For me it's 7/10 mostly because of the cliche ending.I'm a bit dissapointed by that.I'm also curious if any of…
Japan drives on the left hand side of the road, the same as the UK and several other places. In countries that drive on the left, the steering wheel being on the right hand side of the car is the norm. So that’s just normal for Japan.
As for messy hairstyles, that’s just a drama thing. Could be stylist’s choices, based off character, or if it’s a manga adaptation (which this is not), trying to match the original hairstyle as drawn. I haven’t seen much of this drama to give a definitive answer to that though. If you want really bizarre hairstyles, 2000s Jdramas and Kdramas may well have some to offer.
I remember when I first heard about this, 6 months ago, and knew it’d be my kind of show. I love everything about it, and especially love the portrayal of humanity. Each and every character highlights a response to an issue (or issues) that are human, and each perspective that informs decisions has an understandable origin.
There’s also something I fundamentally love about dramas like this (and Yankee-kun to Hakujou Garu for example) because of the spotlight on communication. There is nothing more heartwarming than learning to understand someone’s experience in their own language.
And, without this comment getting too long, the sound team did a perfect job on this - it’s an art to convey so much through the use of sound, not just in a soundtrack, music way; but in a surroundings way.
If anybody’s eyeballing this one unsurely, all I can say is please, go for it!
Honestly, the start nailed it for me. I was totally sold on this drama. Much as I am absolutely here for the strong female protagonist and the plot, this is far too romance heavy for me.
Put simply, I cannot deal with the female lead becoming weak for love, as well as the deposed king of Goryeo NOT ONLY failing to make use of this development, but for him to discount the female lead as a useful ally altogether. For some reason, this adamantly continues to slap me across the face. Without trying to sound dramatic, it feels offensive. It’s like Seungnyang never saved his life or aided him in any way before.
If she were truly a strong female lead, she would turn her back on the deposed king to forge her own path, as the Emperor is, quite clearly, willing to have her in a capacity where she plays an active role in ongoing events. Hence, I cannot understand why any strongly driven individual with goals, could act like Seungnyang OR the deposed king. In my eyes this stupidity is well and truly ruining this drama for me.
Meanwhile, I am glad the emperor is developing, but also disappointed in the level of comedy to his scenes. I would appreciate being able to take his character more seriously.
I feel the most disappointed by this drama because it’s come so very very close to what I look for. If the romance were halved, the comedy removed, and Seungnyang was altered such that she was consistent in her drive, I could continue happily. However, I’m at a crossroads where I may now drop. 17 episodes watched. The first seven were flawless. The latter ten, a slope downwards.
There is so much that enamours me of this show, week in, week out. The level of depth that all of these key characters have built makes it feel so agonisingly hopeful, none moreso than the Crown Prince, whose innocence is his strongest weapon. How, unlike the disillusioned older generation, the younger ones have questions, but rather than blatant of detail is also very much a factor in all these key elements blending so well, everything to be introduced has served a larger purpose, and none of the world building and setup have gone to waste. It is such a joy to see a show carry so much with such grace, where even the political scenes many like myself may often skip, in AoS, maintain just as much interest as the rest. The balancing act thus far has been perfect.
On the romantic line the balance has fit just right too, as it hasn’t caused the tone to lighten, nor does it land as a tragedy, it plays out matching the plot perfectly, stride for stride. Romance with these shows often runs a risk of dominating the show over all else in a way that detracts from a potential plot or world, yet, here, they strengthen and reaffirm both of those elements in equal measure with the romance of Uk and Mudeok.
So far, I’d consider this a masterclass in conflict (especially for use of multi-generational perspectives and approaching a conflict from more than two or even three angles), development, and balance.
Currently my Drama of the Year. I waited to start and started at the perfect time. Absolute adoration I have for this show so far. Can’t wait for the next episodes!
So did I! I was pleasantly surprised that a Yokohama Ryusei film was on the plane so decided to watch. Personally I just sat back and enjoyed it without thinking too much, it isn’t some masterpiece must-watch but still plenty of fun. I get that it would be able to expand and do much more as a series though.
The main leads are good. And don't know what people see from Beloved In House. That show was a total drag and…
I’m sorry you didn’t enjoy Be Loved in House, I did quite a lot and this show gives off quite a similar vibe to me. It’s a different story for sure, and so themes here are different and it’s also not as comedic as Be Loved in House.
The similarity likely stems from the shows sharing a director, and it wouldn’t surprise me if they shared writers/screenwriters. So, people could be picking up on that, especially those who like Be Loved in House. If you don’t like it, I totally get why you wouldn’t see the similarities though as you’re getting something entirely different if you’re enjoying this when you didn’t enjoy Be Loved in House.
An example of this elsewhere would be people who found We Best Love felt similar to HIStory, and that was because of the same writer writing HIStory (Obsessed, Right or Wrong, Crossing the Line, Trapped) and afterwards We Best Love.
I don’t know if that makes any sense but just if you wondered where some of us might be coming from I hope this helps? I’m not trying to convince you they are similar or anything though, we’ll see what we’ll see.
As for messy hairstyles, that’s just a drama thing. Could be stylist’s choices, based off character, or if it’s a manga adaptation (which this is not), trying to match the original hairstyle as drawn. I haven’t seen much of this drama to give a definitive answer to that though. If you want really bizarre hairstyles, 2000s Jdramas and Kdramas may well have some to offer.
There’s also something I fundamentally love about dramas like this (and Yankee-kun to Hakujou Garu for example) because of the spotlight on communication. There is nothing more heartwarming than learning to understand someone’s experience in their own language.
And, without this comment getting too long, the sound team did a perfect job on this - it’s an art to convey so much through the use of sound, not just in a soundtrack, music way; but in a surroundings way.
If anybody’s eyeballing this one unsurely, all I can say is please, go for it!
Also a big thank you for this, I’ll definitely be watching it over this next week, I just started it and it very much looks fun!
Put simply, I cannot deal with the female lead becoming weak for love, as well as the deposed king of Goryeo NOT ONLY failing to make use of this development, but for him to discount the female lead as a useful ally altogether. For some reason, this adamantly continues to slap me across the face. Without trying to sound dramatic, it feels offensive. It’s like Seungnyang never saved his life or aided him in any way before.
If she were truly a strong female lead, she would turn her back on the deposed king to forge her own path, as the Emperor is, quite clearly, willing to have her in a capacity where she plays an active role in ongoing events. Hence, I cannot understand why any strongly driven individual with goals, could act like Seungnyang OR the deposed king. In my eyes this stupidity is well and truly ruining this drama for me.
Meanwhile, I am glad the emperor is developing, but also disappointed in the level of comedy to his scenes. I would appreciate being able to take his character more seriously.
I feel the most disappointed by this drama because it’s come so very very close to what I look for. If the romance were halved, the comedy removed, and Seungnyang was altered such that she was consistent in her drive, I could continue happily. However, I’m at a crossroads where I may now drop. 17 episodes watched. The first seven were flawless. The latter ten, a slope downwards.
On the romantic line the balance has fit just right too, as it hasn’t caused the tone to lighten, nor does it land as a tragedy, it plays out matching the plot perfectly, stride for stride. Romance with these shows often runs a risk of dominating the show over all else in a way that detracts from a potential plot or world, yet, here, they strengthen and reaffirm both of those elements in equal measure with the romance of Uk and Mudeok.
So far, I’d consider this a masterclass in conflict (especially for use of multi-generational perspectives and approaching a conflict from more than two or even three angles), development, and balance.
The similarity likely stems from the shows sharing a director, and it wouldn’t surprise me if they shared writers/screenwriters. So, people could be picking up on that, especially those who like Be Loved in House. If you don’t like it, I totally get why you wouldn’t see the similarities though as you’re getting something entirely different if you’re enjoying this when you didn’t enjoy Be Loved in House.
An example of this elsewhere would be people who found We Best Love felt similar to HIStory, and that was because of the same writer writing HIStory (Obsessed, Right or Wrong, Crossing the Line, Trapped) and afterwards We Best Love.
I don’t know if that makes any sense but just if you wondered where some of us might be coming from I hope this helps? I’m not trying to convince you they are similar or anything though, we’ll see what we’ll see.