W two worlds Season 2 sc

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Edit: I can't believe it because I post almost nothing here.
I was just lurking, like I do 1 or 2 times per week.
And zzzzzap!!! I get the quintuple one score.
Sorry!!!!!
（≧ｙ≦＊）

Train go into "Top airing show" today. ;-)
More watchers than "once again", "what is love", "my unfamiliar family".
Backstreet store is out, but should come back quickly as there is like 8k watchers.
(in real, about rating, "once again" is crazy huge, 30%, but on MDL, it's not the same)

The script played me. Finaly Seo Do Won from B-world isn't the murderer ?!

I made some search and tried to locate the Station and places of the drama. Railway, etc.
As it's too long to post here, I just give the link to soompi :
https://forums.soompi.com/topic/447088-current-drama-2020-train-%ED%8A%B8%EB%A0%88%EC%9D%B8-sat-sun-2230-kst/?do=findComment&comment=21963793
I'm not 100% sure of all this, but it can help if someone want to look further, and find more accurate information.

No way. Train narrative is good.
Maybe too slow paced, but nothing useless and nothing uselessly confusing.

As was 365 repeat the year.
For now, I don't know much about Train, I have to watch ep 3, then 4.
Potential is here, if you like real fantastic story, not just fun fantasy rom-com.

Oh, he did sageuk ? I will check that, I love sageuk.
Bad luck made I didnt know this actor since I started watching kdrama in 2010.
Recently, I watched "psychopath diary", damn-it, it's my favorite comedy kdrama now. A few day ago, I completed "King of baking". Yoon Shi Yoon was so expressive in it. Now I like very much this actor.

No Idea why drama are trending. Number of watchers maybe ?

Dispite this drama has some flaw (too slow pace), I really like the feeling and trains. So, I build some hype here.
And yoooooo, it's trending hard this week. ;-D

Chug-chug, puff-puff.
Chug-chug, puff-puff.

The next train to dramaworld will leave saturday 18/07/2020 15:00.
Reserve your tickets.
Tchoo tchoo.

The American TV show "Lost," I assume?
I don't know if it's used in English, but in France there's a category called "Fantastic". It's perfect for "Lost" or any story with a mysterious and inexplicable principle, or which involves a paranormal phenomenon. For example, the film "Shinning" is fantastic. On the other hand, people tend to put in there things that are more fantasy. The term Fantasy is almost never used in French for films and series.
"sci-fi/fantasy romance" can apply to TKEM. Yeah, it's really bad drama as far as narration is concerned. I even think it's worth seeing for that very reason. I mean, if you're interested in that and you want to answer the question: what are the effective techniques to sabotage a script? LOL!

I've lost the urge to classify, because it's quite subjective, and moreover, several genres can be involved.
For TKEM, I would have been ready to classify this in the Science Fiction section, even with a magic flute. But there are too many extra elements that make the story drift towards fantasy: a God of Fate. Some elements that are not taken into consideration from the scientific point of view (the existence of dooplegangers in a world that has been separated for too long). Or elements that would have been explained more clearly, if it were a SF story.
Here, for example, I'm watching the drama "Train". The SF principle seems inexplicable, but the general impression is "Science fiction". But the exact genre is more likely "Fantastic".
And for fantasy with monsters or dragons, there are other terms, like "Heroic Fantasy" or "Medieval Fantastic".
Right now I'm a little tired of having to classify.

Every step of the way, it gives me this parodic impression.
The screenwriter put up little signs along the heroine's path.
On them, it says:
"I want you to die!"
And then there's an arrow, and then:
"This way."
(≧艸≦*)

If so, I gladly accept that I'm wrong. ^^
I can only rely on the impression I had when I saw the drama, and unfortunately, I forgot most of the drama, except for the beginning, and the emotionally strong scene of the drama. The general lack of emotion often causes this kind of forgetfulness. Maybe other spectators felt that way too? I haven't read reviews of the drama, I don't know.
I hope you enjoy season 2. As far as I'm concerned, I plan to watch it ;-)

It all depends on how people write scripts, but my method is the following (I suspect Song Jae-Jung writes like that too): writing is not linear. For example, if you read fan fiction, the writing is almost always linear. Even when the author has a general outline of the story. Once they have published their episodes, they don't go back.

In a drama script, the whole story is structured in advance very strongly. Often, you can have incredible ideas about what will happen at different points in the story. You see the scene perfectly and how good it would be. But sometimes that scene doesn't connect strongly enough with the rest of the ideas. You are convinced that this must absolutely take place, even if you have to modify this scene a little bit. At that moment, you have to make choices. Sustainable choices, or deeper choices that involve revisiting the chronology of previous events. For the key scene to take place, there must be a good reason for it, and the spectator must be able to believe in the scene, to believe that the sequence of events could only lead to that and nothing else. Often the changes to the previous structure will produce something unexpected, both for the author and for the spectator. The story becomes more logical, because what happens after is planned before, more logical and more surprising at the same time. By changing the anteriority, new correlations and new sources of support for what happens next are created. New future scenes. From a certain point on, the whole scenario acquires a very strong internal cohesion from beginning to end. It's a bit like an alchemical reaction, a kind of immense catalysis.
All this preparation phase is enough to drive you crazy. It's easier when you're already lucky enough to have a concept and faces that already exist, but starting from absolutely nothing to arrive at something like W leaves me totally amazed. The whole screenplay of W speaks a lot about this, the miracle with which a story comes to life almost autonomously, as if the author was little in front of this miracle.

I can imagine what W's script looked like at an early stage: an accumulation of ideas, and a very vague chronology.
For example, an idea such as:
"There's a scene where there's writing appearing in the open air, as if it were the text of a character in a comic book."
It's too good an idea not to be included in the script. Whatever happens, the screenwriter has to make it happen at all costs! Find the right moment, or favour the chronology that would lead to that moment. After multiple clusters with hundreds of other ideas, resulting in dozens of changes to the sequel, the moment and its conditions are found. End of episode 7, another of the emblematic scenes of this drama which is packed to the brim. Taking into account the complexity of the whole, it couldn't have been easy, especially since it is the same for everything else. Here, for example, it forces the scenario to make a kind of big gap, a bit of extreme gymnastics. The faceless killer is in the real world right now. How does he communicate this way from one world to another, by phone? No explanation will be given. Maybe there doesn't need an explanation because it's a basic phenomenon? Or maybe I wasn't smart enough to understand how he does it and the script provides clues on the subject? Is that part of his superpowers? On an idea like that, I would have hung a green lantern, at the very least. Let the viewer know that this has been considered. Sometimes a screenwriter doesn't use the green light method, and it goes under the carpet. As a last resort, it is possible to do so, but it is better to avoid doing so. I had to do it in one of my scenes (and maybe two or three others), despite my fanaticism for consistency. I could have found a more logical way to solve the scene, but it made the episode too heavy, and the replacement scene had no interest in terms of dramatic impact and punch to the viewer. Maybe there is a way to bring the situation more into line? I don't know. On my own, I don't have the ability to figure out what or how.

This dialectic of chronological interaction continues while the full script is being written as well! The writing brings a new stream of correlations and sometimes, it is necessary to modify again some previous scenes, in a more limited way this time, because changing the whole script is impossible. Sometimes you see what needs to be changed, even details, sometimes there are details that go out of the window.

For example, W episode 11. Yeon-Joo has to take the bus to the village where Kang Chul took refuge. Finding Kang Chul is the objective of this phase of the scenario. The screenwriter has the purpose, and to make it happen, she has to write what happens before. The problem : Yeon-Joo takes the bus when she had no money before. Little plot-hole? Not even that. At the beginning of Episode 11, we see Yeon-joo picking up her purse. Except she doesn't have her purse when she goes back to W. We can assume that she got back some money that she put in her pocket. Here, it's a small writing flaw, but not easy to detect for the writer, who is alone with her script, even when she reads it again. It was necessary to include a short line of description in the scene at the beginning of episode 11, to show a short shot in which Yeon Joo takes money from her bag and puts it in her pocket. In my opinion, it really didn't cost anything to do and didn't make the scene heavy. Here, I'm pretty sure that the writer didn't think to come back to that scene to correct it. It's very possible that she had the idea in mind about its structure. Yeon-joo's in W, she's out of money. But then she comes back to the real world, so it's logical that when she goes back to W afterwards, she has money again. That's typically the kind of idea that a screenwriter can have in her head, but there's an imperfection in the way it's shown.

Even though Song Jae-Jung is writing alone, she manages to produce the most unpredictable scripts. If I were talking about that, and since you're asking me what my favorite dramas are, I'll avoid giving an endless list, because my commentary is already very long.
I'll take Empress Ki, because there are two writers. It's a married couple who write a lot of very good dramas. And Empress Ki is in my opinion their best. It's the kind of drama that produces this effect of unbridled enthusiasm when you see it.
Being two writers helps a lot of the problems I talked about. With two people, it's easier to correct what might be flawed. I don't know the exact method they have for writing. I guess there is a structure to the whole drama, but maybe less elaborate than W's. They need freedom because a lot of the script is produced by their interaction.
Where you can see perfectly well that there are two screenwriters is in the richness of the scenes, the suspense, the emotional strength and the completely unexpected side of the situations or their resolution.
As I have already imagined scenarios with a friend, I can recognize what is happening.
Scriptwriter 1: Proposes a situation, the sequence of events.
Scriptwriter 2: Yah, that's too predictable your thing!
Or...
Scriptwriter 2: That's good, but you have to push it further, or add something funny.
Scriptwriter 1: Let's do this, and this!
Scriptwriter 2: That's great, but we can go even further, we add this!
So their scripts are incredibly rich and yet they are in the classic storytelling genre. No artificial or aesthetic effects, everything focuses on the events. No filler effects, useless scenes that drag the drama out to complete an episode, or that just serve to embellish it or give clues in scenes that are rather boring. It becomes a fast-paced drama! 51 episodes that have a crazy rhythm.

In their drama "History of the salaryman", for example, there is a succulent scene where the villain of the drama carries away the president's corpse on a wheelchair (she put glasses, a coat and a scarf on him). It could end there. The goal is for the villain (and screenwriters too) to run away with the corpse without any particular problem. But the scenario describes the moment when the villain takes the elevator, and makes the second female lead enter the elevator! Suspens... The villain has to come up with a bogus excuse that the president is tired and cold (when in reality he's dead). It could stop there, but the writers will push this scene as far as possible with a great sadism, to make the bad girl sweat, and make the spectator believe that she will be caught! The hand of the president falls on the side of the wheelchair! The villain has to spit something out. Then, best of all, the second female lead just gets a phone call from someone asking to talk to the president !!!

This sample scene gives an idea of the fun and richness that these two writers can produce instead of one. It's possible to do it alone (I have such a scene in my episode 4), but I'm sure that when writing together, it happens much more often. There is a constant analysis and improvement of the scenes being written. What one writer forgets, the other thinks to notice. Add to that, two professionnals, well aware of what questions screenwriters should always have in mind.

If you read the first episodes of W season 2, don't hesitate to give me your feedback on my blog comments. So far, I have very few reactions (it's not successful, or people are afraid to talk, lol!). I've already spotted a lot of little things that are badly done.

I had the very strong impression that during season 1, the drama writer had already planned a season 2. The character makes no much progress during season 1, and I thought he would find a miraculous healing path, but that doesn't happen.
I'm keeping my fingers crossed that this could happen in season 2. The drama could be very emotional this time. In season 1, the death of the assistant district attorney was particularly shocking.

In season 1, the character is a perfect mirror for the other characters, his allies as well as his enemies. A revealer of emotion, but not for himself, for others. There are some good scenes, in which his enemies get angry when talking to him. But he doesn't feel anything, and is absent from the source of the conflict. All his interlocutor does is get stupidly angry and project all his emotional failings onto the character, and it comes back to interlocutor as it is in the face.
In a normal interaction, the character who receives this reacts, and involves his own personality, his own emotions. He takes for himself and as truth a part of what he is told. For me, the interest of the character was there, there is no control over him. His job as a prosecutor is to seek the truth, but he is also a revealer of the truth about the personality of others.

I think my comment was very embarrassing for the fans of the drama, and very unpopular. But I have to say sincerely what I think of drama. Being unemotional about the drama makes me feel like I've become its main character. And now the fans of the drama are pouring their emotions on me, LOL!!!!! I can't help it on my side. I have no commitment.
I'm curious to see this season 2, and to see the character evolve. I'm curious to see a very strong emotional intensity this time, like we find in healing drama. But maybe the character will stay as he is?

No, it's not! This is precisely the basic principle of drama: no emotion.
Watch the first 3 minutes of the drama, it's all explained there. Partial lobotomy, the guy's missing a piece of his brain. The dialogues insist on that several times : no emotions.
During the drama, you wonder if he could recover from that. We wait for him to progress, but nothing happens, he doesn't heal. The story makes sense in the end, how could you heal from a missing piece of brain?
Rather, he's a character who luckily hasn't developed a disease such as being a psychopath. Someone who chooses truth and justice out of cold logic and intelligence.

The few emotions from the drama didnt come from her. This drama was cold. The director is good at making cold, so it's quite nice. I barely classify Stranger as a korean drama because this. I'm unable to give it a notation also. The main caracter remains the same from beggining to end, or almost. I was excepting some change during season 1, but nothing. So maybe it will come during season 2...

The main problem with Stranger season 1 is that using a emotionless main character also made it an emotionless drama. Except for a famous scene that you all know and that I won't quote to avoid a spoiler. But everyone cried at that moment.
Otherwise, the drama was good in terms of investigation and directing.
Is season 2 going to succeed in unlocking this character who seems doomed to never feel anything for the rest of his life?

That's about it, the train never stops at the station in our world, it goes back to the other world.
The killer doesn't bury the bodies, he dumps them. It's the madman in our world who buries them. That makes me think the killer knows that at this point the train stops in another dimension.
The whole mechanism looks more like a paranormal phenomenon than a scientifically explainable dimensional breach.
- There's the station clock ticking again. (To be checked, I don't remember where this clock is exactly).
- There are the traffic lights that are starting up again. (before the arrival of the train in our world it seems to me, to be checked).