This review may contain spoilers
So much wasted potential to be a top supernatural romance
Review
8/10 is my rating. Liked the premise. The acting was great. Main couple was cute. But dang! Lots of problems with elements and just the flow of events and how plot and subplot points were not well tied up.
Overall, this is a charming coming-of-age romance that weaves a compelling supernatural thread through high school life. The drama, starring Cho Yi-hyun and Choo Young-woo, blends heartfelt emotions with Korean shamanism, creating a unique narrative that balances youthful love with mystical stakes. The chemistry between the leads, Park Seong-ah and Bae Gyeon-woo, is engaging, but also frustrating because they never do the things that would make it feel like it fully blossomed. She had a dream sequence of a first date but no real first date. They slept in the same room and cuddled and even held hands but that was out of necessity. So, it was never quite there, never reached the emotional peaks that this genre had attained in other shows. The second male lead, Pyo Ji-ho, is a standout, his sweet and loyal nature sparking a strong case of second-lead syndrome that may leave viewers torn. The show’s exploration of Korean shamanism is a highlight, offering a glimpse into its rituals and cultural significance, though it occasionally feels more theatrical than impactful. Not knowing, from a native Korean perspective, how accurate the depiction is, I don't know if it was just lacking in any spiritual depth in this show or if that is the overall view of the practice. But I think fans of romance, supernatural stories, or Korean folklore will find it an enjoyable watch, and it is perfect for those who love a mix of heart and mystery. It’s not a drama I’d rush to rewatch, but it’s one I wouldn’t skip if it popped up on my screen.
Spoilers
The grandmother, Oh Ok-soon, was a heartwarming presence, anchoring Gyeon-U’s lonely world with her unwavering love. Her death hit hard, and I found it frustratingly unnecessary—her loss stripped away a vital emotional tether without adding much to the story’s progression. It felt like a plot device to deepen Gyeon-U’s despair rather than a meaningful narrative choice.
The villainous shaman, Yeom-hwa, was chillingly manipulative, orchestrating Gyeon-U's misfortunes by convincing his family he was cursed while profiting from their desperation. However, the drama never fully explores her connection to the family or explicitly confirms her schemes, leaving a sense of incompleteness. They touch on Gyeon-U's family, and their poor treatment of him because they think he is cursed, but we never find out if, after Yeom-hwa is no longer able to manipulate Gyeon- U as directly, if there is any level reconciliation with his estranged families. Most families, even selfish families like his, would come out of the woodwork just to claim shines of fame with his archery fame. This lack of closure on his family made that whole loop where they shunned him, seem unnecessary. That could have just been mentioned by one of the characters if there wasn't going to be any follow through.
The possession arc, particularly with the spirit Bong-su, was a gripping twist, but it lost momentum. Bong-su’s initial menace as a child soldier spirit haunting Gyeon-U was compelling, but as soon as he arrived on scene his character turned out to be very different than what we had been led to expect. If anything, he was a character that garnered our sympathy, somewhat endearing, and it was hard to reconcile that with a spirit that had supposedly dispatched nearly 100 lives. And why? Why would he even have done that. There was nothing indicting he particularly desired to be evil. He wanted to be a teenager and have teenage experiences. The two-year plus year time skip after Seong-ah’s possession felt like a cheap separation trope, one I found particularly grating. This was way too long to spend on this one story. It moved what should have been a side story to make it become a main story. And it distanced the leads emotionally and narratively, with Gyeon-U’s search for her via archery-fueled ghost hunting feeling underdeveloped and rushed. They could have added all kinds of intrigue by having Gyeon-U uncover ghost stories based on his new ability to see them. The resolution, tied to uncovering Bong-su’s true identity as a manifestation of another boy’s pain, was poignant but arrived too late to fully redeem the chaotic pacing of the final episodes.
And I mean really why? Why the separation trope? It ultimately accomplished nothing. She hung out with angsty teenage boy ghost, let him possess her, only to have him transfer back to Gyeon-U again later. I mean Seong-ah possessed by Bong-su was amusing. She was way more "sex kitten" than when she was actual Seong-ah (which didn't make a lot of sense because she was possessed by a virginal teenage boy). Which just made this possessed Seong-ah’s arc super frustrating. Her dream of a normal life, including graduating high school, is a core motivation, but the separation trope—her possession by Bong-su and two-year disappearance—robs her of that milestone. I hoped for a poignant moment, like her showing up at graduation to share in the celebration (maybe even grabbing flowers during the ceremony setup), but her absence leaves her arc unresolved and hollow.
The shamanism, while visually striking, often came across as ineffective. Seong-ah’s rituals—lots of dancing and rattle-shaking—rarely succeeded in major tasks like dispelling evil spirits or breaking curses, making the practice feel more performative than powerful. This trivialized the cultural weight of shamanism, which was disappointing, though my daughter, who watched with me, loved the rituals for their immersive dive into the practice, even if their authenticity is questionable. The finale was another sore point: Gyeon-U’s Olympic archery tryouts were a big moment, but Seong-ah’s absence, tied up with shamanic duties, felt like a betrayal of their bond. After losing his grandmother, her not being there for him stung, especially since her spiritual tasks often yielded minimal results. The general’s (Dongcheon’s) death was another misstep—her sacrifice to empower Bong-su felt abrupt, and Yeom-hwa’s unrepentant cruelty as her daughter made the loss feel hollow, with no redemption or accountability for her actions. And what was up with the flower shaman who was so against handing out his talismans and seemed to have a grudge in the first part but then joined the team and handed them out like confetti later. He also seemed like a powerful shaman in the beginning but then, later, when he was really needed made some weird white rampy thing with a lantern maybe that he was trying to push toward the door but couldn't. So weird.
The drama could have soared if it leaned harder into Seong-ah’s empowerment as a shaman, giving her the ability to decisively save Gyeon-U rather than relying on drawn-out rituals and a disjointed finale. Despite these flaws, the emotional core—Seong-ah’s determination and Gyeon-U’s quiet resilience—kept me invested. It’s a story with heart, but it stumbles in tying its supernatural and emotional threads into a cohesive whole.
---
Synopsis
Head Over Heels is a 2025 South Korean drama that blends fantasy, romance, and comedy in a captivating tale of love and destiny. There are 12, 60 minute, episodes.
High school student Park Seong-ah (Cho Yi-hyun), secretly a shaman known as Fairy Cheon Ji, navigates a double life, battling spirits by night while blending in with her peers by day. When she encounters the handsome but ill-fated Bae Gyeon-u (Choo Young-woo), whose tragic destiny she foresees in a prophetic vision, Seong-ah falls head over heels and vows to change his fate. As their bond deepens, she faces supernatural challenges, skeptical peers, and the mysterious spirit Bong-su (Cha Kang-yoon), whose presence complicates their budding romance. For those familiar with Korean folklore, this offers a fresh take on the folktale of Gyeon-woo and Jiknyeo.
Note: The Korean folktale of Gyeon-u Jiknyeo, also known as the Cowherd and the Weaver Girl, tells the story of two lovers separated by the Milky Way. Gyeon-u, a cowherd, and Jiknyeo, a weaver, fall deeply in love but are forbidden to be together by the heavens. Moved by their devotion, magpies and crows form a bridge across the Milky Way once a year on the seventh day of the seventh lunar month, allowing the lovers to reunite briefly. This tale, celebrated during the Chilseok festival, symbolizes enduring love and the power of connection despite great obstacles.
#HeadOverHeels #CowherdandWeaverGirl
8/10 is my rating. Liked the premise. The acting was great. Main couple was cute. But dang! Lots of problems with elements and just the flow of events and how plot and subplot points were not well tied up.
Overall, this is a charming coming-of-age romance that weaves a compelling supernatural thread through high school life. The drama, starring Cho Yi-hyun and Choo Young-woo, blends heartfelt emotions with Korean shamanism, creating a unique narrative that balances youthful love with mystical stakes. The chemistry between the leads, Park Seong-ah and Bae Gyeon-woo, is engaging, but also frustrating because they never do the things that would make it feel like it fully blossomed. She had a dream sequence of a first date but no real first date. They slept in the same room and cuddled and even held hands but that was out of necessity. So, it was never quite there, never reached the emotional peaks that this genre had attained in other shows. The second male lead, Pyo Ji-ho, is a standout, his sweet and loyal nature sparking a strong case of second-lead syndrome that may leave viewers torn. The show’s exploration of Korean shamanism is a highlight, offering a glimpse into its rituals and cultural significance, though it occasionally feels more theatrical than impactful. Not knowing, from a native Korean perspective, how accurate the depiction is, I don't know if it was just lacking in any spiritual depth in this show or if that is the overall view of the practice. But I think fans of romance, supernatural stories, or Korean folklore will find it an enjoyable watch, and it is perfect for those who love a mix of heart and mystery. It’s not a drama I’d rush to rewatch, but it’s one I wouldn’t skip if it popped up on my screen.
Spoilers
The grandmother, Oh Ok-soon, was a heartwarming presence, anchoring Gyeon-U’s lonely world with her unwavering love. Her death hit hard, and I found it frustratingly unnecessary—her loss stripped away a vital emotional tether without adding much to the story’s progression. It felt like a plot device to deepen Gyeon-U’s despair rather than a meaningful narrative choice.
The villainous shaman, Yeom-hwa, was chillingly manipulative, orchestrating Gyeon-U's misfortunes by convincing his family he was cursed while profiting from their desperation. However, the drama never fully explores her connection to the family or explicitly confirms her schemes, leaving a sense of incompleteness. They touch on Gyeon-U's family, and their poor treatment of him because they think he is cursed, but we never find out if, after Yeom-hwa is no longer able to manipulate Gyeon- U as directly, if there is any level reconciliation with his estranged families. Most families, even selfish families like his, would come out of the woodwork just to claim shines of fame with his archery fame. This lack of closure on his family made that whole loop where they shunned him, seem unnecessary. That could have just been mentioned by one of the characters if there wasn't going to be any follow through.
The possession arc, particularly with the spirit Bong-su, was a gripping twist, but it lost momentum. Bong-su’s initial menace as a child soldier spirit haunting Gyeon-U was compelling, but as soon as he arrived on scene his character turned out to be very different than what we had been led to expect. If anything, he was a character that garnered our sympathy, somewhat endearing, and it was hard to reconcile that with a spirit that had supposedly dispatched nearly 100 lives. And why? Why would he even have done that. There was nothing indicting he particularly desired to be evil. He wanted to be a teenager and have teenage experiences. The two-year plus year time skip after Seong-ah’s possession felt like a cheap separation trope, one I found particularly grating. This was way too long to spend on this one story. It moved what should have been a side story to make it become a main story. And it distanced the leads emotionally and narratively, with Gyeon-U’s search for her via archery-fueled ghost hunting feeling underdeveloped and rushed. They could have added all kinds of intrigue by having Gyeon-U uncover ghost stories based on his new ability to see them. The resolution, tied to uncovering Bong-su’s true identity as a manifestation of another boy’s pain, was poignant but arrived too late to fully redeem the chaotic pacing of the final episodes.
And I mean really why? Why the separation trope? It ultimately accomplished nothing. She hung out with angsty teenage boy ghost, let him possess her, only to have him transfer back to Gyeon-U again later. I mean Seong-ah possessed by Bong-su was amusing. She was way more "sex kitten" than when she was actual Seong-ah (which didn't make a lot of sense because she was possessed by a virginal teenage boy). Which just made this possessed Seong-ah’s arc super frustrating. Her dream of a normal life, including graduating high school, is a core motivation, but the separation trope—her possession by Bong-su and two-year disappearance—robs her of that milestone. I hoped for a poignant moment, like her showing up at graduation to share in the celebration (maybe even grabbing flowers during the ceremony setup), but her absence leaves her arc unresolved and hollow.
The shamanism, while visually striking, often came across as ineffective. Seong-ah’s rituals—lots of dancing and rattle-shaking—rarely succeeded in major tasks like dispelling evil spirits or breaking curses, making the practice feel more performative than powerful. This trivialized the cultural weight of shamanism, which was disappointing, though my daughter, who watched with me, loved the rituals for their immersive dive into the practice, even if their authenticity is questionable. The finale was another sore point: Gyeon-U’s Olympic archery tryouts were a big moment, but Seong-ah’s absence, tied up with shamanic duties, felt like a betrayal of their bond. After losing his grandmother, her not being there for him stung, especially since her spiritual tasks often yielded minimal results. The general’s (Dongcheon’s) death was another misstep—her sacrifice to empower Bong-su felt abrupt, and Yeom-hwa’s unrepentant cruelty as her daughter made the loss feel hollow, with no redemption or accountability for her actions. And what was up with the flower shaman who was so against handing out his talismans and seemed to have a grudge in the first part but then joined the team and handed them out like confetti later. He also seemed like a powerful shaman in the beginning but then, later, when he was really needed made some weird white rampy thing with a lantern maybe that he was trying to push toward the door but couldn't. So weird.
The drama could have soared if it leaned harder into Seong-ah’s empowerment as a shaman, giving her the ability to decisively save Gyeon-U rather than relying on drawn-out rituals and a disjointed finale. Despite these flaws, the emotional core—Seong-ah’s determination and Gyeon-U’s quiet resilience—kept me invested. It’s a story with heart, but it stumbles in tying its supernatural and emotional threads into a cohesive whole.
---
Synopsis
Head Over Heels is a 2025 South Korean drama that blends fantasy, romance, and comedy in a captivating tale of love and destiny. There are 12, 60 minute, episodes.
High school student Park Seong-ah (Cho Yi-hyun), secretly a shaman known as Fairy Cheon Ji, navigates a double life, battling spirits by night while blending in with her peers by day. When she encounters the handsome but ill-fated Bae Gyeon-u (Choo Young-woo), whose tragic destiny she foresees in a prophetic vision, Seong-ah falls head over heels and vows to change his fate. As their bond deepens, she faces supernatural challenges, skeptical peers, and the mysterious spirit Bong-su (Cha Kang-yoon), whose presence complicates their budding romance. For those familiar with Korean folklore, this offers a fresh take on the folktale of Gyeon-woo and Jiknyeo.
Note: The Korean folktale of Gyeon-u Jiknyeo, also known as the Cowherd and the Weaver Girl, tells the story of two lovers separated by the Milky Way. Gyeon-u, a cowherd, and Jiknyeo, a weaver, fall deeply in love but are forbidden to be together by the heavens. Moved by their devotion, magpies and crows form a bridge across the Milky Way once a year on the seventh day of the seventh lunar month, allowing the lovers to reunite briefly. This tale, celebrated during the Chilseok festival, symbolizes enduring love and the power of connection despite great obstacles.
#HeadOverHeels #CowherdandWeaverGirl
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