What wonderful news that she can finally return to her passion, free from everything that has happened to her... I watched the interview with Je Suk and she is truly extraordinary – such courage, sincerity and willpower. A very warm welcome back indeed! ❤️
Apart from the excellent programme choices, I still can’t help feeling that two truly remarkable series – “Aema” and “Low Life” – have been somewhat overlooked or, at the very least, gone largely unnoticed, even here on MDL, to be honest; they’re genuinely excellent, both in terms of their production values and the undeniable – and proven – talent of their respective casts; do catch up on them, because they’re truly worth it!
I'm very introverted. For me, staying at home IS the fun. I'm surrounded by people all day, so a quiet night at…
Absolutely, of course, I really don’t think it should be seen in a negative light. 🌺When I look back on my own somewhat ‘turbulent’ youth, I can laugh about it now; my teenage nieces love the stories I retell them – in a much toned-down version – whilst these days I’m much more of a homebody, for many reasons (besides, I don’t even drink alcohol anymore, so… ) but I was quite struck by this intimate side of the actress; Compared to her other colleagues, other interviews, she seems to have found her ideal setting and perfect balance; By speaking openly about her vulnerabilities, she comes across as more authentic, free from social conditioning or masks... I think that for her mum, reading or hearing her daughter’s words about her in public must be truly moving...
She seems to be a woman of a curious and extremely interesting nature, quite apart from her exceptional status as an actress; One might wonder whether it is introversion or shyness, reading certain passages of the interview (though one should to see the whole thing, of course). What is truly fascinating in her case is the distinction between the real person and her technical acting ability. Sometimes one might fail to grasp the detachment that is, in fact, the hallmark of her artistry, the actor’s own skill... Yet she really ought to go out and have more fun – she seems too much of a workaholic, but does she have no female colleagues or friends? ...“All work and no play makes Jack a dull boy” ...
I don’t know what’s more remarkable: the meticulous reconstruction work you’re doing (I did it myself when…
Many dramas have a knack for getting off to a good start, creating the right atmosphere through a thick layer of ambiguity, with plenty of grey areas that help build the main characters effectively, even within a complex framework; but in some cases – for example, recently in ‘Siren’s Kiss’ – the conclusion tends to trivialise all the ambiguity and the layers created, reducing everything to a more reassuring, even conciliatory, conclusion, as if to please the average viewer: “Everything must fall into place” needs to be “explained” and, paradoxically, the ambiguity that until recently was the driving force behind the drama becomes something to be resolved, precisely so as not to frustrate the viewer; there is a tendency towards a certain “linearity” which, to me personally, is disturbing; the truth can be ambiguous, incomplete, bittersweet; it must not completely exonerate the main character and turn the whole thing into a “linear” revenge; the truth revealed/the culprit punished/the protagonist “free” (even emotionally); it is a pattern we have seen far too many times; I want consistency, but also ‘pain’ and consequences, even if the ending is ‘morally uncomfortable’; I really loved a series like ‘Climax’ precisely because it doesn’t redefine, simplify or even moralise, and this opens the door to multiple interpretations: “The Art of Sarah” is another drama which, rather than opting for an amoral ending, after some excellent character development that builds considerable anticipation and strong ambiguity, tends towards a morally tidy conclusion, as if the system were bound to restore a balance, even if it means making belated corrections (heaven forbid a “new character” should appear halfway through the series with the aim of shaking things up!) I’ve mentioned three series that I’ve reviewed recently, for that matter…
I don’t know what’s more remarkable: the meticulous reconstruction work you’re doing (I did it myself when…
Ah, that really does you credit all the more! I’m absolutely fascinated by the unconscious as an enigma; it’s a ‘professional obsession’ that I’ve carried with me since my youth and which is deeply rooted in my cinematic background; especially the film noir of the 1940s and 1950s, with psychoanalysis as a concrete element, the backbone of the narrative; whenever I come across Korean dramas – but Japanese ones too, it must be said – that deal with rather similar themes, I always view them with a positive interest; “Reverse” seems to operate somewhat along those lines; obviously the amnesia, which is also an old-school must in the Dramaverse, the ambiguous identity, though this applies to all the lead actors; the possible displacement of guilt; ultimately, is she a victim or the culprit (?). However, I must reiterate: I hope that, given such strong, well-constructed premises, the moral ambiguity is not redefined in a more reassuring or, worse still, inconsistent manner; it wouldn’t be the first time…
I had to make some changes on May 6, I mixed up ep 4/5 and 6 scenes of FL visiting Adjushi. In ep4/5 she visits…
I don’t know what’s more remarkable: the meticulous reconstruction work you’re doing (I did it myself when reviewing dramas like 'Climax' and 'Siren’s Kiss', and each episode took me hours…), or the fact that all this might not be getting the recognition it deserves; For what it’s worth, I’d like to say thank you, truly; it’s a decidedly complex series that progresses through elliptical structures as well as shifts in tone that can leave you bewildered, but it has that rare quality of growing exponentially as the episodes progress: let’s hope they stay on course for the rest of the series and don’t derail with illogical or hasty choices; so far, so good...
I really do thank you for reading it and for your kind comment. As I followed the drama, I found myself becoming…
Oh Tia, thank you so much — your words really mean a lot.🌺 I’ve been writing for quite some time now about cinema, music, and even literature (even though these forums are now a thing of the past), always with a perhaps slightly romantic idea in mind: not so much to “explain” things, but rather to hint curiosity, to engage the reader, and to open a small door instead of offering definitive answers. If anything I’ve written has managed to spark even the slightest interest, that’s already more than enough for me. I believe the best kind of discussion comes from this — when something stays with you and continues to evolve even after you’ve finished watching. To be honest, I’ve been asked a few times about starting a blog or something similar, but I think I’d prefer to keep writing here on MDL. It feels like the right space for me. I really like the idea of Forum as a concept of a global village; it’s something I’d been missing, also I’m probably a bit too slow (and maybe a bit too lazy 😅) for a proper blog — I’d rather write when I really feel like it, without deadlines.
I really do thank you for reading it and for your kind comment. As I followed the drama, I found myself becoming…
Oh, interesting question! Back in my school days I studied Latin rather than Greek, but over time I’ve developed a personal interest in tracing connections between concepts, allegories, and layered meanings — something that I find particularly useful when writing. That said, I’ve never been a fan of overly 'academic' reviews; I always try to create a genuine connection with whoever is reading on the other side of the screen.
In this case, I think "Climax" is a title that fits remarkably well, precisely because of the structure and thematic core of the drama. The final episode, especially in its second half, offers a striking parallel between what can be seen as Tae-seop and Sang-ah’s respective “ascents.”
On one side, Sang-ah climbing the steps of the montée des marches — essentially a stylized, almost symbolic version of Cannes, often considered the pinnacle for anyone tied to cinema. On the other, Tae-seop ascending the steps of the Blue House, representing the apex of political power, even if in a mediated role — that of a strategist behind a president who, in one of the most telling scenes, appears almost puppet-like during the 100-day speech.
Their final “ascent” toward the televised appearance — with the doors closing behind them in a distinctly theatrical gesture — perfectly encapsulates the meaning of the title. Climax not only as the narrative peak, but as a kind of staircase (or stairway): not toward paradise, heaven, but toward a form of hell that is perhaps livable, controllable… even acceptable.
In that sense, the title works on multiple levels — structural, symbolic, and thematic — and ultimately reflects the very nature of the series, yes for me!
Happy Birthday, Shu Qi! I really enjoyed the excellent ‘The Resurrected’ recently, and I’m still eagerly awaiting your directorial debut - "The Girl" -, which hasn’t been released yet (hopefully soon!) 🎉🎂🌺
This is a very well-written and analytical review. Excellent points on the power shift & balance in the drama…
I really do thank you for reading it and for your kind comment. As I followed the drama, I found myself becoming increasingly drawn into the story, even imagining a satisfying conclusion that would restore coherence to the narrative as a whole, whilst preserving what I consider to be the drama’s core – namely, the moral dimension of the characters portrayed; I’ve trimmed things down a bit here and there, having to leave out some deeper analysis, but I hope I’ve managed to convey my personal satisfaction with a work which, beyond individual opinions, has the power to defy any simple categorisation by genre... Thank you again!🌺
Yes, undoubtedly, it’s certainly part of the show’s promotional package (and a bit of self-promotion to win people over, which never goes amiss…) It also seems, in this case, to be the ‘perfect’ drama at just the right time for them; the right appeal – she’s always fabulous, in everything, whilst I honestly Woo Seok don’t think I’ve ever come across him in other roles – and the chemistry is clearly perfect... I’ve already seen that the reviews are praising the series; I tried watching the first episode, but I’d more or less guessed the themes, so I’ll give it a miss without any fuss. I’m now out of the running and past the right age for this sort of story, but it’s easy to see that it’ll be hugely popular. IU, see you next time with something closer to my personal tastes! 🌺
I tried to explain this better in my review, but with a clearer head it seems even more obvious to me: the ending ends up undermining much of the ambiguity, the layered complexity, and even the symbolic framework that the drama had so carefully built up to that point.
Everything is reduced to a sweeping, all-encompassing explanation which, in effect, undermines the discourse on art, the double, and perception — elements which, in my view, were among the most interesting aspects of the series.
Ultimately, the ending comes across as rather consolatory, reassuring, almost ‘educational’, giving the impression that it wants to tie everything up without leaving room for doubt or grey areas. And it is precisely this lack of ambiguity that I found rather unambitious.
The result is that the drama, whilst remaining excellent for most of its run, ends up somewhat betraying itself at the very decisive moment. Perhaps it’s partly down to my own expectations, but it’s a feeling I’m personally finding myself experiencing quite often in many contemporary productions
In any case, for those who are curious, I’d also recommend watching the original Japanese version, “Ice World”, which explores similar themes but maintains a far more consistent and less accommodating ambiguity right through to the end.
Ha ha! I got Kopiko too 😊 (though I’ve never actually tried them) – and I’ve got quite a few right first time, at last! These quizzes are really lovely, thanks!🌺
I am so happy right now ;___; After meeting Gong Yoo in Florence this weekend, this news made my whole year. I…
I’m absolutely delighted to hear about your wonderful experience! Unfortunately, right here in Italy, the Florence Korea Film Fest always seems to fly under the radar and never gets the recognition it deserves, which is absurd, because every year it goes out of its way to showcase truly remarkable films and stars; a bit more TV or press coverage really wouldn’t go amiss! Gong Yoo is one of those people who, even in interviews, comes across as a truly wonderful person (down-to-earth, as the English say) and deserves all the love his fans give him; Years on, ‘Goblin’ remains a work of immense value, thoroughly satisfying in terms of both story and cast; I’m not in the habit of ‘handing out’ a 10-point rating here on MDL, but this drama fully deserves it! It’s certainly not one for repeated viewings, as it’s so dense and layered that it leaves you feeling quite drained after watching it, but it must absolutely be considered a cornerstone among the most beautiful and important works in the Dramaverse, truly...
A very warm welcome back indeed! ❤️
they’re genuinely excellent, both in terms of their production values and the undeniable – and proven – talent of their respective casts; do catch up on them, because they’re truly worth it!
Compared to her other colleagues, other interviews, she seems to have found her ideal setting and perfect balance;
By speaking openly about her vulnerabilities, she comes across as more authentic, free from social conditioning or masks...
I think that for her mum, reading or hearing her daughter’s words about her in public must be truly moving...
One might wonder whether it is introversion or shyness, reading certain passages of the interview (though one should to see the whole thing, of course).
What is truly fascinating in her case is the distinction between the real person and her technical acting ability. Sometimes one might fail to grasp the detachment that is, in fact, the hallmark of her artistry, the actor’s own skill...
Yet she really ought to go out and have more fun – she seems too much of a workaholic, but does she have no female colleagues or friends?
...“All work and no play makes Jack a dull boy” ...
but in some cases – for example, recently in ‘Siren’s Kiss’ – the conclusion tends to trivialise all the ambiguity and the layers created, reducing everything to a more reassuring, even conciliatory, conclusion, as if to please the average viewer:
“Everything must fall into place” needs to be “explained” and, paradoxically, the ambiguity that until recently was the driving force behind the drama becomes something to be resolved, precisely so as not to frustrate the viewer;
there is a tendency towards a certain “linearity” which, to me personally, is disturbing; the truth can be ambiguous, incomplete, bittersweet; it must not completely exonerate the main character and turn the whole thing into a “linear” revenge; the truth revealed/the culprit punished/the protagonist “free” (even emotionally); it is a pattern we have seen far too many times;
I want consistency, but also ‘pain’ and consequences, even if the ending is ‘morally uncomfortable’; I really loved a series like ‘Climax’ precisely because it doesn’t redefine, simplify or even moralise, and this opens the door to multiple interpretations:
“The Art of Sarah” is another drama which, rather than opting for an amoral ending, after some excellent character development that builds considerable anticipation and strong ambiguity, tends towards a morally tidy conclusion, as if the system were bound to restore a balance, even if it means making belated corrections (heaven forbid a “new character” should appear halfway through the series with the aim of shaking things up!)
I’ve mentioned three series that I’ve reviewed recently, for that matter…
and come back soon – we miss you! ❤️
I’m absolutely fascinated by the unconscious as an enigma; it’s a ‘professional obsession’ that I’ve carried with me since my youth and which is deeply rooted in my cinematic background; especially the film noir of the 1940s and 1950s, with psychoanalysis as a concrete element, the backbone of the narrative;
whenever I come across Korean dramas – but Japanese ones too, it must be said – that deal with rather similar themes, I always view them with a positive interest; “Reverse” seems to operate somewhat along those lines; obviously the amnesia, which is also an old-school must in the Dramaverse, the ambiguous identity, though this applies to all the lead actors; the possible displacement of guilt; ultimately, is she a victim or the culprit (?).
However, I must reiterate: I hope that, given such strong, well-constructed premises, the moral ambiguity is not redefined in a more reassuring or, worse still, inconsistent manner; it wouldn’t be the first time…
the meticulous reconstruction work you’re doing (I did it myself when reviewing dramas like 'Climax' and 'Siren’s Kiss', and each episode took me hours…), or the fact that all this might not be getting the recognition it deserves;
For what it’s worth, I’d like to say thank you, truly;
it’s a decidedly complex series that progresses through elliptical structures as well as shifts in tone that can leave you bewildered, but it has that rare quality of growing exponentially as the episodes progress:
let’s hope they stay on course for the rest of the series and don’t derail with illogical or hasty choices; so far, so good...
I’ve been writing for quite some time now about cinema, music, and even literature (even though these forums are now a thing of the past), always with a perhaps slightly romantic idea in mind: not so much to “explain” things, but rather to hint curiosity, to engage the reader, and to open a small door instead of offering definitive answers.
If anything I’ve written has managed to spark even the slightest interest, that’s already more than enough for me.
I believe the best kind of discussion comes from this — when something stays with you and continues to evolve even after you’ve finished watching.
To be honest, I’ve been asked a few times about starting a blog or something similar, but I think I’d prefer to keep writing here on MDL.
It feels like the right space for me. I really like the idea of Forum as a concept of a global village; it’s something I’d been missing, also I’m probably a bit too slow (and maybe a bit too lazy 😅) for a proper blog — I’d rather write when I really feel like it, without deadlines.
Back in my school days I studied Latin rather than Greek, but over time I’ve developed a personal interest in tracing connections between concepts, allegories, and layered meanings — something that I find particularly useful when writing. That said, I’ve never been a fan of overly 'academic' reviews; I always try to create a genuine connection with whoever is reading on the other side of the screen.
In this case, I think "Climax" is a title that fits remarkably well, precisely because of the structure and thematic core of the drama. The final episode, especially in its second half, offers a striking parallel between what can be seen as Tae-seop and Sang-ah’s respective “ascents.”
On one side, Sang-ah climbing the steps of the montée des marches — essentially a stylized, almost symbolic version of Cannes, often considered the pinnacle for anyone tied to cinema. On the other, Tae-seop ascending the steps of the Blue House, representing the apex of political power, even if in a mediated role — that of a strategist behind a president who, in one of the most telling scenes, appears almost puppet-like during the 100-day speech.
Their final “ascent” toward the televised appearance — with the doors closing behind them in a distinctly theatrical gesture — perfectly encapsulates the meaning of the title. Climax not only as the narrative peak, but as a kind of staircase (or stairway): not toward paradise, heaven, but toward a form of hell that is perhaps livable, controllable… even acceptable.
In that sense, the title works on multiple levels — structural, symbolic, and thematic — and ultimately reflects the very nature of the series, yes for me!
I really enjoyed the excellent ‘The Resurrected’ recently, and I’m still eagerly awaiting your directorial debut - "The Girl" -, which hasn’t been released yet
(hopefully soon!)
🎉🎂🌺
As I followed the drama, I found myself becoming increasingly drawn into the story, even imagining a satisfying conclusion that would restore coherence to the narrative as a whole, whilst preserving what I consider to be the drama’s core – namely, the moral dimension of the characters portrayed;
I’ve trimmed things down a bit here and there, having to leave out some deeper analysis, but I hope I’ve managed to convey my personal satisfaction with a work which, beyond individual opinions, has the power to defy any simple categorisation by genre... Thank you again!🌺
I hope all your dreams come true as you start your life together!💕🌺
It also seems, in this case, to be the ‘perfect’ drama at just the right time for them; the right appeal – she’s always fabulous, in everything, whilst I honestly Woo Seok don’t think I’ve ever come across him in other roles – and the chemistry is clearly perfect...
I’ve already seen that the reviews are praising the series; I tried watching the first episode, but I’d more or less guessed the themes, so I’ll give it a miss without any fuss.
I’m now out of the running and past the right age for this sort of story, but it’s easy to see that it’ll be hugely popular. IU, see you next time with something closer to my personal tastes! 🌺
Everything is reduced to a sweeping, all-encompassing explanation which, in effect, undermines the discourse on art, the double, and perception — elements which, in my view, were among the most interesting aspects of the series.
Ultimately, the ending comes across as rather consolatory, reassuring, almost ‘educational’, giving the impression that it wants to tie everything up without leaving room for doubt or grey areas. And it is precisely this lack of ambiguity that I found rather unambitious.
The result is that the drama, whilst remaining excellent for most of its run, ends up somewhat betraying itself at the very decisive moment.
Perhaps it’s partly down to my own expectations, but it’s a feeling I’m personally finding myself experiencing quite often in many contemporary productions
In any case, for those who are curious, I’d also recommend watching the original Japanese version, “Ice World”, which explores similar themes but maintains a far more consistent and less accommodating ambiguity right through to the end.
(though I’ve never actually tried them) – and I’ve got quite a few right first time, at last!
These quizzes are really lovely, thanks!🌺
Unfortunately, right here in Italy, the Florence Korea Film Fest always seems to fly under the radar and never gets the recognition it deserves, which is absurd, because every year it goes out of its way to showcase truly remarkable films and stars; a bit more TV or press coverage really wouldn’t go amiss!
Gong Yoo is one of those people who, even in interviews, comes across as a truly wonderful person (down-to-earth, as the English say) and deserves all the love his fans give him;
Years on, ‘Goblin’ remains a work of immense value, thoroughly satisfying in terms of both story and cast; I’m not in the habit of ‘handing out’ a 10-point rating here on MDL, but this drama fully deserves it!
It’s certainly not one for repeated viewings, as it’s so dense and layered that it leaves you feeling quite drained after watching it, but it must absolutely be considered a cornerstone among the most beautiful and important works in the Dramaverse, truly...