God's Gift: 14 Days

God’s Gift: 14 Days starts from a powerful premise - a mother’s despair in the face of her child’s imminent death and the attempt to rewrite fate - and sets out to explore dense themes such as guilt, time, forgiveness, sacrifice, political and criminal corruption, motherhood, and moral responsibility. At first glance, the drama seems to contain all the elements of a great work. However, when it comes to filling in the narrative gaps and giving the script proper structure, the execution collapses.
The story becomes heavily reliant on illogical decisions, characters who behave foolishly merely to sustain the mystery, and narrative conveniences that undermine any genuine sense of suspense. Rather than being driven by causality, the plot leans on inflated melodrama and situations that verge on the absurd. Events unfold not out of dramatic necessity, but out of sheer narrative convenience. Episode 4 is a particularly egregious example: the confrontation between the protagonists and the villain is handled so artificially that, despite the entire struggle, the antagonist still manages to kill the victim. What makes this even worse is that the same situation is repeated multiple times throughout the drama, making the experience increasingly frustrating and almost surreal.
The protagonist, portrayed by Lee Bo-young, is not the core issue. Her performance is competent to a certain extent, but it is undermined by excessive dramatization and by narrative choices that force her character to act almost entirely on emotion, at the expense of coherence. The daughter’s character, on the other hand, is especially problematic: she is portrayed as a disturbed, dishonest child who repeatedly places herself in dangerous situations. The father is depicted as someone who seems to care only about his professional reputation, to the point of cheating on his wife, committing her to a psychiatric clinic, and leaving his daughter alone - although it is worth noting that the mother also abandons the child on several occasions.
The comparison with Mother (2018) is inevitable. In that drama, the same actress delivers a restrained, profound, and emotionally devastating performance, within a narrative that treats motherhood with complexity, sensitivity, and rigorous storytelling. Although both works share similar themes, Mother is vastly superior, while God’s Gift: 14 Days gets lost between good intentions and a script incapable of sustaining the weight of what it seeks to address.
The ending is particularly problematic. The finale makes little sense and does not logically align with the events preceding the child’s death, unless one assumes that the characters return to a parallel universe rather than the original timeline. In that interpretation, the primary events - which are never properly shown - would connect to the secondary events presented throughout the story. Ultimately, the drama implies the existence of two distinct timelines in each period: the original timeline, in which all three characters die, and a parallel one, in which only the male protagonist dies while the mother and daughter survive. This resolution, rather than providing clarity, reinforces the overall sense of incoherence and structural fragility that permeates the entire work.

~~~~~~~~~~~~~~~
🇧🇷
God’s Gift: 14 Days parte de uma ideia potente - o desespero materno diante da perda iminente e a tentativa de reescrever o destino - e aborda temas interessantes como culpa, tempo, perdão, sacrifício, corrupção política/criminal, maternidade e responsabilidade moral. Em resumo, de fato parece uma grande obra, no entanto, quando começa o preenchimento das lacunas para estruturar e da corpo ao roteiro, isso desmorona na execução, o roteiro depende de decisões ilógicas, personagens que agem de forma estúpida para sustentar o mistério e conveniências narrativas que minam qualquer sensação de suspense real. A história se apoia mais em melodrama inflado e momentos que beiram a estupidez do que em causalidade, não se move pela necessidade e sim por conveniência narrativa - vide o episódio 4, que foi grotesco com aquela luta deles contra o vilão e o mesmo ainda conseguindo matar a vítima, o pior de tudo é que eles repetem a mesma situação em vários momentos do dorama, é surreal kkkkkk -, tornando a tensão artificial e frustrante. A protagonista, interpretada por Lee Bo-young, não é o problema em si, sua atuação é competente até certo ponto, apesar de ser excessivamente exagerada pela dramatização e agir puramente pela emoção em muitos momentos. Já a garotinha, que faz o papel da filha, que personagem perturbadinha, mentirosa e que gosta de se colocar em situações perigosas. O que dizer do pai dela que parece ligar apenas para a reputação no trabalho ao ponto de trair a esposa e internar a mesma em uma clínica psiquiátrica e deixar a filha sozinha - se bem que a mãe também deixou em vários momentos, mas enfim. O contraste com Mother (2018) é inevitável: ali, a mesma atriz entrega uma performance contida, profunda e devastadora, em um dorama que trata a maternidade com complexidade e rigor narrativo. Embora compartilhem temática semelhante, Mother é infinitamente superior, enquanto God’s Gift se perde entre boas intenções e uma escrita que não sustenta o peso do que propõe.

O final é uma piada, nem faz sentido e nem se encaixa logicamente com os eventos antes da morte da menina, a não ser que eles tenham voltado para outro universo paralelo e não o original em que de fato os eventos primários que não foram mostrados, se conectando com os eventos secundários que foram apresentados. Basicamente, foram apresentados duas linhas temporais diferentes em cada período, o primeiro é o original e o segundo é uma linha paralela. No original os três morrem. No secundário apenas o mc e as duas vivem.

Read More

Ever watched a drama that feels tiring and rushed at the same time?

Why is every k-drama evil-ish unfaithful and pathetic husband? More than the drama character the drama producer and writer always force that idea down ur throat for no reason... Feels very artificial, tiring and predictable. It feels like I am watching a homely version of Japanese cuckold porn.
Also, y is the kid so senseless... I don't know about the kidnapper/murderer if I were the parent , I would have abandoned the child myself. The kid herself has more lies, wayward behaviour, idiot-menatlity and mistakes than a mid-life crisis-filled k-drama husband.
Somehow, it feels like the daughter is dying to get kidnapped.

Read More

The drama left a mixed impression..
To begin with, I want to say that it is already clear that both parents, both mother and father, are to blame. If we talk about the mother, after the 2nd chance nothing really changed in relation to her daughter, she continued to neglect her and leave her, although she should have always been nearby or at least taken her away from her father after the first suspicion that he was involved. And she “lost her” several times during the 2nd chance, which brought her to the point of absurdity.. at some point I thought that the whole script was absurd, although only the actors’ acting saved it . so I watched and thought, admiring the acting of the koreans, that the americans couldn’t do that, or rather old Usa films were just as soulful as asian ones at the moment, only the politics of cinema have changed or something, and such soulful games can no longer be seen in the USA and the EU, perhaps old films, while the chinese and koreans continue to “heartwarming” game.”. in terms of, they really play emotionally, vividly, whether it’s a series from 2010 or 2024.. when u watch it, the game itself is literally mesmerizing, it seems as if the actors themselves are living the lives of their characters., the emotions on their faces are so vividly expressive, interesting. look .. probably the exact expression is a deep game. They literally pass emotions through themselves in order to convey them clearly.
This drama is the case when the acting of the actors themselves was more exciting than the script itself! I liked it ( I guess I’ve probably been analyzing the game itself more than watching the movie))
In general, I think that they could have saved Dong Chen if they had taken the president’s son hostage in exchange for Setbel and Dong Chen’s brother, this would have been a turn of events when everyone would have benefited.. although in this case they would not have punished the criminals..
I really liked the game of DonChen’s friend, Jenny, she’s a jokester lol I love a team where everyone does their own thing and is devoted to each other.

Read More

Salah satu drama yang memikat penonton. Selain karena pemainnya cakep-cakep, jalan ceritanya benar-benar bikin geleng-geleng kepala.

Story

Han Saet Byul diculik pada saat siaran langsung program ibunya, Kim Soo Hyun. Ki Dong Ho, tersangka pembunuhan berantai Moojin akan menjalani hukuman mati, dan membuat adiknya Ki Dong Chan merasa bersalah. Tapi, Tuhan memberikan Kim Soo Hyun dan Ki Dong Chan hadiah. Mereka dikembalikan pada dua minggu (atau 14 hari) sebelum kejadian. Soo Hyun harus menyelamatkan putrinya dan Dong Chan harus membuktikan kalau kakaknya tidak bersalah.

Cerita yang membuat kita harus jeli dengan bukti-bukti yang ada. Kita dibawa menelusuri kasus pembunuhan berantai Gangnam yang pada akhirnya terkuak bahwa itulah awal mulanya, dan bagaimana ternyata pembunuhan di Gangnam dan Moojin memiliki hubungan. Walau begitu pertengahan hingga akhir pada episode ke 16 benar-benar ngebuat aku pengin jambakin rambut saking kesalnya sama 'pelaku' di balik itu semua. Dan, ah sial, akhir cerita drama ini adalah open ending. Jadi, nggak jelas tuh bagaimana nasib Ki Dong Chan

Acting/Cast

Ini bukan pertama kalinya aku menonton drama Lee Bo Young, dan akting ahjumma itu emang patut diacungin jempol. Tapi untuk Jo Seung Woo ini baru pertama kalinya aku melihat aksi dia, terlebih Jo Seung Woo lebih sering membintangi film daripada drama. Yang jadi Han Saet Byul a.k.a Kim Yoo Bin pun juga membuatku terkesima. Gimana enggak? Dia itu masih kecil, tapi akting nangisnya jago banget. Lucu menggemaskan lagi kalau lagi genit sama Dong Chan ajjushi.

Read More

le cadeau de Dieu : revenir 14 jours en rrière pour sauver sa fille...

Je dois avouer que j’ai pris ce drama pour Cho Seung Won qui m’a littéralement bluffée dans « Stranger » ! Et alors là c'est vraiment tout à fait autre chose : quelle différence de jeu !! La preuve d'un réel talent ! Oui, j'avoue que je suis fan ! En plus il semble avoir un "vieux visage", ce que j'apprécie particulièrement !
j’explique : « vieux visage » : visage qui est resté naturel sans recours à la chirurgie esthétique, dénomination donnée par les Coréens eux-mêmes aux personne « à l’ancienne » ! Autant dire que pour moi c’est un critère d’excellence déjà de ne pas avoir cédé aux sirènes du bistouri !
Quant au drama par lui-même il est haletant, passionnant, avec des personnages attachants (ou révulsants !) ceci jusqu’à la fin, une des pires que j’ai vues ! Si mauvaise que la production s’est crue obligée ,suite à la réaction du public, de rajouter un « Spécial » explicatif… qui n’explique rien du tout ! Je reconnais bien là la patte de la scénariste d'Iljimae à la fin pas nette, que j'ai détestée !

Pourtant les scénaristes se sont donné du mal : il y a un cliffhanger pas négligeable à la fin du 4, non mais c'est qu'il reste 16 épisodes !!!! Donc ça laisse entendre que les scénaristes ont eu de l'imagination !!
Chaque fois qu'on lève un voile c'est pour en découvrir d'autres derrière (entre parenthèse, ici c'est carrément le problème de la peine de mort qui est en arrière-plan !)
J'ai un mauvais pressentiment : cette photo qui essaie de faire croire que c'est Dong Chan le coupable... J'espère bien qu'ils ne vont pas oser s'attaquer à lui (les scénaristes, je veux dire ) parce que je ne vais pas m'en remettre !
Parlons de la fin, mais attention ! Spoilers !!
Mon avis :
Qu'est-ce que c'est que ce splash ! qu'on entend ?  Il se noie pour échanger sa vie avec celle de son frère et dans ce cas que fait-il de la gamine qui bouge dans ses bras ? Ou il entend enfin Soo Hyun qui hurle son nom depuis 20 minutes et se rend compte que l'enfant est vivante, et que son frère va être libre et dans ce cas pourquoi la toute dernière scène laisse entendre qu'il est mort ??  
C'est une fin qui fait exprès de rester dans le flou sans pour autant respecter la logique élémentaire des images : l'enfant ne peut être en vie que parce qu'il l'a ramenée au bord, et oui, mais quand ??? Et pourtant on la voit en vie après !! Donc il l'a ramenée et dans ce cas il a vu Soo Hyun, et il n'a plus aucune raison de se jeter à l'eau !! Non, pour moi c'est une fin ratée parce qu'impossible ! Je veux bien que le scénariste choisisse de faire mourir son héros, pourquoi pas ? mais bon sang que ce soit cohérent ! Il doit ramener la gamine au bord ou se noyer avec elle !! C'est une question de timing ! Je sens là une volonté de faire une fin ouverte maladroite pour faire pleurer dans les chaumières ! Je me suis fait ma fin à moi : il ramène la môme au bord, va pour repartir mais Soo Hyun arrive et lui dit en trois mots : ton frère est sauvé ! et ils tombent dans les bras et en même temps assis par terre parce qu'enfin ! enfin !!! c'est fini et la vie reprend !!
Voilà comment je finis ce drama, moi !!
Bon, le coup du splash, je veux bien penser que votre solution est juste, mais pourquoi le cacher et passer ensuite à cette scène où la petite demande si le chevalier survit et qu'on ne lui répond pas (ce qui laisse évidemment penser qu'il est mort ) et ça n'a pas de sens ! Et surtout comme c'est vraisemblable qu'après tout ce qu'ils ont vécu ils partent chacun de leur côté sans même se dire au revoir ! Non, c'est du faux suspens, maladroit et mal fait !
Tout ça n'empêche que j'ai adoré la série tout du long, les personnages, les enchaînements d'intrigues, et surtout Dong Chan dont je vais traquer les films !!

J’aimerais vraiment beaucoup avoir maintenant un avis !

Read More