An “ Alarm” Ahead For Terrible Screenwriting ...
Screenwriters Lee Ah Yeon and Seo Bo Ra evidently adapted this from the webtoon for their eponymous contemporary drama “ Love Alarm” centralising upon the same premise of high school student Jo Jo ( Kim So Hyun) and her love triangle with “popular student ” Hwang Sun Oh ( Song Kang) and his “ kind-hearted best friend” Lee Hye Yeong ( Jung Ga Ram), in a world determining love through one app.
By default, this drama should be a masterpiece; its source material and premise are fairly creative and original, the characters are intrinsically interesting and it has a top-notch cast as well. However, “ Love Alarm”’s biggest inconsistencies can be pinpointed to two focal areas; characterisation ( or the lack of it) and the lingering problems which arise through the existence of the alarm itself.
Perhaps the biggest elephant in the room to tackle is our main heroine Jo Jo. It is made pretty evident that Jo Jo actually has a lot of intriguing qualities as our main character; her circumstances growing up have been difficult, she’s struggled with trauma and she’s never been “ overly exposed” to the love alarm ( like the viewer) in the same way her fellow peers have .
Yet whilst Jo Jo has all the right qualities of being a relatable and well-written main character, her actual personality traits make her seem a fairly hollow “ Mary Sue”, rather than an actual flawed human being. She’s deemed as “ pretty, smart and popular” by her peers yet the two latter classifications were fairly flawed in terms of who Jo Jo is supposed to be as a character. Jo Jo being “ popular” isn’t an immediately ridiculous trope with the considered factors of her “ attractive” appearance and being book smart, but let’s be honest in considering that Jo Jo lives in a society still determined by trends as a form of social hierarchy .Even in an alternate society, this seemingly manifests to the idea of the app “ Love Alarm”, something Jo Jo prominently does not have. Whilst this in itself is of course not something Jo Jo would realistically be written out as suddenly “ not being popular” , it would still remain obvious even amongst Jo Jo’s social crowds that she isn’t up to date on certain trends and styles, something which was neither realistically raised or shown critically in the show at all.
Additionally, Despite Jo Jo’s seeming intelligence and her circumstances leading to at least some street smart personality traits , Jo Jo is a shockingly dim-witted character within putting herself in danger or helping to create numerous misunderstandings throughout the show. Of course this was supposed to intensify the “ drama” and make Jo Jo’s feelings more heightened for the two male leads, however, it seemed even if Jo Jo was more “ naive” of her actions than anything else, cruelly ignorant to lead on both Sun Oh and Hye Yeong, two individuals who clearly hold feelings for her, than create the amount of ridiculous dilemmas as she did in the drama. Whilst the drama wanted us to feel evident pity for Jo Jo in the season one finale, it was hard to truly feel attachment towards a character who had little to really offer in the first place.
Naturally this moves us onto the problems of our two main leads Sun Oh and Hye Yeong. Arguably, Sun Oh does have some more noticeable character traits than Jo Jo in the beginning of the series; he’s rich, and similarly popular , but acts out in his often “ stoic” manner because of his own inner psychological turmoil surrounding lacking parental love.
This in itself should have been something which drew Sun Oh and Jo Jo upon their similarities ; Jo Jo may not have parents whilst Sun Oh does, but they both lack that intrinsic parental love which most of their peers have had and thus struggle to find love in the same way. Yet as much as Sun Oh did have some interesting character qualities, he wasn’t given the chance to either grow or mature with his relationship with Jo Jo at all over the course of the series. In fact, Sun Oh is strikingly quite a selfish and fractious character who neither seems to actually reflect or learn from any of his mistakes even going as emotionally gaslight his best friend and
ruin his relationship with both Jo Jo and Hye Yeong rather than actually mature as an individual .
Arguably Hye-Yeong did have more likeable qualities out of Sun Oh as a love interest and Jo Jo as a main character; he often comes off as complacent, but at least this is actually made prominent as one of his flaws, which he learns to mature upon with his pursuit of Jo Jo - the girl he harbours a crush upon without the need of the app. On the other hand, what is undeniably annoying about Hye-Yeong as a character, is that he is often a little too forceful upon Jo Jo when she made her feelings evident at times in the show, and ironically too staid rather than sticking up for himself when Sun Oh began to emotionally gaslight him. Whilst Hye-Yeong had all the right qualities of being possibly one of the few well-written characters in the show, he often felt too irregular as a character; jumping from sudden growth to reversal in two seconds flat.
As for the rest of the characters of the show, Love Alarm is a halcyon for your typical minor trope characters, yet perhaps one minor character who arguably had many intriguing characteristics was “ outcast” Cheon Duk Goo( Lee Jae Eung). Duk Goo plays an undeniable major role within the events of the series and realistically has a lot of inevitable flaws including his own lack of self-confidence. Nevertheless, it was berating even with the app, exactly what Duk Goo, possibly one of the few decent characters of the show, saw in Gul Mi ( Go Min Si); Jo Jo’s “ popular” and selfish cousin. Perhaps it is entirely wrong to attack Gul Mi per say as being entirely “ horrible” as she did have some noticeable problems from being spoilt by her mother, as well as pressurised due to her popularity to “ fit in” with her classmates and Duk Goo’s involvement as her “alarm” entirely threatened this from her point of view. On the other hand, it was still fairly hard to see Duk Goo learn from his mistakes as well as Gul Mi actually maturing from being a selfish schoolgirl , in addition to fundamental questions about how the app actually works .
These dilemmas include; how such an app would be legalised or not face backlash ( protests or negativity) openly, if the app can or has made “ errors” or faced glitches over more than one love alarm per person , why the presumed “app developer” hadn’t been approached by greater technology firms wishing to invest or purchase the app’s rights, as well as of course more upon the “ love alarm” for same-sex couples. Although the show briefly mentioned about the public shame of the love alarm in this scenario, it felt a little sugarcoated not to explain or develop into characters who have faced this. Finally, there’s the most evidential problem of how this app actually works.
The ideology of the app is undeniably artistic licensing; we’re not really supposed to “ understand” the actual methods of the app and we can presume certain theories towards how this actually functions. Nevertheless, there were several lingering questions which were naturally raised about the app’s existence in Love Alarm throughout the series.
So, this leaves us on the most obvious question. Is Love Alarm actually worth watching? Love Alarm undeniably has an intriguing story premise, high production value and a top-notch cast. On the other hand, Love Alarm is simply its own worst enemy when it comes to avoiding falling into tropes, badly-written characters and plot inconsistencies. With a second season on the horizon, it’s wrong to entirely draw out that the story won’t smooth over some of these issues, and there are certainly some interesting ideas going forwards. It’s probably fair to say that Love Alarm isn’t a “ dire” show and certainly something to watch if you’re fan of “ cute, romantic and fluffy” dramas. On the other hand, this show is a waste of time if you’re looking for actual investment in well-written main leads, a sensical storyline and realistic and deep critiques which should have been raised in a show tackling such ideas of technology intermingled with relationships .
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The Honest Verdict ;"Oh My”, This Was A Dire Drama ...
Have you ever found yourself watching a show, and generally wondering whether the screenwriter had a dartboard, was blindfolded and throwing randomly to see what random plot point to come up with next? Well, most drama watchers out there can probably agree that this perfectly describes ” Oh My Ladylord".
Before critiquing the drama , it is important to start on a high note.Against all odds of the female animosity trope, there was a surprisingly profound relationship between female lead Oh Joo In’s mother Yoon Jung Hwa ( Kim Ho Jung) and male lead Han Bi Soo’s mother Kang Hae Jin ( Lee Hwk Hyang). However, this is also where the series hits a major snag also. The main leads’ mothers were simply more interesting than either of our main leads.
It shouldn’t have been this way by default. Nana ( playing Oh Joo In) and Lee Min Ki ( costarring as Han Bi Soo)are both really good actors. ( Alongside Kang Min Hyuk playing second male lead Jung Yu Min.)Sadly, however, whilst the actors did put effort into their performances, they were fairly limited towards what they could actually do with Jo Jin Kook’s questionable script.
To start off this problem, it is important to talk about our female lead Oh Joo. Oh Joo wasn’t an inherently " terrible" character in the beginning. She had a strong, heartfelt relationship with her mother and seemed to defy the typical cliches of being the " spoilt and aloof actress" also. However, the show soon goes down hill when Oh Joo is introduced into her romantic pairing with Bi Soo. It isn’t necessarily the chemistry between the leads which was " bad", but, rather how she was reduced to the equivalent of storyline cannon fodder not even halfway into the show.
This moves us onto the next prominent issue. The dreaded creme de la creme of tropes; the love triangle. There’s nothing entirely wrong with love triangles per say in a drama, but, the problem with " Oh My Ladylord”’s love triangle happened to be that it was incredibly hard to root for any
chemistry in Jo Jin Jook’s trio of one-dimensional main leads.
To give Bi Soo some credulity , he wasn’t entirely a “terrible person at heart”. However, as this is a formulaic romantic drama where flaws have to be exaggerated for plot development, Bi Soo’s aloofness, jealousy and selfishness at times just became tiresome and repetitive .This is exemplified when around the halfway point of the drama, Bi Soo was so caught up in his attempts to make Oh Joo fall in love with him, that he did not make time even once during a pivotal revelation in this episode to visit his own dying mother. (Then, there is also the poorly-written fantasy element tied-in with Oh Joo, which did not add anything of relevance to Bi Soo’s characterisation.)
The final component of our love triangle is Jung Yu Min. The archetypical ” second male lead” who has ” been in love with Oh Joo for a long time”, Yu Min was just shallow and uninteresting . He had potential to be intriguing and well-written ,but (typical of cliches), Yu Min’s biggest problem occurred by his infatuation with Oh Joo. This is because Yu Min exists only as an obstacle in the story for Bi Soo’s affections . He had no sense of individuality with family, friends or his job outside of the romantic pairing. Even after Oh Joo confessed her ambiguous feelings whilst they were " dating" , it was predictable that Yu Min lashed out manipulatively at Bi Soo rather than just sitting down to talk with Bi Soo and Oh Joo like a decent human being .
Then there’s the biggest elephant in the room with the drama; the genre. Genre shifts can work well to a show’s advantage, and then there’s " Oh My Ladylord".
Admittedly the screenwriter does attempt to make amends by bringing the fantasy elements again into the storyline, however , this resorted in the overall genre shift being nothing more than a lazy plot Macguffin. ( In an attempt to make a poorly-written romance story interesting with little success. ) The ending was even worse, attempting to deliver a tearjerking solution to an otherwise horrible storyline , but , with little success.
So, is " Oh My Ladylord" actually worth watching? This is entirely dependent upon expectations. If you’re a fan of trope-filled, terribly outdated storylines with toxic relationships then " Oh My Ladylord" is right up your street. However, if you’re looking for a modern, well-written and dynamic romance tale with a supernatural twist, then look elsewhere because " Oh My Ladylord" certainly isn’t it.
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Should You Become An “ Anti-Fan” Of This Drama?
Have you ever watched a drama which starts off with cataclysmic screenwriting and then surprisingly grows on you in the second-half ? Well, most watchers can probably agree that this ideology epitomises ‘So, I Married An Anti-Fan’ with its surprising turn from certain cliches to an endearing relationship between our leads.However those expecting ‘So I Married An Anti-Fan’ to be a “masterpiece” should probably be told outright that this drama isn’t without its flaws either.
Taking nearly three years to air ( after finishing production in 2018) and sparking an eruption of mixed criticism by viewers afterwards , “ So, I Married An Anti-Fan” is a drama which has greatly divided the audience demographic . Some viewers take the stance that it is " too reminiscent of the tacky 2000s abusive relationships" and " poorly-written", whilst others on this platform defend this as " sweet" and a " comfort drama". However, this raises the bigger question for those wanting to watch the show for the first time; is it actually worth watching?
Well, there are some undeniable strengths which may have an alluring charm for certain watchers. The main cast (consisting of Choi Soo Young, Choi Tae Joon, Hwang Chan Sung and Han Ji An) were an absolute delight, the plot was " romantic and fluffy with a twist of melodrama", and it was straightforward enough to follow ( in an " unplug your brain" sort of way ). Refreshingly, the second-half took a slightly more serious stance to our main leads’ relationship by delving into the main leads’ interactions, whilst also addressing more profound insights into the idol industry’s sociocultural issues in South-Korea. However, this is also where we must address the opposite side of the coin; the problems.
One of the biggest dilemmas of ‘ So, I Married An Anti-Fan’ came through character development. Let’s start off this example with our female lead Lee Geun Young. Geun Young was a female lead who you desperately tried to like as a viewer as Choi Soo Young is a good actress. Undeniably as a character, she isn’t "naive" or the " sweet girl next door" and will happily stand her ground at times when the male lead kicks off. However, ultimately this is where our biggest problem occurs with Geun Young; she exists( for a major proportion of the series) as a component of an enforced pairing for the “ sake of plot” .
There is nothing wrong per say with a female lead being in a relationship in a drama. ( In fact it can allow god-tier character development . ) However whilst we did get to see Geun Young come round to accepting her feelings in the second-half, this first part felt more like a carte blanche for Geun Young’s character development by screenwriters Kim Eun Jung and Nam Ji Yeon in order to forcefully pair-off Geun Young with our male lead Hoo Joon. Consequently Geun Young was rarely given time to understand exactly why she was attracted to the " jerk who ruined her life" ( the motiveless goal aside from her obsessive desire to " ruin his life"). Sadly further interactions with her mother and friends provided little insight into her actual personality (beside the romantic pairing).
Then there’s the male lead Hoo Joon. Similar to Soo Young, Tae Joon is a dynamic actor and there were certainly intriguing issues tackled with his character; a popular star who is getting fed up of being used by his company and his tiresome lifestyle. However typical of cliches, he was often glorified by his role throughout the drama as the " stoic, jerk male lead” ; getting away with assault, bribery and blackmail (including towards the female lead). The show attempted to play an uno reverse card by introducing the " tragic backstory" which may evidently cause mixed-feelings for viewers.
Of course the issue of our main leads also remains a source of mixed-criticism for the drama. On one side, there is the undeniable problem that the male lead Hoo Joon constantly found ways to emotionally gaslight the female lead ; grabbing Geun Young’s wrist , then giving her the cold shoulder over the most trivial of matters and refusing at times to hear her side of the story (or just talk to her like a decent human being). However, there is an alternate stance that ‘ So I Married An Anti-Fan’ isn’t supposed to be perfect. It’s a romantic-comedy which attempts to reflect the real-life reality that actual relationships are messy and problematic. The focalised writing decision to focus more on our main leads’ relationship in the second-half did seem to prove that this was the intention of the drama.
Although this review would not be complete without talking about one of the biggest elephants in the room; our supporting characters JJ ( Hwang Chan Sung) and Oh In Hyung ( Han Ji An)’s overly problematic relationship.
Hwang Chan Sung is a really good actor, however, you could imagine if there was an “ Encyclopaedia Of The Most Obsessive Second Male Leads Of All Time”, his character JJ would have been on the first page. It was evident that the drama desperately tried for us (as viewers) to root for JJ as the “ pining lover”. However , this appeared difficult when his behaviour reflected an otherwise dysfunctional and oppressive figure in In Hyung’s life by rifling around In Hyung’s room ( without her permission), screaming at her manager down the phone in public ( and thus purposefully embarrassing In Hyung in front of people) and then even attempting to manipulate Geun Young ( without considering In Hyung or Geun Young’s feelings) early on in the series in order to get back at Hoo Joon.
Yet whilst it would be easy to pin all the blame on JJ, Oh In Hyung had her own fair share of problems also . Similar to her costars Han Ji An is a good actress. In terms of her character In Hyung, the drama works incredibly hard to make us feel pity for her being a a victim of the malicious industry of idols and JJ’s obsessive infatuations. ( For the most part as viewers we certainly do.) However as we delve more into the show ( without spoilers), it soon becomes apparent that In Hyung is manipulated by the screenwriting into becoming a tiresome plot mechanism in order to trigger catalytic events in the later storyline.
Oh boy, then there’s the additional problem of the producers. Admittedly they do not have such a prominent role in the second-half, however, most viewers will probably agree that they were incredibly irksome characters. Yes they were supposed to add a touch of comedy during more angst-ridden moments of the show, however, secretly filming the leads without their permission, screaming at the camera crew, forcing, guilt-tripping and then humiliating Geun Young on multiple occasions just grew fairly irksome for viewers .
Nevertheless the ending was a left on a sweet note for viewers. Although admittedly there could have been some plot points wrapped up, it was entertaining to have some closure with our finale.
So, is“ So I Married An Anti-Fan" actually worth watching? Whilst the show has a fairly good cast and is easygoing for viewers looking for an escape from darker romance storylines, this depends entirely on personal taste. For fans of "cutesy" romance with a " slice of 2000s K-drama relationship abuse angst" or just looking for a show to unplug your brain with,then this drama is right up your street. However, drama watchers looking for a more profound storyline then look elsewhere as " So, I Married An Anti-Fan" isn’t it.
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Without beating around the bush, The Tale of Gumiho ( or the Nine Tailed Fox) ‘s beginning did offer the criteria of being a brilliant fantasy show ; a stellar cast, fairly strong scriptwriting from episode one and of course the intriguing plot scenario of a lovelorn nine-tailed fox ( Lee Dong Wook) desperately yearning to be human again and overcoming the emotional scars of his past.
The Tale of Gumiho does certainly have one gift for drama watchers by offering us a stellar cast line-up. Finally seeing Lee Dong Wook reprise a fantasy role again had to be an undeniable selling- point for most drama watchers.
In place of wearing a prim and proper black hat as a certain Grim Reaper, however, Dong Wook steps into his new character, Lee Yeon, by sporting freshly dyed auburn red hair and brightly coloured suits as part of his foxy persona. There is no denying the fact that Dong Wook is undeniably Dong Wook in his performance - with a mixture of a sarcasm , comical wit and angst-driven ambiance surrounding his performance as Lee Yeon, it’s hard to imagine anyone else playing this mysterious trickster instead. In a similar manner to Dong Wook, Jo Bo- ah was stunningly brilliant as the female lead, Nam Ji- ah through her heart-driven wit and capability to portray a female lead with rationality and intelligence in the show .
Yet sadly, however, as far as the scriptwriting is concerned both characters undeniably fall short of expectations through how they are dealt with after the opening of the drama. Without revealing too much it’s fair to say that although both characters did respectfully have emotional attachment to viewers through their experiences, some of the cliches that the scriptwriters had included just didn’t live up to expectations for these characters to be more than plot devices. ( Ji- ah’s rationality and intelligence as a lead is seemingly flung out the window by the halfway point of the drama, our main antagonist, Imoogi played mostly by Lee Tae- Ri has little intrigue for
watchers over his motives whereas characters such as the Snail Bride, Taluipa and Hyun Eui-ong who should’ve have had some of the most intriguing involvement in the storyline, were simply played for comical effect instead). By the ending of this drama there was little development or actual intrigue around most of these characters.
On the other hand, perhaps the one thing ( alongside the fairly good OST ) which most certainly can be praised in regards to one element of the scriptwriting, is how they dealt with Kim Bum’s brilliantly sardonic and emotionally complex portrayal as the antagonist- antihero role , Lee Rang.Of course, there is no denying that Rang did step often beyond the points of morality in the drama even from episode one, yet revelations of Lee Rang’s complicated past and his partially morally-guided actions throughout the drama such as saving his faithful sidekick Yu-ri ( Kim Yong Ji) from animal abuse in a zoo, a puppy from being tortured by a group of teenage thugs and Kim Soo oh ( Jung Si yul) from child abuse, adds more intricacy to him simply being labelled as an “ evil” or “ twisted” character.
Surprisingly, Kim Yong Ji’s performance as Yu- ri , also had better characterisation than the majority our main leads as well. As a character, Yu- ri appears at first as somewhat detestable by her animalistic desires to eat humans and to deceive a married couple behind the truth that their daughter is dead. Yet as Rang reveals more about Yu-ri’s past, it soon becomes apparent through her growing relationship with the veterinarian Shin Joo ( Hwang Hee) that Yu-ri is again not entirely an evil character, but simply doing what she must in order to survive. It is only a shame that whilst Yu- ri undeniably had a good character progression by the ending of the show, the circumstances of Lee Rang, Lee Yeon and Ji-ah felt lacklustre in comparison. It wasn’t that the ending of the drama wasn’t good, however, the means in which the scriptwriters had got us to this ending felt rushed and lacking in both emotional investment and intrigue for watchers.
Overall Tale of Gumiho was a fairly enjoyable show, however, it was severely flawed by character progression of our main leads as well as their relationship, and the overall ending deliverance of the drama. Perhaps the two saving graces of the drama were the casting choices and evidently Kim Bum’s performance as Lee Rang due to being a complicated and intriguing antagonist up until the ending , where sadly his final character twist and progression felt too rushed. Whilst Tale of Gumiho is worth a watch, don’t watch it if you’re looking for a masterpiece, as there are certainly better fantasy dramas out there.
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‘Fishbowl Wives’ ; A Worthwhile Watch, Or A Waste Of Precious Time?
‘ Kingyo Tsuma’ ( alternatively known as ‘ Fishbowl Wives’ or ‘ 金魚妻’) is adapted from the eponymous psychological work by Kurosawa R . A mature and a surprisingly dark insight at times into the world of marriage, affairs and domestic abuse, ‘ Kingyo Tsuma’ is an intriguing if somewhat unrelieved portrayal into the fishbowl-like environment of main female lead Sakura Hiraga ( Shinohara Ryoko).
Hiraga is seemingly living the dream. She’s married to affluent hair stylist Hiraga Takuya( Ando Masanobu), she lives in an opulent penthouse apartment and she is envied by almost everyone that she knows.However as the saying goes: the grass is always greener on the other side of the fence.
Unbeknownst to others, the seemingly perfect Sakura Hiraga is an abuse-victim. Attacked physically and verbally by her husband on a regular basis, Hiraga likens herself to a goldfish stuck in a fishbowl; trapped in an inescapable situation with no way out.
It is due to her fascination with goldfish that Hiraga ends up encountering Toyoda Haruto ( Iwata Takanori). Toyoda is a kindhearted and younger man who owns a pet shop. After becoming enamoured by Hiraga, the female lead begins to question whether Todoya could be the key for her escaping from her megalomaniacal husband.
Screenwriter Tsubota Fumi has numerous works accredited under her name. Previously having worked upon ‘ Will I Be Single Forever ?’ (2021), Ojisan wa Kawaii Mono ga Osuki’ (2020) and ‘ Colorful Love: Genderless Danshi ni Aisareteimasu’ (2021), Fumi has notably had previous experience with adapting or writing somewhat “ avant garde” or unconventional screenplays.
This isn’t to entirely critique Fumi’s screenplay or the leadership of directors Matsuyama Hiroaki ( ‘ Mystery To Iunakare’, ‘ Switched’, ‘ Nobunaga Concerto’ ) and Namiki Michiko ( ‘ Mirai Nikki’, ‘Soredemo, Ikite Yuku’, ‘ Ichikei no Karasu’). The series did an excellent job through the writing reigns of Fumi and Hiroaki and Michiko’s lens perspective of making viewers feel uncomfortable during key moments. The topics exploited onscreen particularly revolving around infidelity, debauchery and domestic abuse could often purposefully make the viewer feel almost voyeuristic.
In addition to this it was apparent that ‘ Fishbowl Wives’ offered some wry and witty attempts at comic relief- a droll comic exchange or setup evidently drawing attention away from tense or angst-ridden moments in the series. However where ‘ Fishbowl Wives’ could admittedly feel somewhat limited was through the direction of writing .
The performances given by the main cast are certainly solid, with Shinohara Ryoko and Iwata Takanori particularly stealing the spotlight during tense or tour de force moments.
On the other hand whilst both leading actors’ idiosyncratic performances were certainly good, the onscreen chemistry between Ryoko and Takanori was admittedly somewhat stunted and inconsistent in parts .
Perhaps this isn’t entirely the fault of the actors. Whilst there is supposed to be an awkward barrier between their onscreen characters due to their respected age gap, it was often hard for viewers to truly engage with this “ developing” relationship due to the characters rarely having a lot of personal drive. ( Particularly with Sakura Hiraga. Although the female lead does develop and does make some life-changing decisions, there were many elements surrounding her seeming “ disregarded” dreams, her first meeting with Takuya as well as trauma which were often widely disregarded and limited opportunities in order to flesh out her character.)
Naturally this also had a knock-on effect with the plot. One of the focal and major drives of ‘ Fishbowl Wives’ narrative came through Hiraga and Haruto trying to find happiness. Whilst we did see opportunities as viewers towards Haruto and Hiraga’s feelings for one another blossoming and the impact of their relationship upon plot, the somewhat lukewarm venture into the characters’ mutual growth and chemistry with one another did restrict dynamic engagement with the audience.
As for the progression of the narrative, ‘ Fishbowl Wives’ is truly a trial of patience. Even for an eight episode miniseries the plot could feel somewhat tedious in parts and slightly dragged out. Admittedly the series did attempt to offer some distributed screen time upon the subplots revolving around Hiraga’s acquaintances, but due to limited screen time, these storylines felt somewhat rushed and sporadically placed.
The delivered ending is admittedly dependent on viewers’ expectations; some possible enjoying the bittersweet note and imagery, whilst others feeling somewhat disappointed by the lack of a concise conclusion.
Under the directing reigns of Hiroaki and Michiko, ‘ Fishbowl Wives’ is notably an assortment of bright palette schemes, symbols and motifs. ( One of the most reoccurring motifs throughout the series evidently being the goldfish; an important plot device for the main characters, as well as a symbol of irony and foreshadowing). In addition to this the OST is notably subtle yet synchronic with key scenes; somewhat generic in parts, but helping to heighten certain scenes also.
‘ Fishbowl Wives’ offered viewers with aesthetically pleasing scenes and decent performances by the cast. However whilst the series did offer viewers with an intriguing plot premise, ‘ Fishbowl Wives’ slowly began to meet its cataclysmic downfall as the series progressed. The ending of the series will certainly differ for audiences dependent on expectations, but helped to reinforce the assertion that ‘ Fishbowl Wives’ struggled at times to escape its own bubble of writing limitations also.
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A Heartwarming Friendship Fluttering Across Backgrounds And Age...
Based upon the eponymous webtoon by Ji Min, Navillera was adapted onto the small screen by screenwriter Lee Eun Mi ( Tunnel-2017) and director Han Dong Hwa ( 38 Task Force, Miss Lee) with the hope of bringing to life this story’s heartwarmingly atypical friendship between 70 year old Shim Deok Chul ( Park In Hwan) , and a young man his early 20s Lee Chae Rok ( Song Kang) who are both united through their shared adoration of ballet . A heartwarming friendship tale, Navillera tackled some profoundly upfront issues about ageism, mortality, mental and physical illnesses as well as social prejudice also.
Park In Hwan was undeniably brilliant with his role as our main protagonist Shim Deok Chul. Although older characters are not uncommon in K-dramas , it was a breath of fresh air to come across a character in his twilight years who took central stage as a less glamorised or “ fresher” protagonist in a Korean drama with an equally heartbreaking character growth over the course of the series .
Naturally, it is important to respect South-Korean culture and expectations, however, ‘ Navillera’ pivotal focus is highlighted by the peculiar friendship between two individuals of different ages, with different backgrounds and personalities, who learn to surpass these boundaries through their friendship. Deok Chul respects Chae Rok both as his teacher and being his “ manager”, both inside and outside of the practice room. This allows Deok Chul to take on both the “encouraging figure” and the “friend role” for Chae Rok by his kind actions and standing up for him especially against his young mentor’s rival Yang Ho Beom ( Kim Kwon). ( As well as developing a friendship with this individual also.)
This of course moves us onto the deuteragonist of ‘ Navillera’ Chae Rok. Whilst actor Song Kang’s previous performances have been a little stiff , he seemed to truly capture something vividly brilliant behind his character Chae Rok; a young ballet dancer caught between the pain of the past, and struggling to move forwards to a brighter future. Yet whilst ironically Chae Rok’s archetype does undeniably fall into the cliche of the “ young and good looking main character”, his role in the series is nonetheless just as multifaceted as Deok Chul. This did not push Chae Rok down the stereotypical root of being a ‘ heinous and bitter person’. He’s seemingly aloof and judgemental as well as quick to complain about Deok Chul, however, he is shown to constantly battle with loneliness due to the circumstances of his father Lee Moo Young ( Jo Sung Ah) . He possesses also a similar streak of altruism and kindness as Deok Chul, which manifests throughout his actions over the course of the series.
Over the course of 12 episodes, the duo’s friendship begins to truly bloom. Even Deok Chul’s normally hypercritical wife Choi Hae Nam ( Na Moon Hee) taking a later shine to the younger dancer .
However, against all odds of cliches,the side characters of the series were often given intriguing backgrounds also. Chae Rok’s mentor Ki Seung Joo ( Kim Tae Hoon) has had a complicated divorce and past due to his career as a former- ballet dancer and is determined to not let his young prodigy walk down the same route. Similarly, Deok Chul’s youngest son Shim Seong Gwan ( Jo Bok Rae) ‘s changed career decision often leads to tension during family meetings, whilst the eldest Shim Seong San ( Jung Hae Kyun)’s harsh attitude towards his daughter and wife is certainly more complicated than it seems whereas Deok Chul’s daughter Shim Seong Suk ( Kim Soo Jin) supporting her husband Byun Young Il ( Joong Hee Tae)’s decisions were equally endearing storylines .
Yet the notable story arc which should probably be mentioned along the way can be seen within the staged romance between Chae Rok and Deok Chul’s granddaughter and Chae Rok’s colleague Shim Eun Ho( Hong Seung Hee).There was nothing inherently “ terrible” about this romantic pairing.Eun Ho and Chae Rok were mutually respectful of one another , and shared common ground within their close relationship with Deok Chul. On the other hand, it is fair to say that whilst partially necessary for allowing both characters to overcome their own lack of self-esteem in different ways, the romance respectfully wasn’t the most intriguing or exciting part of the show.
Similarly, another major focal point of the series occurs within Yang Ho Beom’s long-held “ enmity” towards Chae Rok. Without revealing too much about the reasons behind Ho Beom’s contempt of Chae Rok ( due to feeding into the main storyline), it is pivotal to point out that this “ rivalry” begins to filter into the storyline many cliche events, though, this does gradually begin to fizzle out due to their circumstances. However, this is what was refreshing about Ho Beom as a character and minor antagonist . He was far from being a “flawless person ”, but, he wasn’t entirely shown onscreen as having “ no humanity” either. Without any spoilers , there is one particular scene in which Ho Beom later approaches and sits down for a meal with Deok Chul, in a heartwarming moment of the drama.
Besides some minor flaws of the series, the ending of “ Navillera” was bittersweet. An amazing ending point to see just how far the characters had come and the difficulties which Deok Chul is taking one step at a time.
It is easy for shows like “ Navillera” to become overwhelmed with cliches by detracting from the more important points of character growth and storyline. Admittedly, the drama didn’t entirely stray away from these angst-ridden tropes, however, they were used to screenwriter Lee Eun Mi’s advantage allowing " Navillera" to become a heartwarming, tearjerking from beginning to end about family, friendship and self-determination. An enjoying and heartfelt watch with prominent character-growth and pivotal and universal messages throughout.
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This Series Would Probably Have Been Put Together Better By A Single-Celled Organism...
With Kim Hong Seon, PD of masterpieces such as Voice and The Guest behind the works of the show , an ensemble of fairly talented actors ( not least Kim Rae Won, Kim Sang Ho Lee Da Hee and Kim Sung Oh) taking up the personae of screenwriter Chung Sung II ‘s characters( The Package,Your Honor), everything in relativity about “ L.U.C.A; The Beginning” screamed out " masterpiece" . Then, not even several episodes into the actual story, we find ourselves going down into the previously mentioned rabbit hole of cataclysmic screenwriting, which only seemed to crumble further into the abyss as the series went on...
The premiere episode of ‘ L.U.C.A’ did initially introduce some fairly innovative story writing techniques. The most evident offering hope for viewers to grow alongside our protagonist Zi O ( Kim Rae Won). Like our amnesiac main lead, we know little about Zi O’s world, identity and his mysterious link to detective Gu Reum ( Lee Da Hee). This should have by default allowed us to become attached to Zi O emotionally, had our hearts pulled out when he confronts the terrible and clandestine truths about his past and felt broken-heartedness to part with him and Gu Reum in the finale also.
Instead, trying to become attached to Zi O as a character even later on the show was fairly out of bounds for viewers . This is mainly because the characters lacked the innate, individualistic core of profound personality flaws and traits, rather than cliche plot mechanisms in order to keep a poorly-paced storyline motivated.
Whilst dramas often like to take the approach of the “ wild card” rebel trope in order to keep audiences entertained, this approach to Zi O soon began to collapse when every episode would follow this expected , fundamental structuring of Zi O having “ lost control of his powers again” or “ gone into a fit of rage” over a small (and often trivial) issue. It is not necessarily always a terrible approach to a character, but normally a show tends to foreground why this personality transition should be so shocking or surprising for viewers. Naturally, as we know little about his past, this aspect of knowing more about his identity , is drawn out of the question until later episodes. On the other hand, it is still interesting to note how Zi O’s character slowly begins to fall into the cesspit of lacklustre characterisation, even from his initial introduction in episode 1.
When Zi O is first introduced, he is notably marked as being “ different” by screenwriter Chung Sung II. He had few qualms over animal abuse , but somehow easily allowed his emotions to boil when someone who had grown close to him such as Gu Reum, was injured. This is not saying that Zi O should have remained an emotionless android in the drama, but it did seem peculiar for a character who struggled with emotional and psychological isolation over the course of the series, to suddenly see Zi O transitioning into emotional outbursts and tantrums. This can be mainly sourced to the problem of having few focal points over the course of the series which allowed Zi O to come to grips with his state of mind or mature as an individual.
It is important to address the controversial dilemma of miscasting for Zi O as well. Before anything else, it is important to state that Kim Rae Won is a good actor. However, Zi O as a written character respectfully felt slightly younger that Rae Won. This is not claiming that a “ fresher actor” would have been better at the role( as anyone would struggle with what was given to them by screenwriter Chung Sung II).Again, this is more the fault of poor casting than Won’s ability as an actor, however, it will certainly raise eyebrows for viewers to see a man nearing his 40s taking a temper tantrum as his character onscreen before storming off in order to ‘’ cool down’’.
This naturally draws us onto what led Gu Reum from being possibly one of the most profound female characters in a TVN drama, to a senseless cardboard cutout not even several episodes later. Gu-Reum is a character who was initially established as the “ advisory cop” archetype with a prolonged desire to find out what happened to her parents. It wasn’t honestly an original backstory, but it did bring the potential to explore Gu-Reum as someone caught in the crossfire between duty and morals over the course of the drama, who learns to becomes stronger as a consequence of her enmity towards Zi O.
Instead, Gu Reum seemed to have been a female lead drawn into this unexplained cliche of having an inferiority complex against her male associates in early episodes before being completed reverted into a “ damsel in distress” who faints, or gets clunked over the head by an object in the later storyline . Da Hee certainly was quite a good actress in the show, however, it was hard to take her role seriously when her character transitioned from intelligent cop to unintentional comic relief in seconds flat , especially due to with her relationship with Zi O.
The “ enemy to lovers” is a popular trope amongst dramas and given the right storyline and characterisation, this can work incredibly well. Yet, “ L.U.C.A; The Beginning”’s problem can be found by the sudden and illogical transition from Gu Reum being at Zi O’s throat in early episodes and Zi O “ accidentally” pushing her around with his powers, to Gi Reum suddenly eloping and holding his hand affectionately like a shy school girl not even several episodes later . If you think it can’t get worse than this between the two characters and their “ affections”, then (without any spoilers), it is important to confirm that it certainly does. Although this was necessary to the storyline, there’s little sense of actually building up the characters , let alone pairing them off from enemies to lovers in nearly seconds flat.
Whilst the pacing of the show was quick in parts, a major issue with its sudden fast-pacing can be found through the myriad of plot inconsistencies which arose throughout the drama. Whilst there are some evident reasons explained in the plot behind this, it naturally draws more concern how Zi O, a mutant who has never been registered for official residence was able to not to be caught as a figure of interest amongst CCTV footage after initial reports in the past as well as not legally queried over his job entitlement as well. Whilst minor, it often subjugated the drama’s “ unintelligent violence” without deeper meaning, or at least unique film techniques to make these fight sequences more than a brawl, but fine art.
Arguably our show has several “ main antagonists”, however, the most reoccurring and prominent “ puppet working for the brains” in the series appears as the gruff former-solider Lee Son ( Kim Sung Oh).With an interesting and personal motive behind the reason for getting back at Zi O, Lee Son had the potential to be a fairly well-crafted, Machiavellian antagonist with actual depth due to his experiences in the field and profounder reasons for working for nefarious scientist Ryu Joong Kwon ( Ahn Nae Sang). Instead, Lee Son turns more into the classic “ brainless and inhuman combatant ” than a worthwhile or interesting opponent, often resulting in his actions coming off as more “annoying” than “baleful” .
On the other hand, the one character in the show who was surprisingly intriguing came in the form of Choi Yoo Na ( Jung Da Eun). Although Da Eun hasn’t received as much credibility in performances as some of her costars , she did surprisingly capture interest within her well-performed role as the mysterious and laidback Yoo Na; a young woman who became a field agent for Jong Kwon’s organisation after the initial operation upon her leg ( as shown in the first episode). Yet like most side characters out there, Yoo Na didn’t really have the opportunity for viewers to see her character grow or deepen over the course or the series.
Meanwhile, the ending of the show took a cliffhanger approach rather than particularly “ bittersweet” or “ happy”- appropriate for the genre, but nevertheless a little disjointed and arguably anticlimactic rather than an ending which felt complete and worthwhile.
“ L.U.C.A; The Beginning” can probably be seen as the epitome of the recent problem of “ throwaway” dramas emerging out of the action genre in South-Korea. With notable recent predecessors such as “ Alice” (2020) and “RUGAL” (2020) also suffering from the same fate of being high-budget extravaganzas, but often lacking screenwriting quality , it is probably fair to say that “ L.U.C.A; The Beginning” is the type of show to watch if you’re bored and want to binge-watch something with mindless violence without a second thought . However, “ L.U.C.A; The Beginning” greatly suffers from its own demise as a memorable and well-written show due to poor characterisation, miscasting, plot inconsistencies, deeper meaning and plot incoherency as well. A shame for a drama which had potential to be one of the best dramas of 2021 .
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Poorly Executed Or Well-Written?; What’s Left To Say About ‘ A Beauty Of Revenge’ …
With a very short air time ( only five episodes), and an evidently cut duration length and budget by the producers of the fairly mixed-reception miniseries ‘ Multi Personality Girl’ ( the drama’s “ sister story”) , ‘ A Beauty Of Revenge’ was fairly predestined from the start towards having some evident flaws . However with its own take upon the “ revenge” cliche and incoherent plot twists in between, this does leave newcomers with one ultimate question; “is ‘ A Beauty Of Revenge’ actually worth watching? “
The drama’s initial premise was certainly interesting; a bullied girl Min Sun ( Park Min Sun) seems to change her appearance and identity to become Yeo Bin ( Jang Yeo Bin) and expose the sociopathic delinquent leader Ho Tae ( Son Ho Tae) as part of her revenge ploy.
The acting front of the drama was fairly good . Whilst admittedly certain line deliverances could be better than others, our main cast did add their own dynamic charm during key moments throughout the series. Yeo Bin’s darker secrets coming to light and her unreliability as a main character added a value of surprise for audiences by Jang Yeo Bin’s mannerisms captivating a sense of trust and believability within the female lead. Similarly Ho Tae’s sociopathic and megalomaniacal actions onscreen were captivated well by Son Ho Tae’s piercing gaze and sardonic expressions .
On the other hand ‘ A Beauty Of Revenge’ seemed to try too hard (even from the get-go )to brand itself as a “ shocking revenge tale” without always taking the time for the audience (and even the characters) to digest or understand the plot twists . For example there’s a major plot twist ( without spoilers) which occurs in the drama which whilst surprising , felt poorly-executed and lacked more drive and coherent plot reasoning .
In fact this was a major problem in the miniseries. Whilst it’s short duration length is arguably a pitfall for not having opportunities to expand out on these storylines in more depth, it’s undeniable that it doesn’t take a lot of time to interweave good writing techniques. ( One of the most evident throughout being foreshadowing. )As a consequence whilst the ending was certainly unforeseen, it lacked as much shock value due to feeling poorly-paced.
Ultimately with its short duration length episodes ‘ A Beauty of Revenge’ is easy enough to watch in one binge-watch sitting. Whilst the concept and of course the cast were undeniably the miniseries’ major fortes, the execution of storyline and plot twists lacked more finesse.
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Idols With A Twist…
With a predominantly idol actor cast ( aside from actual actress Jung Ji So) and respectfully a lot of hyped fans of these idols watching the drama, it does objectively brand the question for a lot of drama-watchers ( especially those who aren’t interested or a part of idol fanbases), whether ‘ Imitation’ is actually worth watching as a storyline , or is a waste of time.
There is a balance of good things and more critical points when it comes to ‘ Imitation’. On a strong note ‘ Imitation’ has a prominent message about problems with the idol industry and does not shy away from tackling themes such as corruption, the media, toxicity present in idol fanbases , mental health and hardships . What resonated even further was undeniably having a predominantly idol-cast playing in those roles. However, the show often did fall short with how consistent it was trying to be with conveying these messages through writing and character writing also.
Let’s start with the main female lead Ma-Ha. Ji-So is a good actress, however, although initial introduction wasn’t terrible, it didn’t quite embody her role either. It had nothing to do with Ji-So not being an idol. After all she takes on roles in order to adapt herself to becoming someone else onscreen whilst the cameras are rolling. That’s her job. Instead, its rather the fact that Ma-Ha was always a character who you should’ve felt sorry for with her hardships, but often it was easy to grow detached from the FL with Ji-So’s lacking vitality invested with her given - performance. This isn’t entirely the actress’ fault, as this was also sparked by screenwriting problems also .
As viewers there’s a lot we are supposed to like about Ma-Ha. She’s not only the female lead of the drama, but the “ underdog” archetype who takes a central position as a member of her girl group and desperately yearns for the group to become famous. These goals were easily likeable traits, but then when we actually exposed to her reasons for “ becoming an idol” as well as her “ will they, won’t they?” lacklustre onscreen chemistry with popular Shax boyband member Ryeok ( Jun from U-KISS), her character simply became uninteresting for the most part. This is because rather than depending Ma-Ha’s own sense of purpose outside of the group in early episodes , the female lead’s entire being was pretty much defined by romantic tropes, than actual character development.
Oh boy, this leads us onto the romance elements and setups of the show. Tackling this topic in a drama about idols evidently isn’t a crime. After all, a lot of idols have love lives and date in secret but the problem with “ Imitation”’s depiction of the turbulent love lives of idols was that it lacked a lot of depth. There were multiple opportunities for us as viewers to perk up and take note of what really happens in the lives of idols, when the spotlight and cameras aren’t rolling. However, instead “ Imitation” was focused nearly entirely upon bringing in pairings which were fairly dull.
This is even case and point with our main pairing between Ma-Ha and Ryeok. Jun is a really good actor alongside Ji-So but the tropes and cliches soon diminished a lot of onscreen chemistry between them. This was because similar to Ma-Ha, Ryeok’s original character was fairly interesting. He had clear goals and motives, as well as presenting an evident contrast to Ma-Ha due to being successful and suffering under a lot of emotional burdens. Yet rather than connecting these characters under their similarities and learning to symbiotically “ lean” upon one another gradually from their “ hate to love” relationship , the drama attempted to present too many cliche “ differences” between them, which often fell short due to questioning why on earth these characters should have been together if this was all their relationship equated to.
Similarly one of the most poorly-written couples in this drama was Hyun Ji ( Lim Nayoung )and Yoo Jun ( Hwiyoung). Hyun Ji was by herself an interesting character alongside fellow member of Teaparty Ri-A ( Minseo). However, her pairing with Yoo Jun? It was incredibly enforced to say the least. Hyun Ji’s feelings for Yoo Jun were fairly unrequited as Yoo Jun, rarely reciprocated them romantically. Their screen time interactions were minimal and when they were together, the topic was usually just about Ma-Ha. If the show had developed this couple more, or had just disregarded entirely and explored Hyun Ji’s relationship with her fellow members then it would have been a lot more coherent than the pairing we were presented with onscreen .
Aside from the romantic factor, the biggest flaw in this show was undeniably disregarding the seemingly “major” established storyline around Eunjo and Annie. Now this was an interesting part of the show, however, it was nonsensical and seriously bad writing to disregard these characters, bring them up for a few seconds when it was called for and then anticlimactically solve the case, without rhyme or reason .
Perhaps the one character who you surprisingly grow to love as a viewer is solo singer La Li Ma( Jiyeon from T-ara). Ji Yeon really gave a dynamic performance as the soloist, and her character takes some surprising turns away from the stereotypical “ catty second female lead” trope that she was presented within in the first few episodes. It was oddly refreshing and enjoyable to see this character grow.
So, is “ Imitation” worth watching? The drama presents some fairly hard-hitting issues about the idol industry, but sometimes struggled to convey these meanings due to the heavy investment of romance as well as disregarding major plot lines and character development also. The acting is a mixed-bag. There are times where the acting front is really good, and other scenes where it is questionable . The OST is okay also -a little generic, but certainly nothing wrong with it either. Overall, certainly not a bad show but dependent on what you’re looking for. If you’re watching for the idol cast and themes about music, idol and cutesy couple moments, then you’ll absolutely love this one. If you’re not a major fan of them and where enticed by the darker storyline topics, then you may be a little disappointed.
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A Cinematic Journey To Love...
When it comes to writing love stories, romance dramas often tend to blow out relationships heavily into cliche territory; the female or male lead is head over heels for their significant other, jealousy spins around their love interest approaching (respectfully) other men and women, and an onslaught of dramatic misunderstandings occur as a consequence.When you decide to sit down and watch “ Run-On” for the first time, it may strike viewers as unusual to come across several prominent, atypical features within our leads and their relationships; the most evident being that our female heroine and translator Oh Mi Joo (Shin Se Kyung) and our male lead athlete Ki Seon Geom ( Im Shi Wan) are intrinsically written as individuals, rather than the typical “ unit” approach taken in most romantic dramas.
Shin Se Kyung is brilliant within her role as our fairly down-to-earth female lead Oh Mi-Joo; a talented and hardworking translator with a difficult childhood , Mi-Joo alongside her best friend Park Mae Yi ( Lee Bong Ryun) , is more focused on her career and struggling to pay the bills than anything else.Contrastingly, Ki Seon Geom ( again, brilliantly played by Im Shi Wan) comes from a wealthy family, has a successful career as an athlete, however, he is quite simply fed up from others using him, his money and status as a social climbing ladder as episodes progress. By a whim of fate, the two individuals from opposite walks of life end up meeting and gradually developing a relationship. However, this is also where the series hits its biggest snag as well.
The “ opposites attract” cliche is one of the most infamous storyline usages in romantic dramas, yet when it came to Run-On, one of the notable elements of a storyline intrinsically based on this cliche seemed to feel unexpectedly lacklustre. By default, it shouldn’t have done; Mi-Joo and Seon- Geom were well-rounded individuals with intriguing backstories , storylines and striking similarities as characters, yet, principally rather than playing out their similarities, the show seemed to ride too heavily upon their differences which often resulted in their relationship feelings fairly indifferent for viewers .
One reason behind this can be explained by Mi-Jo and Seo Geom’s relationship progression over the course of the series. Despite their differences, Mi-Joo had many similar impacts of her past like Seon-Geom, however, neither character really tried to reach out, to talk or bond over this matter either.This should have helped to bring our couple together more throughout the drama, however, this would have only been possible if the storyline had more of an arching development for our characters, (due to little sense of climatic building),strong pacing or intrinsic development over a course of sixteen episodes.
Alongside our main couple, the drama attempts also to introduce the romantic pairing between slightly naive art student Lee Young Hwa ( Kang Tae Oh) and the cynical young CEO of a talent agency company, Seo Dan Ah ( Choi Soo Young). Before commenting upon their relationship, it is fairly striking that Dan Ah has numerous deep and likeable qualities as a character ( despite her sometimes “ overly abrupt” personality); she isn’t written off as a figure of female animosity nor as the “ antagonist”, but rather an individual hiding deep secrets, a naturally hardworking businesswoman and who is the type that struggles to reach out to others both emotionally and socially ( often leading to both comical and sad misunderstandings).
Against all odds, the relationship between the pair was arguably more appealing to audiences than our main couple at times. This is intrinsically due to the fact that Young Hwa and Dan Ah are truly the epitome of different within their backgrounds, moralities and even personality types, yet are still able to develop and bond due to their similarities( particularly their admiration of art). On the other hand, their relationship will still notably lacking in depth; a consequence of several plot inconsistencies, tropes as well as the series possibly running out of time to not truly captivate “ life imitating art” to the fullest.
Overall whilst Run-On was an intrinsically sweet romance drama which had several surprisingly well-written characters, an appropriate ending , humour and touched upon several notable realistic issues including homosexuality, illness, mental health and family, notable relationship portrayals , development , plot holes and of course an overall didactic purpose for the show, felt both lacklustre and lacking in the grand scheme of things.
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The Body-Swapping Trope Done Right…
The body-swap trope can often be a slippery slope for quality screenwriting in dramas .However whilst " The Day of Becoming You" doesn’t exactly stray far from its " body-swapping” predecessors as a concept, screenwriter Wang Xiong Cheng surprisingly uses the tiresome trope well in order to explore character growth and the relationship between the main leads .
Steven Zhang ( playing seemingly cold idol Jiang Yi) and Liang Jie ( playing bubbly entertainment reporter Yu Sheng Sheng) were brilliant as our main leads. The duo had dynamic chemistry onscreen throughout and were perfectly able to mimic the mannerisms of one another during the " body-swap” scenes. Respectfully whilst Vian Wang ( playing Sheng Sheng’s editor and best friend Tong Hua), Shen Po Qing ( playing Sheng Sheng’s close doctor friend and her second love interest) and Jiang Yi’s fellow band members of ” Little Galaxy” faded more into the background than the main leads, their performances were equally good.
On a more critical note ” The Day of Becoming You" isn’t entirely the more ” realistic" imagining of the ”body-swap” scenario either . The jobs of main leads respectfully as a journalist ( Liang Jie) and an idol ( Jiang Yi) were often taken for granted by inconsistent timing schedules or evident responsibilities with their jobs often dismissed easily. ( The irony not lost that Liang Jie trying to make up for loss time by working late at night could come in early the next day to work, looking fresh as a daisy without bags under her eyes.) However, these points are more nuanced and as the show only uses these settings really for exposition , they can be overlooked .
Arguably what made our main leads and their pairing refreshing was the gradual process of development . It would be easy to have established Liang Ji merely as the “ significant other” in the drama without exploring further interactions, however, the series provides surprisingly heartwarming insights into her character’s sentience by her familial life as well as her friendship with Tong Hua.
This was perfectly contrasted by Jiang Yi and his “ complicated" family scenario with his father Jiang Dong Ha ( Zhang Lei) and his estranged younger sister Jiang Mo ( Cong Shang).Admittedly whilst it wasn’t the focalised subject of the series, it would have been intriguing to have explored more about Jiang Yi and his father’s reconciliation, than some of the earlier trivial scenes dedicated to his " secret crush” on superstar and close friend Xu Shu Yi ( Zhao Yao Ke). ( Only really provided to add " angst” and an ” obstacle” to the main romantic pairing.)
However, the drama arguably did allow time for Jiang Yi to heal some of his emotional wounds through his gradual alliance to friendship to affectionate relationship with Shengsheng. There were times this relationship did feel a little disconcerted by the sudden reversal of Jiang Yi’s " feelings" for Jiang Yi being dismissed so readily. ( Although Shengsheng’s feelings for Doctor Shen were slightly more drawn out, they suffered a similar fate of being disregarded when the storyline called for it.) Importantly but the relationship between Jiang Yi and Shengsheng was healthily built upon learning to trust and rely on one another by being ( literally) in one another’s shoes. The ending certainly offered an unseen twist which will likely surprise viewers, however, nonetheless does help to tie-off the more far-fetched moments of the storyline.
So, is “ The Day of Becoming You” worth watching? Whilst the show offers a more sugarcoated version of the respected industries and romance, there is something which is undeniably well-written about the body-swap scenario in order to allow the characters to grow, a main pairing who gradually developed an an unforeseen ending which surprisingly works. Definitely worth a watch if you’re looking for something easygoing and fluffy but with good screenwriting and acting on top.
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An “ Extraordinary” Waste of Time..
It’s fair to say that sometimes certain dramas can be incredibly overrated.Although this isn’t an entirely groundbreaking commentary upon dramas, it’s important to remember that sometimes a lot of these shows are “glorified “ by fans in favour of the “casting” or “ chemistry” between the leading actors or chosen cast of the drama, and Extraordinary You is no exception.
Naturally it is of course wrong to truly say that the actual show didn’t have any good features; it played satirically upon the youth romantic comedy genre with its own parody of the F4 ( “ A3”) from Hana Yori Dango/ Boys Over Flowers, the concept itself of a teenage girl ( Kim Hye Yoon) coming to find her own sense of freedom and control where she is written as an extra in a webtoon ( not an entirely “ brand new” concept when compared to older dramas such as “ W; Two Worlds”) was intriguing and the mystery behind Ha-ru ( Ro Woon) for at least the first couple of episodes added to some early advantages of the show as well.
Yet when taking a greater step back by comparing the overall storyline , character performance and characterisation of the drama, there’s no sugarcoating that Extraordinary You was quite simply a “hot mess” .
Whilst Hye Yoon must be praised for several heartfelt moments through her performance , the irony is not lost that for a show playing upon romantic cliches by screenwriters In Ji Hye and Song Ha Young, Eun Da Oh was the epitome of a “ stock” and restricted female lead with little actual character depth, interests outside of her obsession with “ Ha-ru” or actual intrigue for viewers at all over the whole of the drama. Whilst of course there’s nothing wrong with a female lead making a decision over her own love interest ( in particular with the concept of the show), her apparent declaration to defy fate and become independent through actual character progression apart from obsessions and boys, was tossed out the window after this scene early on in the drama.
Additionally whilst Ro Woon brought a mysterious air of composure to his portrayal as the leading man, Ha-ru, his performance sometimes felt a little lacklustre and wooden at times within the show. Naturally this also partially the fault of the screenwriters as well from transitioning Ha-ru as an actual figure of intrigue and an individual early on in the drama ( parallel to Lee Jae Wook’s character, Baek Gyung) to an overrused plot device. It seemed evident that not even before the halfway point of the drama Extraordinary You became too obsessed with its own cliches and repeating the same cliches over and over not as a statement or joke against romance mangas/ manwhas, but ironically as actual plot line.
This consequently lead the show down a really slippery slope of gradually worse characterisation even with fairly intriguing and comical characters such as “ Dry Squid Fairy” ( Lee Tae Ri) to reverted plot devices and lacking originality by the ending of the drama. Overall whilst Extraordinary You isn’t an unbearable or dire drama to watch, however, after the halfway point, the actual intrigue and devotion towards the drama becomes minimal and by the ending of the drama, there’s that awful lingering relief that it has ended your suffering by finishing it. Certainly a waste of time if you’re looking for something with genuine originality and intrigue .
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Brilliant Cast, Average Storyline...
Easily one of the most hyped Korean movies of the year, screenwriter-director Lee’s ” Seobeok” drew attention by the collaboration of two of Korea’s biggest stars in the industry, Gong Yoo and Park Bo Gum working alongside one another. However, something which does seem to have been left out in reviews beforehand in favour of biased comments upon the actors themselves, is glossing over the actual storyline.
Seobok is an odd fusion of drama, philosophy and morality in the first-half closely followed by fast-paced action with gunfights and psychic powers in the final part. It is surprising, but somehow, these two halves did blend quite well, resulting in a rather entertaining film.
The movie is the tale of Min Ki-hun (Gong Yoo) a former intelligence agent with a traumatic past. He suffers from a long-term illness which causes him to occasionally lose consciousness (mostly at times most convenient for the plot). Chief Ahn (Cho Woo-jin), his former cunning agency head, recommends that he be part of a revolutionary experiment that might help to cure him of his ailment. This experiment involves Seobok (Park), brought to life through stem cell cloning and genetic engineering. Seobok is a gentle, benevolent soul who is fascinated about the world, and morbidly about mortality.
Seobok’s bone marrow contains special cells that could unlock the secret of immortality. Unsurprisingly, a lot of people are interested in him, mostly for selfish reasons.After a surprise ambush by some military forces, Min and Seobok find themselves on the run together. If viewers can put two and two together, the screenwriting openly becomes predictable as the story moves along .
Admittedly, the action scenes are pretty enthralling, opening up in the beginning of the film with a terrific moment when a vehicle is driven through a brick wall. Yet whilst the plot does begin to build up to a satisfying climax, the pacing is ultimately slow in parts with perhaps the only reward seeing the antagonists get their just desserts, as well as some more profound moments of angst-ridden backstories for the characters. The philosophy in the movie whilst arguably risking the problem of being overwrought, did add a multifaceted layer to the storyline.
As far as acting goes, Seobeok is certainly headlined by its two main actors Gong Yoo and Park Bo Gum, who do not disappoint within their performances.
Amazingly, Gong Yoo was hesitant to accept the role at first and was unaware that he would be starring alongside junior actor Park Bo Gum. However, Gong Yoo later confessed that he enjoyed playing the role ( as well as being able to break away from his typical ” good guy” roles as a foul-mouthed and cynical agent), something which he certainly excelled within his performance as troubled protagonist Min. In a scene exploring Min’s back story, Gong Yoo captivates the pure humanity of his character in arguably one of the most memorable parts of the film.
Evidently, costar Park Bo Gum also had his fair commentary upon feeling fairly nervous with working with Gong Yoo in the film. Regardless, Park’s somewhat romanticised appearance as the mysterious Seobok, did not diminish his talents onscreen as both characters and their bond over the course of the film was fairly likeable and easy as a viewer to become invested within. Admittedly, the side characters were mediocre at best; not dire nor unwatchable, but the antagonists in particular felt formulaically one-dimensional.
As far as the ending goes it is more a matter of opinion. Some may interpret it as more a clever metaphor, whilst others may be less impressed by the abrupt and sudden conclusion . Overall, ” Seobeok” had undeniably brilliant performances by the lead actors Park Bo Gum and Gong Yoo who certainly do not disappoint. However, whilst the movie attempted to style itself as an intricately complicated philosophical, action-thriller ( and was successful to some extent in parts), it often struggled to pace its own storyline as well as breaking out of unoriginal cliches . Nevertheless, it was enjoyable in parts, and certainly worth watching to pass the time.
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Let’s Talk About ‘ Love And Leashes’, Baby…
“Controversial”, “risky” and “unconventional” are some of the immediate buzz-words which come to mind when talking about Netflix’s South-Korean movie ‘ Love and Leashes’.
Directed by Park Hyun Jin( ‘ The Color Of A Woman’) and based upon the webtoon ( 모럴센스), ‘ Love and Leashes’ focuses upon office worker Jung Ji Hoo ( Lee Jun Young). Clean-cut, professional and adored by his female coworkers, Ji Hoo has always been able to maintain his prudish persona . However in reality “prim and proper” Ji Hoo hides a deep secret from his peers; he’s a BDSM enthusiast.
When bemused coworker Jung Ji Woo ( Seo Hyun) unknowingly stumbles upon his salacious desires through an open package, Ji Hoo soon finds his sexual fantasies awakened when he enters a consensual-contractual “slave and master” relationship with his coworker. However as their risqué relationship begins to play out, Ji Woo and Ji Hoo soon finds themselves questioning their sincere feelings for one another along the way…
Perhaps one of the most notable things which should be said about ‘ Love and Leashes’ is that it is a daring concept . Topics of sexual and amorous relationships have certainly been explore beforehand in South-Korean productions such as ‘ You’re My Pet’ ( adapted from its Japanese predecessor ‘ Kimi Wa Petto’), or more sardonically throughout ‘ The Handmaiden’ , ‘ Thirst’ and ‘ Happy End’ . However due to a respectfully conservative atitude towards sexual content in South-Korean culture and media , it is still slightly unusual to see this topic addressed in mainstream popular culture .
Despite its eyebrow-raising premise, ‘ Love and Leashes’ surprisingly starts off as a somewhat lighthearted rom-com and office drama. Jung Ji Hoo is established as a smooth-talker and highly liked by his superiors who tries to avoid conflict, whereas Jung Ji Woo is an “ everyday” office worker with a slightly stubborn streak. ( Helping viewers to understand the dynamic between the characters as well as foreshadow their later roles within their racy relationship.)
However despite the somewhat niche early setup, ‘ Love and Leashes’ wasn’t afraid to delve slightly deeper into some issues in the workplace- sexism , prejudice as well as several references towards homophobia and sexual harassment , bustling their way into the film’s early workplace vernacular .
Nevertheless whilst praise must be given towards director Park Hyun Jin’s open address of these current issues early on in the film’s narrative , it is hard to ignore that these references were rarely touched upon after their initial use. ( In theory this dynamic could’ve easily been explained more within the nature of the narrative.)
Yet ‘ Love and Leashes’’ seemingly mundane workplace setup soon begins to into an amalgamation of lighthearted and riskier comedy after main female lead Ji Woo stumbles upon the package.
For those expecting ‘ Love and Leashes’ to be a series revolving entirely around erotica and debauchery, it is noteworthy that ‘ Love and Leashes’ is predominantly a romantic comedy. Risqué and sexually suggestive jokes and setups were mainly used as the necessary pretext behind a surprisingly warm-hearted romantic love story for the main leads.
Naturally this isn’t to say that Park Hyun Jin wasn’t afraid to delve deeper into depicting the misconceptions and taboos surrounding fetishises, hedonism and casual relationships. The narrative would often diverge away from the typical tropes surrounding setups of sexual fantasies being “ nauseating”, “ unhealthy” or “ encouraging sexual abuse”, by instead shedding light into a fairly positive, consensual and healthy relationship between the main leads .
Yet when the film’s narrative wasn’t driving home messages about sensuality or comic relief, ‘ Love and Leashes’ did surprisingly touch upon some sentimental moments surrounding its main characters. In particular this became apparent through . Ji Woo’s uncertainty and gradually growing mixed feelings for her coworker , as well as Ji Hoo’s own struggles with his dating life. However whilst these elements of the storyline were present in ‘ Love and Leashes’, the backstories and problems surrounding the characters were often limited and subdued by the plot. As a consequence it could often feel as though our main leads were roughly sketched out as individuals; necessary plot devices for keeping the storyline afloat, but rarely being given definitive sentience also.
Of course it is hard to ignore the somewhat controversial casting choices also. Former U-KISS member Lee Jun Young ( ‘ Class of Lies’, ‘ D.P’, ‘ Imitation’ and ‘ Let Me Be Your Knight’ ; plays the unusual role of main male lead Jung Ji Hoo, whilst costar and Girl’s Generation’s Seo Hyun( ‘ Private Lives’) takes on the role as main female lead Jung Ji Woo. However despite the somewhat surprising and controversial cast decisions, Seo Hyun and Lee Jun Young were delightful as our main leads. ( Both actors also openly spoke in interviews about their initial surprise upon reading the context of the script, alongside their enjoyment at being able to take on different roles.)
Admittedly the onscreen chemistry between both stars felt somewhat stunted in early parts of the film. Initial “ role play” scenes came across as awkwardly delivered for audiences ( in particular one scene surrounding Jun Young attempting to literally embody a “ dog”). However as the narrative progresses and allowed opportunities for their characters to grow, their chemistry did become more apparent.
The pacing is admittedly tightly-packed in the first half. Whilst this did allow opportunities in order to delve deeper into the characters’ relationship and certain issues, it did provide to be a double-edged sword. This is mainly due to the fact that the second half downplayed the pacing with a notably slower and sharper focus upon the bittersweet elements of the characters; prominent but admittedly rushed in the course of the movie. The attempted climax served in the latter-half felt somewhat anticlimactic. There was little buildup or foreshadowing and whilst the ending did serve a somewhat cheerful resolution for the events of ‘ Love and Leashes’, viewers may feel a little disorientated in parts with the storyline.
Under the directing reigns of Park Hyun Jin, ‘ Love and Leashes’ was notably a multitude of slick and professional cuts, scenes, editing and gradients. Notably Hyun Jin placed heavy focus upon the contrasting tones of minimalistic everyday life and the office, against the lustful neon, vivid and lively palettes surrounding Ji Hoo and Ji Woo’s role play sessions. ( One of the most striking scenes of the film came through Ji Hoo’s birthday “ present” . Against the pallid tones of the room’s surroundings, Ji Hoo’s present in an unopened black box, a pair of patent ruby red heels, greatly sticks out for viewers to visually engorge.)
It is notable that the OST is sparsely placed in the movie. ( Aside from the opening credits, emotional buildup moments and the ending.) Instead under the directing reigns of Park Hyun Jin, ‘ Love and Leashes’ is predominantly focused upon the characters’ dialogue exchanges and interactions. When the OST is present it is climatic; helping to reflect the emotional scope of characters and situations.
Despite its unusual setup and premise , ‘ Love and Leashes’ was foremost a love story between its main leads. It is arguably one of Netflix’s riskier moves from South-Korean production in recent years. Nevertheless despite the somewhat expected controversy surrounding the movie’s casting choices, Seo Hyun and Lee Jun Young’s onscreen chemistry and performances were solid and dynamic. The themes surrounding ‘ Love and Leashes’ are versatile if somewhat stunted in parts, but surprisingly delivered a sweet and risqué romance along the way.
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The Uncanny Counter Season 2: Counter Punch
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This review may contain spoilers
Uncanny Counter 2; A Disappointing Follow-Up To A Brilliant Series…
When Uncanny Counter hit our small screens back in late November 2020, viewers were in for a great treat under the writing of Yeo Ji Na . The series was filled with intriguing characters, lore and high stakes to keep the plot engaging and well-written. What was delivered to our screens in 2023 left a lot to be desired, not just straying from the original webcomic, but being poorly written.The basic plot premise of the second season returns to our ragtag group of heroes, The Counters. Now slightly older, Mun ( Cho Byeong Kyu) has begun helping to train the other counters. Ga Mo Tak ( Yoon Joon Sang) has doubled up as a cop and Counter to help the team, while Do Ha Na ( Kim Se Jeong) and Chu Mae Ok ( Yeom Hye Ran) are left to harness their powers.
However, trouble is soon on the horizon when a trio of evil spirits Hwang Pil-Gwang ( Kang Ki Young), Gelly Choi ( Kim Hieora) and Wong ( Kim Hyun Wook) become an increasing threat to the counters. With the help of new Counter Na Jeok-Bong ( Yoo In Soo), the heroes find themselves running into more problems than one, especially for Mun and his friend Ma Ju-Seok’s (Jin Sun-Kyu)‘s journey down a dark path…
To understand where one of the major issues of the show lies, I think it is essential for us to address the writing change. Yeo Ji Na’s talents as a writer really shone through in season one. Her ability to address complex issues and themes, as well as facilitate them to shape our characters made the series engagingly dark, comical yet also filled with mystery and adrenaline. The story had stakes because the main villain was threatening and similar to Mun, viewers were new to the world of Counters and learnt about the lore and world of spirits along the way. It made the story engaging and proved Ji Na to be a talented writer.
After season one and for various conflicting and directional reasons, Kim Sae Bom took over from Yeo Ji Na as the main writer for season two in production. Kim Sae Bom, most likely standing out for his involvement as a screenwriter for Bad and Crazy, has a very different approach to writing than Ji Na even from the offset. Is this a crime in itself? No. In fact, the initial premise of season two did seem quite interesting alongside theme shifts, especially with new characters introduced onto the field. So where did things go wrong with Sae Bom’s writing? The big issue lay with the plot and character changes feeling jagged and convoluted , as well as the evident decline of writing between seasons.
Season one was well-balanced between themes of action, angst, friendship, supernatural and aspects of tragedy. It was far from a flawless masterpiece ( and did struggle a little with balance in places), but it was self-aware of its themes and characters. Season two tries to mimic a “ similar balance” in the mould of a mystery comedy setup. The fights are still there , but while the action is present, the emotional deliverance leaves a lot to be desired, even from the balance of themes. This resulted in a notable struggle with the writer attempting to imitate Ji Na in his own style while falling short of being a decent copy. As a consequence, witty jokes from season one turning into toilet jokes ( repeatedly) and yelling random English phrases to enact as the comic relief of the series.
When the series attempted to take a darker turn in parts, it struggled a lot to be poignantly reflective as the previous season. A mixture of sloppily rushed writing ( particularly out of character choices) as well as questionable connection with the audience, did often make these scenes feel more arduous than moving. ( One of the best examples being early on when we see the guardians first reunite with their Counters. Considering the emotional impact of their challenges throughout the first season, the cheesy happy family moments between the characters was somewhat out of place. It gave little opportunity to reflect on the actual development in the relationship between the Counters and their guardians from the previous season.)
The acting of the series was admittedly a little mixed. Although the series has a good cast and some brilliant names introduced into the lineup , a mixture of overreacting and wooden dialogue did have a big part to play with some more cringe-inducing scenes . Some noteworthy performances did come through Seo Byeok-joon as Park Do-hwi, Ha Na’s first love, and Hong Ji Hee as Lee Min Ji, the tragic wife of Ju Seok, in particular. Both actors delivered good performances as their respected characters, even if the writing did not give their onscreen personas full justice.
Character writing is another mixed bag. Main lead Mun stands out in particular as the epitome of the show’s changed writing quality between seasons. In season one, Mun was very much the tragic bullied teen, who goes through a lot of character growth from naivety to teen angst ( mixed with powerful abilities) and then to genuine acceptance of his circumstances . He stood out as a fairly good protagonist because he changed and grew a lot from beginning to end, while still remaining true to himself. In season two, Mun is noticeably different from his earlier counterpart.
Of course, he is meant to be older and thus a little different from his teen self, but the more noticeable traits of Mun being somewhat anxious at times and fairly defiant, is changed for him playing the role of the comic man in the first- half . It isn’t necessarily bad seeing Mun grow out of his shell, but it felt odd considering how much Mun’s noteworthy personality traits were not carried over more in season two, especially by replacing a key aspect of Mun’s personality as a fairly reserved individual. In particular, season one featured heavily on Mun’s deep bonds with only a few people in his life. He needed deep connections with people such as his two best friends and grandparents ( and eventually the Counters) to form genuine relationships. These were important parts of Mun’s life and helped him to carry on. In season two, while these characters do feature in some background scenes, it was beyond out of character to see Mun having such a “deep” bond a practical stranger. It did not reflect Mun as an individual, and even more disappointingly, did not convey the character we had come to love through his gradual growth.Episode eight and nine attempted to offer a “ twist” to Mun’s circumstances, but having already repeated the same concept from season one, it felt a little overused . Perhaps the only good aspect we saw through this “ twist” came through an opportunity to see some more traumatic sides to Mun’s inner-self, as well as his strong bond with Ha Na coming to light. However, the resolution to this convoluted “ development” episode was both rushed and incredibly sappy, giving little opportunity to actually explore Mun’s darker and more difficult issues at heart and growth.
Then there’s the other counters. Mo-Tak was beloved in season one for being the sarcastic “cool guy”, who helps out Mun. The fact that Mo Tak was going to play a bigger role in season two gave so much potential for this character, yet, rather than giving him an opportunity to be developed further , the show rendered him as the show’s jester; often spending most of his time making unfunny jokes and being the butt of someone’s jokes. To add insult to injury, there was also the attempt to weaken the previously strong fighting abilities of Do Ha Na and Chu Mae Ok. Considering their poignant backstories and strength, it was sad to see them being put on the back burner for most of the show . The series did attempt to offer some “ intriguing” aspects with Ha Na’s first love ( one of the few good aspects of this second season) and she did feature in some later episodes, as well as Mae Ok with her son, but aside from that, they were rarely given as much exposure as within the previous season. Choi Jang-Mul ( Ahn Suk Hwan) features again in the series, though while in season one he was the comical rich man (with a not-so secret crush on Mae-Ok), in season two he plays more of the role as a clown in some of his featured scenes.
Then there’s the new counter Na Jeok Bong ( Yoo In Soo), arguably one of the show’s greatest letdowns. Yoo In Soo is a good actor, but even he cannot entirely save his character from failing. Jeok Bong is meant to be the definition of the “ fool with a hero’s heart”. He is beyond awkward and useless at fighting, but he is seemingly a “good person”. The problem with Jeok Bong is that the writing confuses creating the unlikely and foolish hero with being likeable as playing the useless fool all the time. Rather than seeing Jeok Bong gradually grow or develop into a better person ( even through nuanced scenes like comforting others, or be given a more difficult issue to face ) he is still played out to be the fool for most of the series. Instead, a never -ending cycle of toilet jokes and failing fights pretty much encapsulates this character’s screen time time and time again . Whether the writers didn’t want Jeok Bong to grow from out of Mun’s shadow or be the “comic relief”, it is hard to say, but the writing direction this character was taken in was a sad reflection of wasted potential, questioning why another counter was even introduced in the first place . ( Aside from plot fodder.)
The villains of the series were unintentionally a little mixed. Their initial introduction did hold a lot of potential; a trio of nefarious evil spirits who gain Counter powers and are not afraid to kill others in their wake. The problem is that while they are played by very good actors, their characters struggle to be well-developed threats . In season one, the big bad of the series was just that; evil to the core and driven to complete his goals of bringing destruction and ruining the Counters . In season two, it’s hard to really work out what the trio actually wants aside from some measly power grabs here and duped powers . Sure, they want to stop the Counters from getting in their way, but where are the true stakes? Why are they so fixated on them to the point of going as far as they have done? What are their true goals aside from just being plot devices? As antagonists, they are fairly “evil”, just not particularly with a sense of impending threat or being a true foil for the Counters. The stakes could have been there, but season two does little to make them an imminent antagonistic force beyond obvious “ plot drive”. This is sad considering the fact that especially Hwang Pil-Gwang, as the leader of the trio, could have been a really interesting character if he had been developed properly as early hints suggested. Gelly Choi did get her moments later in the spotlight by proving that she is quite devious, but considering her featured screen time, Gelly and Wong were certainly underdeveloped and underused .
Last but not least with characters, it is hard not to mention Ma Ju-Seok, one of the show’s most divided characters for viewers. On paper, Ju Seok had a really interesting role; a “ nice guy” driven to the edge and Mun trying to help him. On the other hand, Ju Seok was simply a cause for plot rather than well-developed. One of his major flaws came through his “ deep bond” with Mun. The show constantly forces the message that Ju-Seok is a “good “guy, but the series forgets a key point in writing: show don’t tell. Rather than showing us these acts ( aside from helping Mun’s grandmother in some scenes ) we constantly hear the same narrative in dialogue that Ju Seok is a “nice person”, but not through very sincere actions or scenes in particular. To make it stranger, Mun is established to be intimate with a small circle of his family and friends, and takes time ( as shown with the Counters) to really develop intimate bonds. It makes little sense for Mun to suddenly trust Ju Seok on such a level ( helping his grandmother or not), without actually getting a sense of what has really drawn them to form such a friendship. For example, had Ju Seok played a role in scenes as an older brother/ uncle figure by encouraging Mun in other respects , then maybe this relationship would have been more poignant, or at least viewers could understand some of Mun’s trust in such a character . Instead, it rarely delivered the full intimacy it was suggesting, making it an odd spectacle to see Ju Seok try and go dark-side and for Mun to be so set on helping a near stranger . Ju Seok’s “ character arc” did have somewhat of a resolution, though it was rushed.
Perhaps the few strengths of this second season came through showing Mun’s darker issues ( though not in resolution), as well as the return of Mun’s friends Kim Woong-min ( Kim Eun Soo) and Im Ju Yeon ( Lee Ji Won). Although very much background characters, their teasing potential romance between the two characters: as well as their long-standing friendship with Mun, did provide quite fun and heartwarming in most of their featured scenes. Another minor character, Park Do-hwi ( Seo Byeok-joon), Ha Na’s first love, was also quite a delight. ( The series did seriously go about a very cliche way of his resolution , but his featured screen time was certainly engaging .)
The other issue at hand comes through execution. To put it simply, Uncanny Counter 2 struggles with pacing a lot. The major part of the series nearly drags along at a snail’s pace, trying to place some action in training montages and some villain scenes to lead up to the “ big showdown” . Later episodes did bit up the pace slightly and were slightly more engaging with the plot and some themes , but most episodes, especially the first-half, felt underdeveloped and quite repetitive. The ending was probably one of the show’s greatest letdowns. It certainly brought a bittersweet note for the show, but last minute plot points, which could have easily have flourished and been developed earlier on, were rushed and thrown in for quick angst. This lead the resolution to feel a little unresolved.
The directing of the series under director Yoo Soo Deong follows a fair sleek and basic cinematography. The CGI is decent enough, though compared to some of the more sleek palettes in season one, there is a little left to be desired for the eyes. The OST was okay; there were some good songs such as CRAVITY “Ready, Set Go” which helped set the mood in some scenes, and was quite catchy too.
Overall, Uncanny Counter 2 is not quite on the same level as its previous season both across the writing range and execution. It is understandable the show wanting to go in a different direction. Mun is no longer the naive kid we saw in season one, and has begun to grow beyond playing “ the heroic role” all the time. However, the way the show tried going about this with poor writing decisions made Uncanny Counter 2 feel a little rushed and convoluted in parts. There are definitely a few good aspects to the season , including accessibility to viewers who have not watched the previous part as well as some interesting characters and general setups . However, poor pacing did make this season feel out of place across thematic and writing styles. Overall, okay for a quick binge watch but that is about it.
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