The first episode of We Are All Trying Here starts with a producer who is clearly under a lot of stress arriving at his office late at night and venting his anger while working on his laptop. The tone quickly changes to a quieter scene in an empty bar, where Gyeong-se is nervously thinking about the premiere of his screenplay. Even though he’s at the top of his game, he’s feeling uneasy, mostly because of Hwang Dong-man, an up-and-coming director who’s been bothering him.
Their fight started when Dong-man’s loud personality made Gyeong-se feel small at Director Choi’s restaurant. Dong-man took over the conversation even when it was supposed to be Gyeong-se’s time to shine, making a lasting impression. What really bothers Gyeong-se, though, is hearing Dong-man make a joke about how his movie might fail, which sticks in his mind longer than it should.
Dong-man’s life is not stable at all, unlike Gyeong-se’s. He is having trouble with money and is avoiding his landlord while dealing with more and more debt from loan sharks. Even though he is poor, Dong-man has a unique point of view. He even tells students that being poor can help a writer improve their skills. Still, you can tell he’s frustrated, especially since he’s the only one of “The Eight” who hasn’t had a proper debut yet.
The difference between what you want and what you can have is even more clear during a tense dinner to celebrate Gyeong-se’s movie. Dong-man’s anger comes out, and he has to deal with an uncomfortable confrontation where his talent and repetitive storytelling are openly criticized. Most people don’t like him, but Jun-hwan does. He is one of the few people who doesn’t completely turn his back on Dong-man.
At the same time, Byeon Eun-a, a producer with a sharp tongue known as “The Ax,” joins the story. She used to be respected for being brutally honest, but she has lost her edge lately. After an uncomfortable but important meeting with Dong-man at a train crossing, she agrees to read his script, Weather Maker. This moment changes everything for Eun-a because she starts to see something in him that others don’t.
Dong-man is counting on this screenplay a lot, especially since it puts him in the running for the 2025 Korean Film Association. Winning could finally give him the chance he needs so badly. But he feels more insecure as he compares himself to Gyeong-se, whose most recent movie is doing well at the box office. During a celebration, his anger boils over, and his harsh criticism of the movie and its lead actress leads to a public fight and a humiliating exit.
The fallout goes on the next day. Gyeong-se, who is still angry, loses control of his car and crashes into a street sign. Dong-man is also dealing with the emotional weight of his failures, which makes it hard for him to even get out of bed.
When Eun-a gives Dong-man’s screenplay to her boss, Choi Dong-hyun, her role becomes more important. Under pressure to rip it apart, she gives a fair but critical review, pointing out the weak motivations of the characters and the lack of emotional depth. Her remark, “A creator can’t create what he doesn’t have,” hurts deeply because it shows both Dong-man’s struggles and her own inner conflict.
Eun-a shows a quiet understanding of Dong-man, even though the criticism is harsh. Later, when others make fun of him, she stands up for him, showing that she knows how much pain he is in because he talks so much and acts tough. Both characters are shown to be lost in their own ways, looking for meaning and direction..