How is this drama part of The First Frost universe? I really can't wait for it. I want the nuances to feel just as pure as they did in The First Frost. I hope they keep that same depth and emotion.
After watching Episode 3, I still don’t even know what mood I’m in, but I just can’t sit through this pathetic performance anymore. The story itself is actually good, yet something keeps bothering me, and I simply can’t engage with it. I guess I have to drop it.
I’m genuinely curious — and I admit I haven’t researched this — but why do some Korean dramas often show characters leaving the restroom without washing their hands after using toilet paper? Is this something common in real life, or is it simply exaggerated for dramatic convenience?
In this particular drama, those scenes honestly make me uncomfortable.
One hell of a story & script — wow, what a concept. Poor execution couldn’t do justice to the material; the editor also couldn’t bind it together perfectly. The major problem is the performances, which are very mid — not a single actor truly excels to their maximum potential to elevate the scenes. All of this makes it an average watch. I’ll have to watch the original Japanese version.
After watching Episode 5: I think it started pretty well — good production quality, good cinematography, and a decent pace in the beginning. The direction is okay. But as the episodes go by, it keeps getting flatter and flatter. There’s no real thrill or seriousness. Considering the situation, it gives a very fake vibe in many moments —
Your close/best friend has died, you’re the victim, you don’t remember the incident, and there’s no evidence of the murderer — these are deeply complex emotions, but they’re not portrayed convincingly at all. Kim Jae-young (as Do Ra-ik) struggles to bring those emotions out properly; he lapses repeatedly, and the emotional depth just never comes through. His performance doesn’t feel molded to the character, and his behavior often contradicts the situations, making him come across as immature. As a result, the tone completely fails to match the gravity of the situation. Honestly, he’s the weakest part of the show so far.
On the other hand, Choi Soo-young (as Maeng Se-na) is brilliant — she absolutely nails her role. Every scene of hers feels like a breath of fresh air. She’s the life of this drama and brings depth to every moment, whether it’s subtle humor, courtroom scenes, or her idol fangirl side. She’s completely into the character, and that’s exactly why she proves how brilliant an actor she is.
Jung Jae-kwang (as Kwak Byeong-gyun) is also doing a solid job in portraying his character and fits well into the narrative. Kim Hyun-jin (as Park Chung-jae), who plays Maeng Se-na’s dependable private investigator, is doing fine work too — his performance feels natural and supportive, adding texture to the story without overshadowing anyone else.
The way the flashbacks are merged is spot on — the editing is crisp and gives you exactly the context you need without wasting time. I really love how those scenes are handled.
That’s all I have to say for now. I’ll talk more after watching more episodes. One last thing: the screenplay could have been much better. Many scenes feel unnecessarily slow, maybe due to screenplay or performances. Other than the actors I mentioned, no one really has a strong presence or pulls you into the scenes.
These are my genuine thoughts. I usually record my voice instead of writing long sentences and AI just helps refine the wording. Sorry if it didn’t feel genuine — I’ll work on improving how I express it.
I’ve just finished watching Glory, and while it leaves a generally good impression, it ultimately falls short of being a truly refined drama.
At its core, the series is well-written. The screenplay shows ambition, especially in its approach to characterization. The female lead is the strongest pillar of the show. Her character is carefully constructed and remains true to her nature throughout. What stands out is the balance she maintains—commanding without being loud, cunning without being exaggerated, and powerful without losing restraint. Her presence feels controlled and intentional, and the performance supports this vision with nuance and quiet authority. Her arc remains consistent and convincing from beginning to end.
The male lead, however, weakens the execution. His character appears solid at the start and is introduced with authority and emotional weight, but that depth never fully materializes on screen. The performance feels underplayed and passive. While this may be a creative choice in a female-led drama, it still fails to do justice to the character. In several scenes, he seems merely present rather than emotionally engaged, lacking the intensity required to match the narrative’s demands.
In the later half, the Duke family is introduced without sufficient groundwork in earlier episodes, revealing a lack of clarity in the direction. As a result, these characters feel uneven. While not poorly written, their performances come across as lukewarm, and none of them reach their full potential. Many of their scenes fail to leave a strong or lasting impression. Structurally, the screenplay struggles with cohesion. Some moments are allowed to build slowly and with care, while others are wrapped up far too quickly. This uneven rhythm—particularly noticeable toward the end—creates a disconnect between the buildup and the payoff, preventing the drama from feeling fully polished.
From a technical perspective, the series shines visually. The cinematography is atmospheric, and the costume design is striking, adding style and texture to the world. However, realism is where the direction falters most. Emotional scenes often feel staged, and the interrogation sequences are especially poorly executed. Instead of feeling tense or psychologically layered, they come across as flat and unconvincing, lacking the urgency and realism such moments demand. The scar and injury scenes are also handled clumsily—the makeup and staging are visibly artificial, breaking immersion and exposing technical weaknesses.
In conclusion: Glory is a series with strong writing, a commanding female lead, and striking visual design—but its uneven performances, inconsistent pacing, and flawed direction prevent it from achieving the depth and impact it clearly aims for.
Finished. Without a doubt, this was clearly conceived as a 16-episode series, from the script stage to execution. Otherwise, the erratic editing simply doesn’t make sense. One issue worth highlighting in the Hong Sisters’ writing is their handling of scene transitions. Using metaphorical moments is perfectly valid, but when these stretches are prolonged without narrative payoff, they end up feeling hollow and directionless.
I’ve said enough about what I liked and didn’t like about the drama, so there’s nothing more to add after watching the final episodes. Overall, it’s a strict 7 to 7.25 for me.
I guess I have to drop it.
In this particular drama, those scenes honestly make me uncomfortable.
I think it started pretty well — good production quality, good cinematography, and a decent pace in the beginning. The direction is okay. But as the episodes go by, it keeps getting flatter and flatter. There’s no real thrill or seriousness. Considering the situation, it gives a very fake vibe in many moments —
Your close/best friend has died, you’re the victim, you don’t remember the incident, and there’s no evidence of the murderer — these are deeply complex emotions, but they’re not portrayed convincingly at all. Kim Jae-young (as Do Ra-ik) struggles to bring those emotions out properly; he lapses repeatedly, and the emotional depth just never comes through. His performance doesn’t feel molded to the character, and his behavior often contradicts the situations, making him come across as immature. As a result, the tone completely fails to match the gravity of the situation. Honestly, he’s the weakest part of the show so far.
On the other hand, Choi Soo-young (as Maeng Se-na) is brilliant — she absolutely nails her role. Every scene of hers feels like a breath of fresh air. She’s the life of this drama and brings depth to every moment, whether it’s subtle humor, courtroom scenes, or her idol fangirl side. She’s completely into the character, and that’s exactly why she proves how brilliant an actor she is.
Jung Jae-kwang (as Kwak Byeong-gyun) is also doing a solid job in portraying his character and fits well into the narrative.
Kim Hyun-jin (as Park Chung-jae), who plays Maeng Se-na’s dependable private investigator, is doing fine work too — his performance feels natural and supportive, adding texture to the story without overshadowing anyone else.
The way the flashbacks are merged is spot on — the editing is crisp and gives you exactly the context you need without wasting time. I really love how those scenes are handled.
That’s all I have to say for now. I’ll talk more after watching more episodes. One last thing: the screenplay could have been much better. Many scenes feel unnecessarily slow, maybe due to screenplay or performances. Other than the actors I mentioned, no one really has a strong presence or pulls you into the scenes.
At its core, the series is well-written. The screenplay shows ambition, especially in its approach to characterization. The female lead is the strongest pillar of the show. Her character is carefully constructed and remains true to her nature throughout. What stands out is the balance she maintains—commanding without being loud, cunning without being exaggerated, and powerful without losing restraint. Her presence feels controlled and intentional, and the performance supports this vision with nuance and quiet authority. Her arc remains consistent and convincing from beginning to end.
The male lead, however, weakens the execution. His character appears solid at the start and is introduced with authority and emotional weight, but that depth never fully materializes on screen. The performance feels underplayed and passive. While this may be a creative choice in a female-led drama, it still fails to do justice to the character. In several scenes, he seems merely present rather than emotionally engaged, lacking the intensity required to match the narrative’s demands.
In the later half, the Duke family is introduced without sufficient groundwork in earlier episodes, revealing a lack of clarity in the direction. As a result, these characters feel uneven. While not poorly written, their performances come across as lukewarm, and none of them reach their full potential. Many of their scenes fail to leave a strong or lasting impression.
Structurally, the screenplay struggles with cohesion. Some moments are allowed to build slowly and with care, while others are wrapped up far too quickly. This uneven rhythm—particularly noticeable toward the end—creates a disconnect between the buildup and the payoff, preventing the drama from feeling fully polished.
From a technical perspective, the series shines visually. The cinematography is atmospheric, and the costume design is striking, adding style and texture to the world. However, realism is where the direction falters most. Emotional scenes often feel staged, and the interrogation sequences are especially poorly executed. Instead of feeling tense or psychologically layered, they come across as flat and unconvincing, lacking the urgency and realism such moments demand. The scar and injury scenes are also handled clumsily—the makeup and staging are visibly artificial, breaking immersion and exposing technical weaknesses.
In conclusion:
Glory is a series with strong writing, a commanding female lead, and striking visual design—but its uneven performances, inconsistent pacing, and flawed direction prevent it from achieving the depth and impact it clearly aims for.
I’ve said enough about what I liked and didn’t like about the drama, so there’s nothing more to add after watching the final episodes. Overall, it’s a strict 7 to 7.25 for me.