Appealing and entertaining
I recently watched a Korean series that had some of the same problems that ROOFTOP PRINCE has–overused cliches, lack of logic, unbelievable plot. But I didn’t dislike ROOFTOP PRINCE as much as I disliked that first series. In fact, I quite liked it. What’s the difference?1. First, ROOFTOP PRINCE was made in 2012. Some hokey stuff (going to an amusement park, watching fireworks, riding bikes) that have since been done to death--were still fresh back then.
2. The ML and FL were so playful and likable that they added something new to every trope.
3. Big chunks of this drama were zany and madcap and not supposed to be taken seriously. Yes, the actors also overacted in places when they should have been playing it straight. And the plot didn’t always make sense. None of this bothered me, although I’m guessing it will bother other viewers.
It was such a joy watching the uptight, authoritarian prince get his due from an enlightened, modern Korean girl. It was hard not to fall in love with both of them. Both leads played off of each other with ease and affection.
I’ve never enjoyed secondary characters as much as I have the prince’s Korean sidekicks. In most series, the secondary characters are annoying or poorly written or fillers that add nothing to the plot. Not here. Each of the guys was hilarious and irresistible.
One of the things that DID have a weird vibe was the way the ML talked to the FL. He called her “stupid,” “vulgar,” and said he wanted to “rip her mouth out” among other things. He did this with kind of, sort of, a twinkle in his eye–so you could convince yourself, if you wanted to, (and I wanted to) that he was just teasing because he actually liked her so much. It didn’t seem to bother the FL that he was saying these things. She even gave it back to him in spades. So why did it bother me?
Here’s why. Because some men start out by making inappropriate remarks in a teasing way–and later, when the relationship is under stress, they’ll say it again – only this time, no one’s laughing.
Still, there was plenty of evidence that our ML was a decent guy who would take good care of the FL, if given the chance. So I put my reservations aside.
In the second half, the story became more plot driven. The writers gave us a lot of half-baked, nefarious scheming by the villains–schemes that our ML and the FL (especially) should have been able to anticipate. But they didn’t-- which frustrated me and made both leads seem a bit doltish.
Nevertheless, overall this is an entertaining series. I hope you enjoy it as much as I did.
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Lots to like
Our hero, the feckless ML, feels that he can’t win in the game of life–that he’s been dealt a hand of deuces and treys. So life (well actually I should say Death) puts him in a TRULY no-win situation.Did I say “no-win”? This is the King of no-wins. He can’t even solve this particular dilemma by dying.
DEATH’S GAME starts out as a male-oriented thriller, with non-stop action, and plenty of violence and gore. Keep watching, though, because this series isn’t easily categorized. One episode has horror film vibes; another fills in the details of the romance introduced at the beginning. Whatever. I guarantee that you won’t complain that it drags–more like a cage-full of squirrels on speed.
What really sets this series apart from others are the excellent special effects, along with some amazing camera work. One shot (pun intended) lets the viewer look at a certain character through a bullet hole that’s just penetrated another character’s head.
If you prefer a narrative with more sophisticated characters and a nuanced view of reality, you might think DEATH’S GAME isn’t your cup of tea. The minor characters are mostly sterotypes, especially the villains. But the ML grows and changes–and the focus is mostly on him.
If you look at the plot too closely, you’ll notice some inconsistencies. For example, it’s not clear what happened to the original inhabitant of each of the bodies the ML took over. Some of the rules of the game seem to change over the course of the series. And I personally didn’t appreciate the demonization of people who commit suicide. Some, no doubt, are selfish, like the ML. Others are sick. And still others have an intolerable life situation.
A crow is blown to pieces in one episode. I see anti-crow scenes like this in a lot of dramas these days. Please, guys, stop setting a bad example by encouraging people to torture and kill these amazingly intelligent birds (look up the research).
You may notice some familiar faces in the minor roles. Kim Mi-Kyung as the mother and Oh Jung-se, whose versatility always amazes me, are just two I recognized.
The pluses totally outweigh the minuses in this series. Nine stars.
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Entertaining and watchable
Four items that work well in this drama:1. I appreciate the racially diverse casting in a couple of scenes.
2. Neither of the two leads is perfect. The plot is mostly believable and the characters likable.
3. Well-paced. So far the story hasn’t dragged.
4. Woo-joo is to die for–a 10 on the cuteness scale
Four items that could have been improved:
1. Too many stale tropes – the small scrape that requires a bandaid applied by the male or female romantic interest, sharing an umbrella in the rain, a work competition in which the female shows her abilities, serious car accident, etc. etc.
2. Exaggerated embarrassment when both leads end up (fully clothed) in the same bed. The over-acting made this scene a bit unbelievable.
3. This drama passes the Bechdel test, but just barely (look it up).
4. The FL seems indifferent and inconsiderate of the ML, a wounded soul who deserves better.
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Hotel blues
If you’ve seen Wallace Chung’s explosive, passionate performance in “Too Late to Say I Love You” (don't miss it) and you’re hoping more of the same here–forget about it. The ML in this drama has ice water in his veins. And more to the point, the conflict often revolves around the petty day-to-day trivia that goes into running a large, prestigious hotel: laundry, pastry recipes, that kind of thing. A nice change of pace for Chung–and probably more true to life--but a big yawn, at times, for the rest of us.And while Chung’s portrayal of this ML (as compared to Feng Murong in TLTSILY) serves to bracket the actor’s range, I couldn’t help but be a little disappointed.
The FL learns in the first episode that her husband has been having a long term affair with a woman who’s now pregnant, and wants to replace her as her husband’s wife. The husband seems perfectly happy to let this happen.
So, Miyu, the FL, a woman with no education or work experience, divorces him and goes looking for an entry level job.
At this point, some Asian dramas like to imply that if the female lead grits her teeth, endures her burdens with grace and fortitude, all will turn out for the best. Every once in a while, one character or another pounds this theme home–in the unlikely case that the viewers have missed it.
The FL finds work at the elegant Purong Hotel, where she’s subject to daily indignities, mild bullying, and other unfair treatment. We see how the lower level employees of the hotel get blamed for everything that goes wrong. And they in turn, blame someone even lower than they are on the totem pole.
But the FL actually likes her job. She finds a few genuine friends and allies, and strives to please the remote, mysterious Feng Ji, General Manager of the hotel, who often corrects her (trivial) mistakes and criticizes her.
It soon turns out that the success of the hotel is hanging by a thread. Everything depends on–wait for it--SHEETS! Will a certain hygiene problem be solved? Or will the hotel’s dirty laundry be exposed for all to see?
The main rule of storytelling is: keep the viewer engaged.
And I’m still engaged, although slightly bemused by this absolutely silly plot development
Later (episode 28): I still don’t feel much warmth for the ML. He seems to be a cold fish, someone who can express negative emotions when necessary, but struggles with the positive ones. Does he feel anything for the clever and beautiful FL?
Both the ML and the FL find immense satisfaction in devoting their lives to making the moneyed classes ever more comfortable than they already are.
Epsode 31 – Well...finally. Things have taken a turn.
But...a little bit later–it’s back to the real business of this drama, which is–BUSINESS. Does Miyu have what it takes to go into sales? I guess we’ll find out. The poor girl may have to start at the bottom...again.
Eps. 34 has my favorite scene. Our two leads quarrel--and to emphasize how far apart they are (metaphorically speaking), we see them separated by an elevator door, which closes slowly...once...twice...as many as five or six times. Loved it.
Product placement and industry accolades start creeping into the dialog, eulogising the merits of pickles, AI, and robots. I’m hoping this story won’t turn into an advertorial, but I fear it might.
Last episode. Whew! No. A fine and fitting conclusion. The ML shows that he can man up when necessary. And everyone gets what they deserve. We the viewers get to hear the moral driven home yet again.
P.S. Special shout out to the villains, who never get the appreciation they deserve, especially: Jing Chao (so hard to hate), and Zhang Yi, who looks like he would be lots of fun in real life.
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Threw in the towel
I’m a huge fan of IU’s work, especially the funny and heartwarming HOTEL DEL LUNA and the absolutely brilliant MY MISTER. So it makes me sad to report that this series, PERFECT CROWN, is far from perfect. I finished Episode 3 and (like many others on this site and elsewhere) dropped it.The problem isn’t so much with IU’s acting as it is with the character she portrays--a vapid, self-centered, arrogant narcissist. I just didn’t like her and didn’t want to spend more time in her company.
It’s possible to create a multi-faceted, slightly villainous, FL who’s intriguing, enticing, and even likable–but the writers didn’t do that here. Maybe she shows another side later in the drama, but I can’t wait around to find out. Sorry.
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Pluses and Minuses
On the whole--not too bad. While the story lacked emotional power, the plot was internally consistent and displayed some character development. In spite of being slow-moving, HIDDEN LOVE held my interest.BUT– lots of problems...
The FL acted like an overly-protected child for 3/4 of the series – collecting stuffed animals, expressing herself in words of one syllable, using the cadence and syntax of a six-year-old, and getting by on her cuteness. Really, Chinese writers? Is that the model you want girls to emulate? This same actress played a real bada$$ in WHO RULES THE WORLD.
Zheyuan Chen, the male lead, had a more nuanced role and was, for the most part, the glue that held the series together. Props also go to Victor Ma, as the brother.
This series, like others of the same kind, give girls an entirely unrealistic picture of what real relationships are like–and how they’re likely to go. But I appreciated the depiction of a slow-moving relationship, and what a relationship like that “could” be–if only they existed.
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A satisfying drama
I wasn’t expecting much from this series, but it exceeded my expectations. Both the ML and FL were surprisingly compelling as two lonely souls undergoing the stresses of modern life and managing somehow to cope. These two are surrounded by other eccentrics–in particular a male cross-dresser who’s included and embraced by the people in the neighborhood. I was blown away by the fact that this character is portrayed as human and likable–not as a monster to be rejected and despised. This drama is funny, well-acted, and poignant. The only negative is the last episode which rushed the ending, leaving a number of plot points dangling. Other than that–a very satisfying drama.Was this review helpful to you?
Dylan Wang nailed it
What I liked:1. Dylan Wang as Dongfang Qingcang completely nailed it. In the beginning he's robotic and unfeeling. Later he's depressed and angry. Finally he's loving and self-sacrificing. Wang delivers the many comic scenes with impeccable timing-and even plays a woman in a man's body without missing a beat. Added later: I just found out that a “line actor” dubbed Dylan’s voice in this series, so maybe not as great an acting job as I thought. But his visuals and expressions are still quite good.
2. Other actors also do a stellar job: Yu Shuxin as Orchid was warm, loving and believable as Dongfang's love interest. Although I agree that her nasal, whining voice almost made me change the channel in the beginning. Another great performance was that of Charles Lin who played ShangQue, Dongfang's faithful servant who is sometimes a man and sometimes a dragon-mobile. His facial expressions and general cluelessness were a wonder. Also Hong Xiao added feminine guile and energy along with a good dollop of humor. And I have to mention Zhang Linghe who goes from earnest to dissipated and back again--and is as charming as they come.
3. Costuming, CGI, and set design were gorgeous and magical. While the story got a little tedious with all the misunderstandings and downright deceit, plus the breakups and reconciliations between Dongfang and Orchid--the pace never slowed.
4. This is the first Chinese series I've seen that was genuinely both touching and funny. The humor worked seamlessly, which is rare with international dramas. Yes, it got a little sentimental in places, but otherwise-- not many missteps.
Things that could have been better:
1. A few blunders. I love the mournful flute solo that Rong Hao plays intermittently throughout the series. There's one scene where he's playing his song and then puts the instrument down-and the flute melody (at least on my screen) keeps playing. What happened to the spikes in Dongfang's body? They're supposed to cause him excruciating agony every night. We see them once, and then suddenly they're gone. Also some plot devices got recycled a bit too often. Repetitive ordeals of pain and suffering start losing their impact after the third time.
2. The music, in general, was OK, although some of the songs got a little tiresome by the end.
3. Speaking of the ending--there were a few dangling threads. For example, what happened with the romance between ShangQue and JieLi? They seemed happy, but were they dating? Were they married? Get with it, guys. It's been 500 years. Also, one of the main characters is supposedly gone forever, but then abruptly comes back. Why? How? Enquiring minds want to know.
Overall very enjoyable.
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Poignant and engrossing
LOVE IN THE CLOUDS is the third fantasy in a row, starring Hou Ming Hao, that I’ve watched.In each of the other two dramas, Hou Ming Hao played a demon of sorts, but neither of those characters was as dark, nor as multidimensional, as Ji Bozai. Both those dramas, while entertaining, had moments of gauzy meaninglessness.
The plot of this drama was solid and believable in a way the other two weren’t. Hou Ming Hao seemed more relaxed, more compelling, and altogether more likable as a human being in LOVE IN THE CLOUDS. The plot never deteriorated into terminal silliness, and the secondary characters were appealing and impressive.
I had a particular soft spot for Situ Ling, the FL’s rejected lover/villain–who pulled at my heartstrings, even as he descended into evil. (How did I know he was evil? His irises turned red, of course.)
The writers and director seemed to have a clear vision of where they wanted this story to go–and they took it there.
As usual, this wasn’t a perfect drama. Yes, it dragged a bit in places. And I found the FL’s lies and deceptions tiresome and not too convincing. The OST consisted of one particular melody, played over and over and OVER again. While it was a lovely piece of music, the repetition was annoying and tedious. Still, overall, a strong production.
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Incessant Product Placement
Whew! I've been on the verge of giving up my Korean Drama addiction because, so far, so many new series have been duds. At first I thought LOVE NEXT DOOR was better, but now I'm having second thoughts.During the first half of this series, the male and female leads–played by two well known heart throbs--were mostly believable, especially Jung Hae-in who can make anything work.
The plot lurched off the rails in a few places, with enough crying and carrying on to deplete Korea-'s entire stock of menthol tear sticks. The parents, especially Seok-ryoo's mother acted crazy and abusive (and not in a fun way).
The actress who played Mo-Eum was winsome and likable, but she overacted. I liked her, so I liked the character. But I couldn't warm toward Seok-ryoo in this drama--she was just too arbitrary and cruel.
Let me just mention one other minor character, the ML’s mother. This woman loved her son, but she allowed someone else to raise him. She loved her husband, but she never learned to cook. Instead she’s had a wonderful, professional life–traveling the world and learning about other cultures. And how does this series present this unique woman? As someone who deserves punishment, someone who’s about to lose it all--friends, family, and her marriage. The subtext is clear–if insulting to modern women.
The incessant, in-your-face product placement disappointed me the most. I thought episode 11 was bad, but in episode fourteen, one of the leads actually shows the label on the can to the camera and says, "I had no idea alcohol tasted this good."
There were at least three major bouts of alcohol consumption (and product placement) in episode 14. Apparently, the writers aren't even trying to be subtle.
Nothing against alcohol here, but I really resent the cheap commercialization. Hey Studio Dragon (and you too Netflix)--please don't go down this path.
Why are Jung Hae-in and Jung So-min who are both incredible actors damaging their artistic reputations this way?
Throughout, the writers created trivial excuses and pretexts for various main characters to go on a bender. Whatever the problem–minor spats, bad news–hey, let’s all get drunk. It just seemed like the writers were looking for any chance to push the products.
Still...until the whole series fell apart toward the end, it was mostly watchable. The leads did a good job and hit all the right notes for a good, solid romance. I wasn't looking for high art, but the constant (and obvious) viewer manipulation ruined this one for me.
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Well-constructed drama
I'm a big fan of Liu Yuning and I also like Song Zu Er. As the two leads, they both did an excellent job conveying complicated emotions with slight facial expressions and gestures. Liu Yuning is a master at portraying an emotionally repressed man trying to find his humanity in a society riddled with stultifying rules and terrifying expectations. At least he has wealth, power, and a cadre of underlings to satisfy his every whim. The FL (Xiao Qiao) played by Song Zu Er has a riskier path and has to watch her step at every turn. In fact, she was almost murdered by her suspicious husband-to-be before they'd even met. The series follows the slowly-evolving trust between these two as each navigates the treacherous waters surrounding them..Xiao Qiao is beautiful enough to enchant her husband, but he's not a soft touch. He's suffered trauma and loss at the hands of the male members of her clan, and so he's especially wary of his new Qiao wife. But she's smart enough to weather the storm and allay most of his fears. The English title doesn’t seem accurate. The ML certainly isn't a "prisoner" of beauty--quite the contrary.
This is a slow-moving character study and a lot of drama time is given over to each minor issue as it arises. He reads her out-going letters; she soothes his silly and ignorant mother. He's annoyed that she doesn't wear the hairpin he chose for her. She worries he's interested in another woman.
Actually, all this was a little too much for me. It's true that there are more serious struggles from time to time. But the focus of this drama seems to be on all these trivial slights and misunderstandings. Did I mention that these two--though married--hadn't even kissed by Episode 22?
In THE TALE OF PEARL GIRL, Liu Yuning plays a similar character, a merchant preoccupied by revenge who becomes a more compassionate human being due to his love for a woman. But that drama, although flawed, has a more robust plot than this one, with Liu Yuning displaying different aspects of his personality in a variety of settings.
Also, why is the only fat guy in the series-he's the comic relief, naturally--matched up with the only overweight girl in the series?
Why does Son Zuer keep her mouth open so much of the time? It's quite distracting. Other than that, her character, Xiao Qiao, seems to be admirable in every way. She's a helpmate who continually spares her husband's ego, rarely makes a misstep, and almost never demands anything for herself. She's as soft and doughy as Wonder Bread. Even her calligraphy is perfect. It's true she shows some spunk in the end, but I can't help but get the impression that this woman is being presented as a model of what every young woman in China should aspire to–passively obedient. Lord help us all!
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Confusing
In episodes 1 through 4 of VEIL OF SHADOWS, viewers are introduced to a cacophony of characters–humans and demons, multi-tailed foxes and magical entities. Some are allies, others are mortal or immortal enemies, quite a few seem to be in disguise or ludicrously made up. Sword play, CGI, romantic tension, and overacting abound–-wuxia up the wazoo. Someone has been murdered, someone else is getting married (or not). Who, what, or why? Enquiring minds want to know.A few of the characters exchange witticisms and barbed remarks. The fighting scenes are choreographed like a ballet. Still—most of the actors appear to be just phoning it in. No one seems to be taking the plot all that seriously.
If they aren’t, why should I?
After about 20 minutes of chaos and confusion, I give up and consult Dr. Google to see if I can sort out the strum and drang. I can’t. One reviewer assures me that if I hold on until Episode 5, all will come clear.
I do, and it doesn’t. (Or, truth be told, I just don’t care anymore.)
Someone else informs me that the problem is – ME. I’m culturally ignorant and not proficient in the stylized vocabulary of this particular art form.
Well...OK. It’s not as if there’s a dearth of dramas awaiting my perusal.
Guess I’ll move on to something less veiled and shadowy.
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Morally Simplistic
I watch a drama for one of three reasons: to learn something, feel something, or be entertained. So far this drama is weak in all three.In the first 14 episodes, people have been slaughtered by the hundreds–all as various factions struggle to acquire power. The repetitive and boring fight scenes take up a huge percentage of each episode. For me, at least, the different combatants are hard to differentiate, let alone care about.
Our hero, Ning Que, is a fighter. He has a personal score to settle. Other than that, he just wants to survive in this treacherous world. He’s skilled in swordsmanship, talented in calligraphy and martial arts, and attractive to the ladies. The bad guys, dressed in black, are mostly a bunch of uglies who aim to install the child of Hades as ruler of the world–so we know which side to root for. As I said–pretty simple-minded.
The violence is sanitized, so the audience doesn’t have to feel upset when someone is murdered. We’re anesthetized to the torture and murder taking place in the name of glory and “courage.”
Ning Que seems really fond of his engaging little maid, Sang Sang. Of course she has to obey his every whim, but she seems happy to do it. While ignorant and self-centered, NQ wants to gain knowledge through cultivation–mostly to gain more skill so he can overcome his enemies. That seems to be his main goal.
Ning Que, is mostly an unknown at this point. If there’s more to his character, we haven’t seen it yet.
Have to admit I’m a sucker for mystical teachings and magic special effects, and those abound in EVER NIGHT.
I also love seeing the flora and fauna of the Chinese landscape.
Two questions:
1. Why is Sang-Sang always obsessing about her “dark skin” when she appears lighter-skinned than Ning Que?
2. Hey, writers! Why all this hatred toward crows? Crows are wonderful, intelligent birds. And while our ancestors feared them, please don’t encourage cruelty by showing people throwing rocks at them.
Later: As there’s very little character development in this series, I decided to watch a more substantial drama. BUT... if you decide to do the same, at least watch episode 60 before you go. This episode shows a grand battle between two major antagonists (I won’t say who--no spoiler here). The CGI depiction of this fight is the best, and most original, I’ve ever seen.
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Outstanding Cast
A-list Korean actors in this series save it from being another banal treatise on the excesses of the super rich. Kim Ji-won does an outstanding job as the brittle, cold, and superficial FL (Hong Hae-in) who is fabulously wealthy and--as it turns out--tough as nails. The ML, Kim Soo-hyun plays the kind, honest, handsome, athletic, intelligent Baek Hyeon-woo, who (for some reason) can’t get enough of Hae-in, who deigns to throw him a crumb now and then. In spite of the threadworn plot, the writing and acting give this drama a boost and elevate it to a higher level.
Unlike other Korean series, this one showcases some secondary characters who can actually hold the viewers’ interest.
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DO OVER OF SOMETHING IN THE RAIN...
The Netflix writers liked SOMETHING IN THE RAIN so much that they thought they’d do it all over again and give it another name. Hence – ONE SPRING NIGHT.One of the main characters in OSN has a “flaw” that has to be hidden from friends and family of his would-be girlfriend--just as in SITR.
ONE SPRING NIGHT – features some of the same actors playing characters remarkably similar to those in SITR–only with different names and, in some cases, slightly different personalities. The actress who plays one of the mothers softens that role, so she isn’t as rigid and snobbish as she was in SITR. Of the two, SOMETHING IN THE RAIN is the better drama.
This FL has a jealous, acting out ex-boyfriend, though this one isn’t quite as psychotic as the one in SITR. He’s pretty awful nonetheless.
I guess Tammy Wynette wasn’t available this time. However, there’s another equally nauseating song playing endlessly in the background.
The dialogue in SITR wasn’t scintillating. But in ONE SPRING NIGHT, it’s confusing. When translated into English subtitles, many of the conversations are incomprehensible. Hard to care when not much is happening, and what IS happening is kind of a mess.
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