A compilation, but I think it's only 1% or even 0.1% of this kind of scene. https://www.youtube.com/watch?v=2TONXOuZ1c4 😂 The one of joker is famous because explosives didn't work. The actor had to improvize the scene, hoping it would work later, and BADABOOM, finally it worked.
I hope Kim Jae Young's paycheck for this role is generous enough to make up for him having to play this cringe…
I liked the drama because of comedy. But last episodes are less good about that. Else it's quite a cheap drama, mostly targeting easy entertainment. Many characters are simple or caricatural , most of villains first. It still work, as you can see the drama has a good popularity.
The very plot I CAN'T STAND ANYMORE about protagonists with super-powers: They LOOSE their super-powers. Now, it will be such a pain to watch, I just want to drop the drama. I could feel that coming from miles away, just from episode 1.......
I found that enough convincing, thought.I've rather have trouble with the pace, many episodes without Hiery and…
Yeh. So, I'm thinking: remove brother and sister. Put Cho-Rong first, so we see her before, would be better for accepting the mariage plot more easely. Because this character wasn't introduced over time, we got a 5 minutes info-dump during flashbacks of Ep8 (if I remember well). But anyway, it still add someone taking care of grandmas.
Then remove also some grandmas, 3 would be enough. Remove the dead one, it wins screentime. Remove the subplot about the husband gone and coming back. Well, I'm redoing the script structure here. LOL! It's a bit risky as I don't know yet how the drama ends.
I just think about to remove as much as subplots and secondary characters from the start, because anyway, some will be needed for the main plot. Problem is the writer probably signed for a number of episode, and by removing too much, how it stands with the whole? There is probably something more to do just with the main characters, so we get the feeling the story moves during present time.
Also, it's not like the grandmas were poor. They live in this big house, looks like they saved money, as they can pay ChoRong. Not easy to give to a protagonist a solid reason to never want to marry.
How he lives with her for 8 years but knows nothing? How was she working years like that and started having "big…
It's enough explained. She gets big shocks in 2019, when Hyeri is declared dead and grandma dies. Then the break-up doesn't make her situation better. I find that good, it's a point when a personnality already in trouble but able to live normally falls down.
The showmaker failed to connect with audience. Whatever they trying to tell, most audience failed to understand.…
I found that enough convincing, thought.
I've rather have trouble with the pace, many episodes without Hiery and feeling the story doesn't move enough in present time, many flashbacks, a bit too long ones or too numerous. From episode 5 to 9, number of great scenes is lower. I find the writing both great and flawed. I can only get the feeling the drama needed less episodes and less secondary characters.
Ji-On and Sister: it's not I dislike them, but I wonder if the story would be better without them. They also step over ML main problem: take care of the grandmas. But as there are three of them, it should discharge him a lot of this problem. They could just taking turns. If he were alone to take care of grandmas, we would have a better feeling of urgency and the weight of his burden.
Friends try to understand that this drama is about deep wounds – one that the male lead caused, and his wound…
I said that many times: I expect a scene (flashback) where we understand why he couldn't speak about grandmas to EunHo. If you look at the drama closer, it's quite good about logic. For example, this simple scene in episode 10 when he enters Hyeri home. I was like... "wait? isn't it inconsistent?", and few scenes later, we find out he knows the password of her home. And it's not the only one logical followup I could find in the drama. So, I think we'll know more about the whole "grandma" misunderstanding.
Two visual mysteries charged with symbolism in the drama.
The painting represents something concrete but also psychological. I think it's the field in the middle of the forest. The yellow represents Hyeri, occupying most of the space. And in the centre: this little house, with a red roof. On a psychological level: EunHo's central psyche, small and at the centre of the painting, in danger of being submerged by Hyeri's yellow. There's even a red roof. Supposed to be Hyeri? But protecting Eun-Ho? The house that Eun-Ho enters is not exactly in the centre of the field. However, in one shot (sorry, I forgot to note the timecode), the director shows the reddish-brown colour of the roof from the inside. This painting really does have a psychological component, which is difficult to decipher for someone like me who is not a psychologist, but who nevertheless has a few notions. It's very much about identity, ego and the mind within the mind. I hope that other people will contribute their thoughts on this subject.
The night sun. Very intriguing. It's spectacular in the night scenes in the Giyidong field. It's something impossible, a sun shining in the night, therefore divine. This light comes in many other, more discreet scenes in the drama. In doing so, I forgot to note it. But for example, in the break-up scene: at the beginning, at the top of the stairs, this light is present. It's also present when Eun-Ho returns home after a month in the forest. As if it were a signal: day or night, never forget who you are. I take it as a sense of observation, of awareness, and simply, as the eye of God, in the sense of the psychological God (refer to CG Jung). This observing God can be terrible when Eun-Ho is alone. In the episode where she goes into the forest of Giyidong, the scene ends with her falling, and then her eyes are dead. It's as if she's dead, in danger of being swallowed up by Hyeri. Then the panic attack on the TV set and the kiss in the lift, as a survival reflex. The light of consciousness can also be more welcoming. In episode 10, after the kiss, the light is softer, full of hope and energy, between ML's face and FL.
1 
https://www.youtube.com/watch?v=2TONXOuZ1c4
😂
The one of joker is famous because explosives didn't work. The actor had to improvize the scene, hoping it would work later, and BADABOOM, finally it worked.
Still more funny when Robert Patrick does it:
https://www.youtube.com/watch?v=Kvzt7eGr1Xc
😋
She's a bit crazy to enters, while she doesn't have superpowers anymore.
Those lawyers have multiple stomachs?!!
Doesn't look like good ones. Slimy. Industrial food.
They LOOSE their super-powers.
Now, it will be such a pain to watch, I just want to drop the drama.
I could feel that coming from miles away, just from episode 1.......
Apart the cliffhanger, but I guess someone else interposes: maybe BitNa assistant.
Let's see that in Ep11 now.........
Put Cho-Rong first, so we see her before, would be better for accepting the mariage plot more easely. Because this character wasn't introduced over time, we got a 5 minutes info-dump during flashbacks of Ep8 (if I remember well).
But anyway, it still add someone taking care of grandmas.
Then remove also some grandmas, 3 would be enough. Remove the dead one, it wins screentime. Remove the subplot about the husband gone and coming back. Well, I'm redoing the script structure here. LOL! It's a bit risky as I don't know yet how the drama ends.
I just think about to remove as much as subplots and secondary characters from the start, because anyway, some will be needed for the main plot. Problem is the writer probably signed for a number of episode, and by removing too much, how it stands with the whole? There is probably something more to do just with the main characters, so we get the feeling the story moves during present time.
Also, it's not like the grandmas were poor. They live in this big house, looks like they saved money, as they can pay ChoRong. Not easy to give to a protagonist a solid reason to never want to marry.
I've rather have trouble with the pace, many episodes without Hiery and feeling the story doesn't move enough in present time, many flashbacks, a bit too long ones or too numerous. From episode 5 to 9, number of great scenes is lower. I find the writing both great and flawed. I can only get the feeling the drama needed less episodes and less secondary characters.
Ji-On and Sister: it's not I dislike them, but I wonder if the story would be better without them. They also step over ML main problem: take care of the grandmas. But as there are three of them, it should discharge him a lot of this problem. They could just taking turns. If he were alone to take care of grandmas, we would have a better feeling of urgency and the weight of his burden.
If you look at the drama closer, it's quite good about logic.
For example, this simple scene in episode 10 when he enters Hyeri home. I was like... "wait? isn't it inconsistent?", and few scenes later, we find out he knows the password of her home. And it's not the only one logical followup I could find in the drama.
So, I think we'll know more about the whole "grandma" misunderstanding.
Two visual mysteries charged with symbolism in the drama.
The painting represents something concrete but also psychological.
I think it's the field in the middle of the forest.
The yellow represents Hyeri, occupying most of the space.
And in the centre: this little house, with a red roof.
On a psychological level:
EunHo's central psyche, small and at the centre of the painting, in danger of being submerged by Hyeri's yellow. There's even a red roof. Supposed to be Hyeri? But protecting Eun-Ho?
The house that Eun-Ho enters is not exactly in the centre of the field.
However, in one shot (sorry, I forgot to note the timecode), the director shows the reddish-brown colour of the roof from the inside.
This painting really does have a psychological component, which is difficult to decipher for someone like me who is not a psychologist, but who nevertheless has a few notions. It's very much about identity, ego and the mind within the mind. I hope that other people will contribute their thoughts on this subject.
The night sun. Very intriguing.
It's spectacular in the night scenes in the Giyidong field.
It's something impossible, a sun shining in the night, therefore divine.
This light comes in many other, more discreet scenes in the drama.
In doing so, I forgot to note it. But for example, in the break-up scene: at the beginning, at the top of the stairs, this light is present.
It's also present when Eun-Ho returns home after a month in the forest. As if it were a signal: day or night, never forget who you are.
I take it as a sense of observation, of awareness, and simply, as the eye of God, in the sense of the psychological God (refer to CG Jung). This observing God can be terrible when Eun-Ho is alone. In the episode where she goes into the forest of Giyidong, the scene ends with her falling, and then her eyes are dead. It's as if she's dead, in danger of being swallowed up by Hyeri. Then the panic attack on the TV set and the kiss in the lift, as a survival reflex.
The light of consciousness can also be more welcoming. In episode 10, after the kiss, the light is softer, full of hope and energy, between ML's face and FL.
You don't watch enough closely.