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36-Year-Old Crisis Through the Eyes of 15-Year-Old Writers: Infantilism and Teenage Surrealism
The writers completely failed the characters' arcs, showing zero internal growth or self-awareness. In a proper adult drama, characters are supposed to go through a crisis, change, and draw conclusions. Instead, we get this:
• Nam Goon Ho never realized that he is a manipulator and an emotional vampire. He walked into the finale with a sense of his own "nobility," completely oblivious to how he had spent years suffocating Mi Do with his passive aggression and victim complex.
• Lee Mi Do never actually processed this pain. Her depressive state wasn't resolved through inner healing; she was simply "switched" over to a new relationship with Tae Sung, sweeping all her old traumas under the rug. Leaving the sketchbook behind looks like a blatant setup for further suffering.
Instead of allowing the audience to feel the bitter grief of a 10-year relationship ending, the creators staged a cheap sitcom farce. Everything feels like teenage surrealism, where the writers clearly had no idea how to write a proper, mature ending for 36-year-old individuals.
In the end, it creates a bizarre paradox: while the poetic metaphor of spring talks about a "mature decision to let go and keep spring in one's heart," the actual visual narrative and the characters' actions display nothing but basic immaturity and hopping into other people's beds. Furthermore, the romanticization of infidelity and borderline stalking for the sake of "comic relief" or wrapping up secondary character arcs is a massive, glaring flaw.
• Nam Goon Ho never realized that he is a manipulator and an emotional vampire. He walked into the finale with a sense of his own "nobility," completely oblivious to how he had spent years suffocating Mi Do with his passive aggression and victim complex.
• Lee Mi Do never actually processed this pain. Her depressive state wasn't resolved through inner healing; she was simply "switched" over to a new relationship with Tae Sung, sweeping all her old traumas under the rug. Leaving the sketchbook behind looks like a blatant setup for further suffering.
Instead of allowing the audience to feel the bitter grief of a 10-year relationship ending, the creators staged a cheap sitcom farce. Everything feels like teenage surrealism, where the writers clearly had no idea how to write a proper, mature ending for 36-year-old individuals.
In the end, it creates a bizarre paradox: while the poetic metaphor of spring talks about a "mature decision to let go and keep spring in one's heart," the actual visual narrative and the characters' actions display nothing but basic immaturity and hopping into other people's beds. Furthermore, the romanticization of infidelity and borderline stalking for the sake of "comic relief" or wrapping up secondary character arcs is a massive, glaring flaw.
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