This recap of the K-Drama Netflix series Twenty-Five Twenty-One season 1, episode 1 contains spoilers.

There's a ton to like such a long ways with Twenty-Five Twenty-One. It has the vibe of youth to it that is difficult to feel separated with, and a pleasant harmony between real inclination, humor, and plot set-pieces. Regardless of whether it can keep the speed is not yet clear, yet until further notice, it's unquestionably resembling a good passage into the sentiment classification.

We start with the unenviable setting of COVID conventions, ones that limit section until hands are disinfected, veils are worn and QR codes are filtered. Then, at that point, we meet Na Hee-do, an expected VIP who is there to help her little girl, Kim Min-chae, in an expressive dance challenge.

Be that as it may, no presentation is given disregarding a painstakingly conveyed inspirational discourse, as the challenger runs off, overawed by the event. It prompts stress, as well as a slight contention, which then, at that point, transforms into Min-chae fleeing from home to briefly reside with her Grandmother subsequent to expressing she wishes to stop artful dance.

After a candid conversation with her old family member, Min-chae starts to scrounge around her mom's old things, checking out them with an exhausted interest. That is until she coincidentally finds her mum's journal, a thing that unexpectedly becomes indistinguishable from the little youngster. By then, following a specific perusing of a line about Hee-do's old better half, we flashback to July of 1998.

Whenever there, we see Hee-do as a brilliant, appealling understudy of Seon Jung High School, invigorated by the possibility of her life. She goes to class to meet her base participation (she's in the fencing crew, so gets some room), resting through the classes longing for her motivations and desires. Whenever it's an ideal opportunity to leave, Hee-do runs lighthearted through the roads, just halting to guarantee that a duplicate of Full House is held. So, there is a more genuine undertone present, the IMF emergency waiting over clear blue skies and young cheerful moods. In any case, that doesn't stunt Hee-do, who respects the lovely view of the phony white blossoms at the Korean entertainment world dissent, and excuses the "grown-up stuff" as something that doesn't concern her. "I'm only 18, too youthful to even think about losing anything," she says, with the innocuous verve of an understudy only glad to be carrying on with life.

From that point forward, she proceeds with her trip, and we coincidentally find her fencing motivation, the equivalent matured competitor Ko Yu-edge. There's a flashback to a contest in Singapore the year earlier, where Ko asserted gold for Korea, and we witness exactly how much her prosperity means to the sprouting upstart Hee-do. "My fantasy is to turn into her adversary," we hear, an explanation that could sound bizarre, yet is conveyed with a guiltlessness that reduces all possibly acrid implications.

Now, we streak forward a tad and discover that the IMF emergency that supposedly didn't concern Hee-do, truth be told, does. Due to underfunding, the fencing club she is a piece of at school closes down, and the understudy is compelled to battle with vulnerability. At the point when an answer appears as though it could be found, we slice to our first look at Baek Yi-jin, a conveyance kid who has a similar inspiring mentality as our female hero, and who can place a positive inclination on circumstances that might appear to be baffling to other people.

Following some additional background info about the IMF circumstance, all the more explicitly the gold gift side of things, we hear that Hee-do wishes to move to Tae Yang High School, also called the spot Ko Yu-edge carries out her specialty. Her TV anchor mother doesn't appear to be keen on the solicitation however, casually advising her girl to quit any pretense of fencing. True to form, the two then, at that point, squabble over the remark, notwithstanding the selling of Hee-do's dad's wedding band, yet no goal is found. Strain doesn't wait, however, and in a little while there's a diverting scene including a wrecked peeing kid sculpture, which couples as Hee-do and Yi-jin's first experience with one another.

Then, we're given some origin story to the changing way of life of Yi-jin. He used to be a genuinely wealthy, comfortable understudy with b-ball banners all around his colossal room, yet presently figures out himself working part-opportunity occupations in a little neighborhood while he leases a summary loft. This fills some need, in any case, as we see that he plays taken up a part at the DVD/comic rental store Hee-do regularly visits and that the youngster has not kept behind the issue of Full House she had mentioned.

Making an already difficult situation even worse, a snot-based allegation is evened out at Hee-do with respect to the condition of a brought comic back. However the two come to a trade off in their negligible showdown, with the pseudo-obligation of the wrecked peeing kid sculpture set to be settled via Hee-do getting the most recent version of Full House the next day.