There's no plot-hole, or very little.That's not the big problem in this scenario!
I just checked your profile, it's just crazy. How did you have time to live through seeing so much drama?! :-D I'm happy to meet one of the few people who have seen the drama "Sandglass". It's really not an obvious choice, and you have to go far to get it.
There's no plot-hole, or very little.That's not the big problem in this scenario!
This is a phenomenon I have observed over the past few years. In the past, screenwriters used to write with a partial lack of vision. The dramas were broadcast while the episodes were written and filmed along the way. Since then, there is pre-production, or more elaborate scripts already written in advance (or at least completely structured in advance). It's a crazy job for screenwriters, and few have the time to do that. This is KES, the Hong sisters, and a few others. Fine pieces of architecture with lots of references, correlations. It's brilliant in that respect. It also means that the script is certainly reworked afterwards be written or that the work plan (methodology) is almost perfect. Reworking a drama script is very complicated. It's not a movie! Only, if all this doesn't enrich the storyline in an efficient way, if it's not thrilling, if it doesn't provoke intense emotions... It's just useless. An empty intellectual cathedral. I've never tried this kind of experiment, but I still admire this professionalism, which is beyond my competence. I just know that the script has to be very well prepared, structured, it can take months. But that anyway, at some point, it's like holding a bomb in your hands. There's a borderline point where it's untenable. (cf interviews of screenwriters who make movies and who have this problem, just for 2 hours of content). So we have to move on to writing. The risk is that if the structure is rigid or if the screenwriter absolutely wants to insert all his/her ideas, it risks being contradictory with the storytelling. I have the impression that this is what happens with TKEM. If the screenwriter focuses on storytelling first, there is no need to insert so many fine and detailed elements. Anyway, it will all come along the way. It's almost magical! Deep psychological correlations and content are intrinsic to human beings and do not need to be conceptualized. It comes by itself. And if the screenwriter really wants to incorporate that, he has to manage to do it during the action, not by dispatching it in an endless set-up and scattered scenes. That, it's the easy way out.
Theory:PM ends up stealing half the flute, and Luna steals the other half. Together they combine it with Luna…
Theory: next Lee Lim iteration time travel back : he just give a message. "Don't loose time, because the child will cut the flute. And when your henchman ask if he should shoot the kid with a bullet, just answer Yes." The End.
No, it's primernumber^2First timestop we see are something like :1^2=1 sec2^2=4 sec3^2=9 sec5^2=25 secetc
Ooooh I just rewatched the scene. Yes, it's right ! Tssssssssssssss. They should just show what I just writed, instead of a serie of number starting with 121. The dialogue is unclear at the start (bad translation for me). But in the end, he say time freeze during 1 day at 62th timestop.
Butterfy effect results in large differences in later state. That's why i called it "controlled" because the changes…
The overwhelming effects of the Butterfly effect here seem to be neutralized by a general fate. Details change but not the whole. So a time loop repeats itself over and over again, in which certain key events are bound to happen. Whatever these events are, they must perpetuate this loop. However, there is a risk that after X number of time loops of this nature, there will be one loop where something will finally change. Of course, the loop in the drama is the one that chooses to tell the story of this loop rather than another. Edit: Mmmh, I'm not sure if the story need to have some previous timeloop, maybe it's the fist loop we see. I don't know.
1 
I'm happy to meet one of the few people who have seen the drama "Sandglass". It's really not an obvious choice, and you have to go far to get it.
In the past, screenwriters used to write with a partial lack of vision.
The dramas were broadcast while the episodes were written and filmed along the way.
Since then, there is pre-production, or more elaborate scripts already written in advance (or at least completely structured in advance).
It's a crazy job for screenwriters, and few have the time to do that.
This is KES, the Hong sisters, and a few others.
Fine pieces of architecture with lots of references, correlations. It's brilliant in that respect. It also means that the script is certainly reworked afterwards be written or that the work plan (methodology) is almost perfect. Reworking a drama script is very complicated. It's not a movie!
Only, if all this doesn't enrich the storyline in an efficient way, if it's not thrilling, if it doesn't provoke intense emotions... It's just useless.
An empty intellectual cathedral.
I've never tried this kind of experiment, but I still admire this professionalism, which is beyond my competence.
I just know that the script has to be very well prepared, structured, it can take months. But that anyway, at some point, it's like holding a bomb in your hands. There's a borderline point where it's untenable. (cf interviews of screenwriters who make movies and who have this problem, just for 2 hours of content). So we have to move on to writing.
The risk is that if the structure is rigid or if the screenwriter absolutely wants to insert all his/her ideas, it risks being contradictory with the storytelling. I have the impression that this is what happens with TKEM.
If the screenwriter focuses on storytelling first, there is no need to insert so many fine and detailed elements. Anyway, it will all come along the way. It's almost magical! Deep psychological correlations and content are intrinsic to human beings and do not need to be conceptualized. It comes by itself. And if the screenwriter really wants to incorporate that, he has to manage to do it during the action, not by dispatching it in an endless set-up and scattered scenes. That, it's the easy way out.
This drama already has a special place in my ass.
(sorry, I couldn't help myself. LOL!)
Nice !!! ^^
So beautiful !!! And so deserved (for the screenwriter I mean).
That's not the big problem in this scenario!
http://w4worlds.eklablog.com/the-king-eternal-monarch-meme-11-drama-award-a187805568
next Lee Lim iteration time travel back : he just give a message.
"Don't loose time, because the child will cut the flute. And when your henchman ask if he should shoot the kid with a bullet, just answer Yes."
The End.
Yes, it's right ! Tssssssssssssss.
They should just show what I just writed, instead of a serie of number starting with 121.
The dialogue is unclear at the start (bad translation for me).
But in the end, he say time freeze during 1 day at 62th timestop.
First timestop we see are something like :
1^2=1 sec
2^2=4 sec
3^2=9 sec
5^2=25 sec
etc
However, there is a risk that after X number of time loops of this nature, there will be one loop where something will finally change. Of course, the loop in the drama is the one that chooses to tell the story of this loop rather than another.
Edit: Mmmh, I'm not sure if the story need to have some previous timeloop, maybe it's the fist loop we see. I don't know.