.

Perhaps that is the greatest lesson Interlude: Shadow offers: we do not need to defeat our shadow. We only need to recognize it, listen to it, and learn from it.