Episode 2, first minute: If I need to hunt rats in my basement, I should use the hero instead of a cat, because obviously he has better reflexes than a cat. ^^
Whoo! I'm hanging on to the drama. First of all, I really like trains and railroads, it helps. The rhythm is slow, but pretty good in terms of the atmosphere that's recreated. Wonderful photography based on yellow, green, ochre, restoring the colors of the tracks and old trains. The drama has a twilight zone side, or lovecraft , even. I guess my only possibility now is to watch episode 2. The life of a drama lover is so difficult... T T
Haha I just started it too and same, poor kitty :(
A cat run over by a car happens, but run over by a train, I doubt it. Maybe the train came out of nowhere without vibrating on the tracks? But even in that case, the police officer's later reply is not credible. He says he's seen a lot of cats run over by trains. Nowhere, there's no such thing. A cat on a railway track will feel the vibrations, it can hardly be surprised. Besides, cats have good reflexes. I take that as a scenario facility. It's just to convey the information that the cat was certainly run over by a train. If I had had to write this dialogue, I would have shot it more like this: COP - Looks like a dead cat run over by a car. I've seen a lot of dead cats that look like that. HERO - A car? In here? On a railroad track? COP - (sarcastically) There are sometimes crazy people like you who drive on a railway... HERO - More like he was hit by a train, that cat. COP - Ah ah ah! Have you often seen cats hit by a train? On a disused track on top of that? HERO - It closed in 2015. HERO - (addresses the forensic scientist) Yah! Find out when that cat died!
The only good thing about "goblin" are the scenes where actress Kim So Hyun appears. The rest don't even deserve the energy typed on the keyboard to describe how bad it is.
I never watched any Reply drama, as I don't like "slice of life" dramas. But your review make me doubt. What is the best "reply" drama among the 3 ones ?
You know when you’re doing a puzzle and you find a piece you *swear* goes with another piece, but as soon as…
Honestly, Kim Eun Sook tried to write a drama in the style of Song Jae-Jung. Only... she's incapable of it to the last degree. That's why TKEM is such a huge fiasco.
It look very good on the paper. But when I see N in school, I immediatly think about a "love alarm" or "extraordinary you" fantasy drama. What is really not good.
Now this is how you do a parallel universe plot right. If only this came out before, so the king eternal monarch…
ahahaha!!! I was sure about that... parallel worlds with doopleganger, but no additionnal stuff like you get in TKEM. So, the story can focus on the essential. Damn, I want to see this drama now! But I don't want to watch drama during broadcast. Hell dilemma !!! I should not come in this comment section, it will drive me crazy.
Don't ask me why after so many years I hadn't written a review of my favorite drama, but I just did. So I've also just read your review which I think is very good, regardless of the rating! I'm commenting on an often made comment about this drama. There's not really a plot-hole in the drama, but on the other hand, one of the flaws of the drama is not having provided enough explanations during the second part. So yes, it can give that impression. It gets better when you rewatch the drama and think about it a little bit. Some things should have been better shown to help the audience. For example, this situation: why does the killer always access the tablet from the inside? He even manages to get his arms and head over the tablet. This is explainable because he is connected to the author (especially when the author has become a zombie, the communication channel remains open). Why in this case could he not get off the tablet entirely? Can he do this or does he prefer to stay in the world of manhwa, when he attacks Oh Sung-Moo? That's the situation that poses the most problem for me. Because you can't see the opening to the real world in the scene where the killer is in his apartment, which takes away readability and understanding. For the rest, obscure things are easily explained, either by the logic of the concept, or because it is explained (but too briefly), or because they are basic facts that do not derive from rules, but establish the rules.
I wanted to see this drama after the broadcast, but your comments make me want to see it so badly right now !!! I feel like it's the kind of fast paced and credible SF story I like ... Is it?
The drama is ambitious, but has a rich terrain to explore, requiring serious investigative work on the part of the screenwriter: - Mental illness and therapy. - Psychiatric hospital environment. - Illustrated books for children. - Book publishing environment. - Tales. If all this is well exploited and combined with sufficient imagination on the part of the screenwriter, there is everything to make a very good drama. I particularly like dramas that take their subject seriously, using real elements to make it more credible. Randomly, the drama Ms. Temper & Nam Jung Gi. Here the screenwriter made the effort to investigate the perfume industry, to use that in the script. It could have been done even more.
About the exaggerated allegorical scenes: I hadn't liked the first of these scenes, then I radically changed my mind afterwards. For example, the scene where MY transforms into a giant is very good, to represent her whimsical thoughts. Since the drama is a rom-com, there is obviously comedy. And if there's going to be comedy, it might as well be good comedy.
I don't know if the drama continues to show scenes like this, but it would be interesting. It's possible to make them look like fairy tales, like the idea of a giant woman taking over TE, as if he were a little toy figurine. The image is well found since later in the story she tells TE that he is her toy. Here, the scenario uses a correlation that is well placed and does not lose the rhythm of the story.
This allegorical scene could also have a sequel, but from TE's point of view. It would resemble Gulliver's travel tales. MY is a giant, she falls asleep peacefully with a tiny TE on her chest. By magic, dozens of other miniature TE appear and tie the giant MY with ropes. A way to represent later that MY has become his prisoner in love, now attached to him.
The ratings are great for a cable station, anything above 3 is great for them and this is 5-6 rangeNow it's not…
Lee Jong Suk is serving as a public service worker since March 2019. If you go to South Korea and walk into Seoul City Hall, this is the guy who opens the door for you and offer you a coffee. Cool, right? :-D
The ratings are great for a cable station, anything above 3 is great for them and this is 5-6 rangeNow it's not…
It's true! Kim Soo Hyun and Hyun Bin are the most paid actors. Even Lee Jong Suk is cheap if you compare it. I don't know why they are the most paid. Maybe they want more money ? ;-) I suppose it's related to very popular roles they got in the past. For example, Moon Embracing the Sun was a drama with huge rating.
Thank you for your kind words ~Now that you mentioned it, even Nam Joo Ri's scene in the car with her mom felt…
We don't know how the writer writes. But I have this impression: of course she prepares the structure of the drama, but episode by episode. For each episode, she has one or more key scenes. And she has the cliffhanger for each episode. Then she articulates the rest to give meaning to the general story, and completes it with additional scenes. Additional scenes can be created to contain a meaningful element, too. If there are not enough good ideas before writing the script, it means that weaker scenes are likely to appear (but also very good scenes can appear, with inspiration).
If I compare this method with more plot-oriented dramas, it's different. In this kind of story, cause and effect relationships are more important, events are more intertwined. There are far fewer useless or weak scenes. There is less opportunity to place scenes that are aesthetically pleasing or dedicated to significant elements, which must therefore be incorporated into the other scenes. It is also more difficult to predict the beginning and the end of the episode. But with enough ideas, a cliffhanger can be replaced by another one. So this kind of drama is much denser. A good example are the first 8 episodes of W. The script had originally planned this over 9 episodes. So the cliffhangers have been modified. But the whole thing got a much better density, with a very rich script in cause-and-effect storytelling.
Everything I'm saying here can be a little bit obscure... LOL! I'm much less interested in scenarios of the "planning and dispersal of significant elements" type. I don't know if it's easy to write because I've never tried it. There must certainly be difficulties, and it requires good ideas to enhance the visuals and the meaning of the scenes (and good planification on the whole drama about thematics to develop). But I often find that the final effect is not very exciting or artifical. Besides, I don't like anything that isn't exciting. The sense of storytelling, as I appreciate it, is the inevitable chronology in the sequence of events, without getting lost on what is on the fringe. So I always wonder a lot about how some writers, like those of Empress Ki, manage to do that perfectly. I guess they don't have the pre-structured episodes individually, or they have some flexibility to modify their script to continue the story, rather than filling it in to complete an episode that's a little too empty.
One could very well imagine that episodes 3 and 4 of "Psycho is okay" could be condensed into a single episode, using this method. Or that episode 3 is half in episode 2, and half in episode 4. In this case, the cliffhanger of episode 2 can become the scene where the heroine dreams of the hero in her castle from episode 3 (about 30"00). The writing philosophy is therefore very different, on how to focus on the essential. When the screenwriter has a whole set of characters (hospital staff, friend, brother, editors, etc), these people can be used to garnish with extra scenes. It sounds like slice of life in a way. I don't really like that, the scenes have to be important for that, or they have to be really funny. The risk is that by being all-in, the general script may be too short. If the screenwriter has exhausted all her best ideas in episode 11 and the end comes at that point, it's failure. But it also means that she didn't have enough ideas for a 16-episode drama. It's better to have too much interesting content and ask the question "what to take out", than not enough content and ask the question "what to add".
Sorry, I got carried away in some thoughts I often have on this subject, I put my comment in spoiler to avoid polluting ;-)
1 
ah aha ah, so fun!!
So I presume we are watching this together. Keep commenting, it's live !
;-)
The rhythm is slow, but pretty good in terms of the atmosphere that's recreated. Wonderful photography based on yellow, green, ochre, restoring the colors of the tracks and old trains.
The drama has a twilight zone side, or lovecraft , even.
I guess my only possibility now is to watch episode 2.
The life of a drama lover is so difficult... T T
But even in that case, the police officer's later reply is not credible. He says he's seen a lot of cats run over by trains. Nowhere, there's no such thing. A cat on a railway track will feel the vibrations, it can hardly be surprised. Besides, cats have good reflexes.
I take that as a scenario facility. It's just to convey the information that the cat was certainly run over by a train. If I had had to write this dialogue, I would have shot it more like this:
COP - Looks like a dead cat run over by a car. I've seen a lot of dead cats that look like that.
HERO - A car? In here? On a railroad track?
COP - (sarcastically) There are sometimes crazy people like you who drive on a railway...
HERO - More like he was hit by a train, that cat.
COP - Ah ah ah! Have you often seen cats hit by a train? On a disused track on top of that?
HERO - It closed in 2015.
HERO - (addresses the forensic scientist) Yah! Find out when that cat died!
I just do a quick comment after first minute of the drama :
SHAME! They kill the cat !!! :-D
Damn, I want to see this drama now! But I don't want to watch drama during broadcast. Hell dilemma !!! I should not come in this comment section, it will drive me crazy.
I'm commenting on an often made comment about this drama. There's not really a plot-hole in the drama, but on the other hand, one of the flaws of the drama is not having provided enough explanations during the second part. So yes, it can give that impression. It gets better when you rewatch the drama and think about it a little bit. Some things should have been better shown to help the audience.
For example, this situation: why does the killer always access the tablet from the inside? He even manages to get his arms and head over the tablet. This is explainable because he is connected to the author (especially when the author has become a zombie, the communication channel remains open). Why in this case could he not get off the tablet entirely? Can he do this or does he prefer to stay in the world of manhwa, when he attacks Oh Sung-Moo?
That's the situation that poses the most problem for me. Because you can't see the opening to the real world in the scene where the killer is in his apartment, which takes away readability and understanding.
For the rest, obscure things are easily explained, either by the logic of the concept, or because it is explained (but too briefly), or because they are basic facts that do not derive from rules, but establish the rules.
- Mental illness and therapy.
- Psychiatric hospital environment.
- Illustrated books for children.
- Book publishing environment.
- Tales.
If all this is well exploited and combined with sufficient imagination on the part of the screenwriter, there is everything to make a very good drama.
I particularly like dramas that take their subject seriously, using real elements to make it more credible. Randomly, the drama Ms. Temper & Nam Jung Gi. Here the screenwriter made the effort to investigate the perfume industry, to use that in the script. It could have been done even more.
For example, the scene where MY transforms into a giant is very good, to represent her whimsical thoughts. Since the drama is a rom-com, there is obviously comedy. And if there's going to be comedy, it might as well be good comedy.
I don't know if the drama continues to show scenes like this, but it would be interesting. It's possible to make them look like fairy tales, like the idea of a giant woman taking over TE, as if he were a little toy figurine. The image is well found since later in the story she tells TE that he is her toy. Here, the scenario uses a correlation that is well placed and does not lose the rhythm of the story.
This allegorical scene could also have a sequel, but from TE's point of view. It would resemble Gulliver's travel tales. MY is a giant, she falls asleep peacefully with a tiny TE on her chest. By magic, dozens of other miniature TE appear and tie the giant MY with ropes. A way to represent later that MY has become his prisoner in love, now attached to him.
Cool, right? :-D
Kim Soo Hyun and Hyun Bin are the most paid actors.
Even Lee Jong Suk is cheap if you compare it.
I don't know why they are the most paid.
Maybe they want more money ? ;-)
I suppose it's related to very popular roles they got in the past.
For example, Moon Embracing the Sun was a drama with huge rating.
T T
If you feel like laughing a little, I give you the link to the parodic memes I did on this drama:
http://w4worlds.eklablog.com/the-king-eternal-monarch-memes-c31688098
But I have this impression: of course she prepares the structure of the drama, but episode by episode. For each episode, she has one or more key scenes. And she has the cliffhanger for each episode. Then she articulates the rest to give meaning to the general story, and completes it with additional scenes. Additional scenes can be created to contain a meaningful element, too. If there are not enough good ideas before writing the script, it means that weaker scenes are likely to appear (but also very good scenes can appear, with inspiration).
If I compare this method with more plot-oriented dramas, it's different. In this kind of story, cause and effect relationships are more important, events are more intertwined. There are far fewer useless or weak scenes. There is less opportunity to place scenes that are aesthetically pleasing or dedicated to significant elements, which must therefore be incorporated into the other scenes. It is also more difficult to predict the beginning and the end of the episode. But with enough ideas, a cliffhanger can be replaced by another one. So this kind of drama is much denser. A good example are the first 8 episodes of W. The script had originally planned this over 9 episodes. So the cliffhangers have been modified. But the whole thing got a much better density, with a very rich script in cause-and-effect storytelling.
Everything I'm saying here can be a little bit obscure... LOL!
I'm much less interested in scenarios of the "planning and dispersal of significant elements" type. I don't know if it's easy to write because I've never tried it. There must certainly be difficulties, and it requires good ideas to enhance the visuals and the meaning of the scenes (and good planification on the whole drama about thematics to develop). But I often find that the final effect is not very exciting or artifical. Besides, I don't like anything that isn't exciting.
The sense of storytelling, as I appreciate it, is the inevitable chronology in the sequence of events, without getting lost on what is on the fringe. So I always wonder a lot about how some writers, like those of Empress Ki, manage to do that perfectly. I guess they don't have the pre-structured episodes individually, or they have some flexibility to modify their script to continue the story, rather than filling it in to complete an episode that's a little too empty.
One could very well imagine that episodes 3 and 4 of "Psycho is okay" could be condensed into a single episode, using this method. Or that episode 3 is half in episode 2, and half in episode 4. In this case, the cliffhanger of episode 2 can become the scene where the heroine dreams of the hero in her castle from episode 3 (about 30"00).
The writing philosophy is therefore very different, on how to focus on the essential. When the screenwriter has a whole set of characters (hospital staff, friend, brother, editors, etc), these people can be used to garnish with extra scenes. It sounds like slice of life in a way. I don't really like that, the scenes have to be important for that, or they have to be really funny.
The risk is that by being all-in, the general script may be too short. If the screenwriter has exhausted all her best ideas in episode 11 and the end comes at that point, it's failure. But it also means that she didn't have enough ideas for a 16-episode drama. It's better to have too much interesting content and ask the question "what to take out", than not enough content and ask the question "what to add".
Sorry, I got carried away in some thoughts I often have on this subject, I put my comment in spoiler to avoid polluting ;-)