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Once catching up to Boruto, Mitsuki attacked hard. As Boruto easily countered Mitsuki's assault, he soon had Mitsuki subdued by his sword as Mitsuki's neck. As Mitsuki indifferently told Boruto to finish him, Boruto withdrew his sword and saw through Mitsuki's depression, noting that he has lost his way from "Kawaki" losing his shine as Mitsuki's sun. He insisted that Mitsuki's true sun is him, not Kawaki. Furious, Mitsuki bound Boruto with his snakes, shocked to see the missing-nin not trying to defend. Seeing the sincerity in Boruto, Mitsuki let’s Boruto go and he asks him who his is.

[33] On March 14, 2019, it was confirmed that in the midst of filming the second season, a staff member in the production team died after a car accident. [34] On January 7, 2021, a castle on the filming set of Kingdom: Ashin of the North caught fire as a staff member attempted to melt the snow using a torch lamp. Parts of the castle were destroyed in the process of extinguishing the fire, and there were no resulting injuries. [35] Writing[edit] Screenwriter Kim Eun-hee began thinking about the story behind the series in 2011, wanting to reflect the fears and anxiety of modern times through the lens of the historical Joseon period. [36][37] Originally, the creator thought it would be difficult to portray the story in a television series format, and instead created the webcomic The Kingdom of the Gods alongside illustrator Yang Kyung-il in 2014. [1] While the series is adapted from the webcomic, they do not share much commonality other than their basic concepts. [38] Whilst working on television series, Phantom and Signal, Eun-hee continued to work on the project but encountered challenges in writing a period piece and securing investments for the project. Born out of an interest to explore opportunities for writing in a diverse range of genres and not limited by conventional choices in storytelling and censorship in publicly broadcast K-dramas, Eun-hee credited the success of Train to Busan, as the turning point for the revitalization of the interest in zombie films in the Korean media space. [39][40] In an online interview, Eun-hee stated that politics is integrated to the core of the series, noting that "It's about what politics is. Flawed politics created resentment, and there will be a consequence of gaining the plant that brings dead people to life". She added that the political environment drives many of the decisions, and propels the actions of characters in their journey, highlighting that "If we go deeper and deeper, it all boils down to politics.

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g. Luomen and later Jinshi) painful to watch. Despite her awareness of the hardships of being low born, she believes that social hierarchy is the inevitable way of things, and that people of lower status who can be used should be used, including herself. Despite her pragmatism, Maomao's insatiable curiosity often leads her to involve herself in the problems of others. It is also implied that she has a strong sense of justice, empathy and compassion, which makes it hard for her to ignore misdeeds and injustice once she has witnessed them. This has made her wish she could avoid seeing certain things. Abilities[] Herbal medicine: Having been taught by Luomen, one of the best pharmacists in the country, Maomao is an excellent user and maker of herbs--so much so that she makes her own unique medicine, which she often tests on herself. Poison resistance: Because she constantly experiments with poisons on her own body, Maomao has developed a mithridatic resistance against drugs and poisons. Whether afflicted by snake bite, aphrodisiac, alcohol, or hallucinogenic mushroom, her body is able to resist the effects, and she is able to consume the same alcohol content as multiple grown men combined. However, this does not extend to her buckwheat allergy, which she has given up attempting to overcome. Perception: Having been raised in the red light district, Maomao is very good at dealing with and manipulating others. ↑ a et b Pauline Weiss et Morgane Giuliani, « La Chronique des Bridgerton : la scène de viol conjugal qui pose problème », Marie Claire,‎ 12 janvier 2021 (lire en ligne). ↑ (en) Izzy Schifano, « There was a rape scene in Bridgerton and no one seems to have realised », The Tab,‎ 4 janvier 2021 (lire en ligne). ↑ Melanie Bonvard, « La chronique des Bridgerton : cette scène de viol en dit long sur la représentation des violences sexuelles à l’écran », Auféminin,‎ 19 janvier 2021 (lire en ligne). ↑ a et b (en) Aja Romano, « Bridgerton has a rape scene, but it’s not treated like one », Vox,‎ 26 décembre 2020 (lire en ligne). ↑ Kalindi Ramphul, « « La Chronique des Bridgerton » : de bonnes intentions gâchées par une niaiserie d’un autre temps », madmoiZelle. com,‎ 5 janvier 2021. ↑ (en) Jean Bentley, « How Bridgerton Pulled Off Its Steamy Taylor Swift Sex Montage », sur The Hollywood Reporter, 6 janvier 2021. ↑ (en) Adrienne Westenfeld, « Bridgerton Creator Chris Van Dusen Explains the Show's Most Controversial Sex Scene », Esquire,‎ 11 janvier 2021 (lire en ligne). ↑ (en-US) Ellise Shafer et Ellise Shafer, « ‘Bridgerton: The Musical’ Blew Up on TikTok. Could Broadway Be Next? », sur Variety, 29 janvier 2021 (consulté le 14 avril 2022) ↑ « THE UNOFFICIAL BRIDGERTON MUSICAL Wins Best Musical Theater Album | 2022 GRAMMYs Acceptance Speech » (consulté le 14 avril 2022) ↑ (en-US) Julia Jacobs, « TikTok to the Grammys: How a ‘Bridgerton’ Musical Beat Broadway », The New York Times,‎ 4 avril 2022 (ISSN 0362-4331, lire en ligne, consulté le 14 avril 2022) ↑ (en) « Ocean Away - Abigail Barlow, Emily Bear & Darren Criss | The Kennedy Center at 50 | Kennedy Center », sur The Kennedy Center (consulté le 14 avril 2022) ↑ (en) « TikTok stars win Grammy for ‘Unofficial Bridgerton Musical’ », sur TODAY. com (consulté le 14 avril 2022) ↑ (en) « TikTok stars Abigail Barlow and Emily Bear perform ‘Burn For You’ », sur TODAY.