Genie, Make a Wish

Disappointing and disrepsectful

Although I like the main cast, when the trailer first came out and saw many in the Muslim community found the use of Iblis as one of the main characters as disrespectful, I started to lose interest. But when it dropped today and I had time I decided to try. Never mind the storyline being very cliche and uninteresting, the writing lacking, the timeline confusing, unfortunately the acting of the ML and FL is truly terrible. They are unable to inhabit the characters nor make them believable, and lack chemistry. Huge disappointment not worth the watch. Although if you give it a try you will notice all I've mentioned in the first episode.

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Dropped!

the initial narrative is really misleading. Are they just combining several beliefs with the pop culture story of a thousand and one nights? What is certain is that the use of the name 'iblis' is specific to only one belief, considering that other beliefs don't use that name. If this is fiction, then the author has the opportunity to find another, more secular name, like 'ifreet' perhaps or 'Bael' something sound bit mideast. it would really help the overall development of the narrative for this romance.

What makes this drama really annoying is the naming of the main characters which is too stiff and monotonous, so I decided not to continue watching this drama.

I understand why some communities object the narrative of the drama and it should be a consideration for other script writers, in the future; to write fantasy scripts neatly.

even lies should be carefully considered, that's fantasy is

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I'm wondering who put a spell on me and you / How did I find myself here?

I couldn't find a real linear interpretation for “Genie, Make A Wish”; the drama seems to belong to that typical category of fantasy series that, on paper, seem familiar: an immortal genie tired of humanity, an incredibly twisted and emotionally inscrutable woman, a bet with God, wishes that end up backfiring on those who express them. Those references to 'Goblin' (and why not, considering the writer) the irony, the previous lives, the intertwined destinies, the impossible loves, the curses and the “condemnation” of eternal life...

But episode after episode – skillfully spread out over time – it became increasingly clear to me that my attempt at “natural interpretation” was not a limitation as a viewer, but rather a structural feature of the work itself. Behind the fantasy apparatus and the seemingly simple mechanics of desires, the drama constructs a system that only works as long as the viewer agrees not to reduce everything to an immediate moral or a single explanation.

If the narrative system of “Genie, Make A Wish” rejects such a univocal explanation, it is because its characters, too, probably do not function as moral demonstrations. Iblis, in particular, does not act to create conflict, but to confirm an already given idea of humanity. He is not a driving force of the story: he is an embodied thesis.

From the outset, he seems less interested in tempting than in confirming a belief. He does not offer seduction, but rather proves that humans will fall anyway. In this sense, I thought – perhaps conceptually boldly – of Satan in Milton's ‘Paradise Lost’: a figure who does not need to win, because he is already convinced that he is right.

The Iblis portrayed by the talented Kim Woo-bin – with a truly comprehensive, all-round performance, never mannered or hammy, magnetic even in his gaze and always up to the difficult task assigned to him – is in fact a “satanic” genius more in function than in actual inclination towards evil. He is arrogant, brazen, convinced that he knows human beings better than anyone else, including God. Centuries of observation, of granting wishes, of confirmation have instilled in him an unshakeable certainty: humans are corrupt, selfish, predictable. His challenge is not driven by curiosity, but by the presumption that he has already seen everything. And when you are convinced that you already understand everything about someone, you stop listening to them.

Ka-young, played by the stunning and self-deprecating Bae Suzy—with an incredibly intense and dedicated performance, that crescendo and that deep pathos of sincere emotion in the finale—enters the scene as a disconcerting, almost repulsive figure. Sociopathic, unemotional, incapable of empathy—at least according to clinical categories. Psychopathic, perhaps.
A young woman who grew up under the sign of expulsion: abandoned as a child, she is raised by her grandmother Pan-geum – played by Kim Mi-kyung, who is so talented and devoted to her role that it is difficult to distinguish between acting and real life – who, rather than teaching her how to “feel”, explains to her how to “be in the world”. She does not heal her, but provides her with rules of restraint, discipline and responsibility. The rules of conduct are not a sign of coldness, but strategies of control. Ka-young learns an ethic of behaviour even before she learns emotional grammar. Above all, she learns not to “cross the line”.

This apprenticeship shaped every aspect of her adult life. Her work as a car mechanic perfectly embodied this attitude towards life itself: cause → immediate effect; do the job well = the engine works, do it badly = it doesn't work: no ambiguity, no emotional interpretation, absolute certainty and guarantees. At the same time, she devotes herself to woodworking, building furniture and even coffins. Not out of a morbid fascination with death, but to take away the panic, to bring it back to a manipulable, measurable, concrete realm. It is the opposite of the destructive impulse: an attempt to exercise rational control over the inevitable.

On this journey, only two people truly see her for who she is. Her grandmother, who does not ask her to change, and her chosen friend — not an imposed one — who accepts her quirks without wanting to correct them. Both embody a form of relationship free of pretension: they do not ask Ka-young to be “someone else” in order to be acceptable.

And it is precisely this form of self-restraint that throws Iblis's system into crisis. When the opportunity for desire arises, Ka-young does not react as expected: she does not desire out of greed, she does not use power to fill a personal void, she does not even seem particularly seduced by the idea of being able to have “everything”. This does not make her morally superior, but narratively incompatible with Iblis' thesis. Her presence does not defeat him: it defuses him. Faced with an individual who asks for neither excess nor need, the system of human classification on which Iblis has based his certainty ceases to function.

The central conflict of the drama then seems to shift: no longer between good and evil, but between a device that claims to explain humanity and a subject that stubbornly continues to escape categorisation. Ka-young and Iblis challenge each other with five wishes: four human beings and a dog, chosen at random. No one is totally guilty, no one is completely innocent. Selfishness arises from fear, altruism comes late or with detachment.

The inclusion of a radical moral anomaly (with the extemporaneous ‘crime’ variation) interrupts any consolatory reading: evil exists, but destiny can be rewritten. In the end, a fragile and reversible majority of altruism shows that humanity cannot be either absolved or condemned. The parable is clear: human beings remain unpredictable, and the certainty of the system collapses.

In this millennial intertwining, predestination is not total: Iblis and Ka-young remain bound by a past in which a third wish has already marked love, suffering and mutual protection. Ka-young carries echoes of that experience with her, while Iblis retains only fragments erased from his memory. Yet it is precisely Ka-young's radical choice in Goryeo—to use the three wishes purely altruistically—that demonstrates that humans can escape all certainty. Predestination and free will meet in tension, transforming every decision into an unpredictable moment.

In this context, the role of Ejllael (Noh Sang-hyun, well-suited to the role and subtly ironic) becomes even more significant. He is neither good nor evil: he is neutral, the administrator of the inevitable. He doesn't judge human desires, he records them; he doesn't punish, he executes. God's messenger and Iblis's age-old rival, he observes the bet between the genius and Ka-young with silent attention. He does not intervene, but everything that happens passes through his eyes: every choice Ka-young makes, every prediction Iblis makes, becomes a mirror of what is at stake. Ejllael is not an indifferent spectator; he is an interested witness to a dualism that shakes millennial certainties, making what seemed immutable fragile and every decision more intense.

The finale of "Genie, Make A Wish", therefore, does not simply conclude the story: it completes its arc, highlighting everything the series has explored from the beginning. After Pan-geum's death, Ka-young is confronted with a pain that exceeds her capacity for understanding: a woman incapable of emotion experiences such intense grief that it disrupts the rules of her orderly life.

The encounter with Iblis thus becomes the decisive turning point: the genius fears that the third wish will confirm his view of humanity as corrupt. Ka-young, on the other hand, chooses to live human emotions to the full for just one day, even at the cost of her own demise. The paradox is clear: the act appears selfish, but it is the most authentically human gesture possible: it stems from the desire to feel, understand and confront life itself. Faced with this radical sincerity, Iblis loses the bet and bows down, giving up his pride.

In this way, the parallel destinies of the main characters become the symbolic fulfilment of the Goryeo girl's third wish: to protect each other until the end, even through pain. Their rebirth as immortal beings, Ka-young as Jinniya and Iblis as a genie, marks the conclusion of a millennial cycle of observation, bets and mistakes, transforming the test of human goodness into something different: a lesson in responsibility, freedom and a form of true love.

And this is precisely where the ultimate meaning of the ending lies. What remains is not only the story of two immortal beings united forever, but the parable of the drama itself: a journey through desires, limitations, moral codes and conditional freedom, which shows us how human beings are neither predictable nor reducible to patterns, but live amid chaos, choice and the possibility of redemption. The bet is over, but the reflection continues: in “Genie, Make A Wish”, true immortality lies not in power, but in the ability to choose and feel, even when this means accepting the burden until the end.

7 ½

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Extremely disrespectful and disappointing drama!

“Genie: Make a Wish” is a completely disappointing drama. In this series, they have portrayed the devil (Iblis) as a hero and shown angels in a lower position — which is totally unacceptable. The whole concept insults Islam and tries to glorify evil in a positive light.

The story is meaningless, the message is offensive, and it clearly disrespects faith. Korean writers and directors often try to turn negative things into something admirable, but this time they have crossed all limits. Such concepts should never be promoted.

I strongly condemn this drama and hope that no one ever creates something so disrespectful in the future.

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Progressive potential muddled by Orientalism and lack of follow through

The show is definitely making use of the Netflix platform to showcase a kdrama romcom that contain a lot edgier topics and portrayals than it usually can on it's mainstream broadcast and streaming platforms, but it's adherence to the false equivocation of being childish to being cute makes the moments eye rolling rather than it's intended effect. Both the actresses who played young and elder Mi Ju were fantastic. Both were standouts in their own way. Some of the dark physical humor is quite funny, like when Ejlael breaks through the windows to fly away and Irem horrifically cutting her tongue and her other senses in order to not give away information to Iblis since she cannot lie. The drama has a lot going on with portraying psychopathy, utilizing Islamic Arabian mythology, and also featuring a lesbian character.

From what I understand of psychopathy wise, there's actually a lot of people that have it, especially in high level leader positions. The condition can be managed in a positive familial environment like shown with Ka Yeong. The show also shows the typical kdrama murder psychopath with another character that also grew up in the same village. He seemed to be undiagnosed, so never received treatment or care from the village that Ka Yeong got. It feels icky that the show made her unable to mask emotions when the other person was able to do so, just for comedic effect and so that she's "healed" with magic at the end when she is turned into a Jinniya. It seemed like they were were also veering into neurodivergence outside of psycopathy that they never address and she's completely changed. She might as well have been reincarnated as a fifth time rather than turning into a Jinniya out of nowhere.

The better way for the drama to have involved the Islamic Arabian mythology was to have actually featured a Arab actor to play Iblis for the entire story and have Arab consultants. Korea may be an ethnostate, but it's been intentionally exporting it's soft culture and interacting with other cultures for so many decades now, but it seems to fall into the same pitfalls again and again. There needs to be some sense of respect or otherwise it's just cultural appropriation and using another culture to be exotic. It's also frustrating that the show has Ka Yeong's past life say that Joseon also has genies. If that's true, that's what this show should have been about in the first place. There are graphic violent scenes where Arab people who are portrayed as enslaving two Korean children are beheaded and some visceral violence towards Korean characters as well, but they are at the hands of an Arab character that forcibly took over the body of a Korean child. The hero Iblis is only ever shown in Korean form. There's a weird undercurrent of Islamaphobia.

I don't agree with the MDL spoiler tag of the show having an LGBT character. The show doesn't hide it, Min Ji is not closeted. The show is cowardly though for not following through on the meet cute scenes that she has with both Irem and Mi Ju. Her scenes with the women are full kdrama romance tropes and she's seen dramatically locking eyes with her Korean TSA girlfriend. It's all one sided, Mi Ju never shows or expresses any attraction to her and Mi Ju doesn't even get a partner into old age, she's at the sand dune tour alone, watching her best friend being wind with her lover. It would not have cost them more for Mi Ju to have had a woman standing romantically next to her. They show that the reason her girlfriend broke up with her is because she point blank chose Ka Yeong over her. In the end lesbian Mi Ju was just devoted to her straight friend her whole life and even after the friend's death.

The dark humor storyline that worked the most was the little dog that wished for a human form and then wished for money and a human assistant, before tracking down his previous owners who he thinks of as family. He coughs out blood and it's implied that the owners had intentionally abandoned him because he was ill. His last wish was to turn back into a dog so he can reunite with his family as himself. Tragically the last we see is of the little doggy waiting next to the bus stop with the implication that he probably passed away without meeting them again. He had willed all his wish money to his assistant who has no memory of how it happened, but retains a sense of needing to devote himself to caring for stray dogs. It's so sweet and Daniel Henny absolutely went all out to play a dog in a human body and Kim Ji Hoon who I think may have been filming the american show Butterfly at the same time since he had the exact same styling was really funny as well as the stoic ex-military helper trying his best to help his boss.

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If you're looking for light comedy

Flash review--

So the reception on this one is pretty mixed, and I will try to summarize why I think that is, as well as what I personally cared about.

*NOTE: I only watched 3 eps

OVERALL

If you like silly comedy and aren't going to take things too seriously, you may have a lot of fun.

Personally, I am not a big comedy person and have a hard time turning my brain off, so this was not for me. The rest of this review is about what I personally liked/disliked. So like, don't just take my opinion man, there is nothing wrong with liking what you like. Go have fun, hopefully the above review can help you make the decision as to whether its a good fit for you

THE GOOD

Suzy is pretty much good in this, maybe some things could be a bit better but I don't think she is a problem in this.

Her grandmother and the surrounding community are great. Both in being interesting to watch and what the writing does with their setup is interesting and potentially really important portrayal related to mental health and diversity.

The ML is hot. His acting is probably fine but, for me, the writing made him the focus of my problems with this show (See below)

THE BAD

The writing is just sloppy and half-hearted. Especially when it comes to the ML's motivations and behavior as well as the fundamentals of how magic works and what it means for the characters in the story. I had to turn my brain off and then turn my brain off again. And I still dropped it, because it was that pervasive.

The comedy is very ...well, I struggled (and failed) to think of an accurate way to describe it that wasn't mean. I don't want to bully people who like this type of comedy, but my eyes have limits to how much they can roll.

This show doesn't handle any topic with care. The flippant use of cultural stuff around genies is a pretty obvious issue that many people are accepting. But perhaps less talked about is the cartoonish portrayal of an actual mental health condition. It barely reflects the actual Antisocial Personality Disorder, and (as far as I watched) constantly plays it for laughs about the "psychopath". I am still a little hopeful that the rest of the show at least does SOMETHING good with the topic, which may actually be the case from what I saw about the community accepting her and raising her, but the comedy seems to mostly just play it for laughs.

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