Our Beloved Summer; The “ Break Up” Story With A Twist…
The “ break up” story is a trope in rom-coms which is timeless. Main lead meets main lead, a love story ensues only for the characters to end their relationship through an acrimonious breakup. However whilst Lee Na Eun’s screenplay alongside the directing reigns of Kim Yoon Jin offered viewers a fairly heartwarming coming-of-age tale with an element of mystique , it is important to establish that the drama rarely touched upon new subject areas or topics either.In the past Choi Woong ( Choi Woo-shik) and Kook Yeon-Su(Kim Da-Mi) were high school classmates and polar opposites. Whilst Yeon-Su was an intelligent, hardworking and top-achieving student, Choi Woong was a laidback teen during his high school days; caring little about being a low-ranking student and being focused upon his artistic abilities instead. By a whim of fate, Yeon-Su and Woong discovered that they were chosen as the main subjects (,out of wide selection of candidates,) for an indie-style filmed-documentary.
Even after the documentary finished filming , Woong and Yeong-Su’s mutuality for one another soon grew into sincere feelings as the duo began to date during their college years. However, shortly after finishing their respected diplomas, the former sweethearts went their separate ways with the intention of never meeting one another again,but, fate has an odd way of bringing people back together . Several years into the future , the documentary has become gained a viral cult -following and consequently both main leads find themselves reunited once more.
‘ Our Beloved Summer’ is a fairly lighthearted watch for the most part. Whilst the series does run highly upon certain elements of angst and melodrama surrounding certain relationship dynamics and unrequited feelings , Lee Na Eun’s focal drive of the series surrounded mainly the relationship dynamic between its main leads.
Of course, it’s wrong to say that ‘ Our Beloved Summer’ wasn’t entirely
absent from its more droning “lovey-dovey exchanges” and tedious romantic setups, but, in a series where the focal point surrounds a niche break-up story and potential love story ( which could either irk or appease audiences), satire is sometimes quintessential to helping break the ice. Director Kim Yoon Jin presented the series as a self-conscious reflection of popular culture influences and references. The insertion of evident allegorical homages to different genre films such as; I Know What You Did Last Summer’, 10 Things I Hate About You’, ‘ Pride And Prejudice’, ‘ Catch Me If You Can’ ‘ Love Actually’ helped to present the different emotional stages of the main leads’ relationship in an obvious yet admittedly intuitive manner.
Yet whilst Kim Yoon Jin’s clever usage of titles and filming will certainly not go amiss amongst viewers, there is admittedly one elephant in the room which should be addressed openly surrounding the series; , the pacing. For the most part, ‘ Our Beloved Summer’ is slow-burn. Whilst the average episode could last around an hour and did take time to focus upon certain elements of relationship and character building, the series could feel somewhat dragged out by the latter-half also.
Naturally it isn’t always necessary for a series to have a specific antagonistic force or evident end goal. However for a series to keep viewers engaged characters can often be presented with motives, drives and personal goals in-between the main storyline to give flare or help to flesh-out character building. Whilst we did see some opportunities for this to happen with certain characters, the main leads were rarely given a more dynamic or personal raison d’être as characters. ( Aside from the potential impositions of their relationship or character drive for the “sake of plot”. ) As a consequence, ‘ Our Beloved Summer’ could sometimes feel as though it was slightly conflicted and dragged down by its pacing. Instead of either compacting the series into twelve episodes or attempting to add a more decisive plot-motivation, cliche misunderstandings, misconceptions and niche setups began to arise as the storyline entered its final part.
Nevertheless, the main cast were fairly dynamic as our main leads. Choi Woo-Shik versatility as an actor is proven again within his charismatic performance as main lead Choi Woong; a formerly deadbeat student and a successful artist and illustrator in adulthood who has shared complicated feelings for female lead Kook Yeon-Su.
Admittedly, Choi Woong could often feel shoehorned into “ plot” moments and tension in order to keep the storyline “ intriguing” . ( Incliding through several main subplots .) Yet rather than allowing the main lead to become the reimbursed “ vengeful lover” or “ cold and aloof” trope, screenwriter Lee Na Eun adds an air of subtlety within his equilibrated character strengths and flaws. He has an endearing relationship with his father ( Park Won-Sang) and mother ( Seo Jeong-Yeon) as well as with his best friend Kim Ji Woong ( Kim Sung Chul).
Costarring alongside Choi Woo-Shik is Kim-Da Mi. The actress likewise presented her persona as main female lead Kook Yeon-Su with a dynamic ambience onscreen. At times, Yeon-Su initially could often feel like a carte blanche female lead; enforced to become the “ polar opposite” to Yeon-Su. However , ‘ Our Beloved Summer’ rarely shied away from giving golden opportunities for viewers to understand more about her as a character . Her misconceptions and labels placed upon her from others, a surprisingly heartwarming relationship with her quick-witted grandmother Kang Ja Kyung ( Cha Mi Kyung), as well as most notably coming to terms with her mundane office job , did allow some intuitive insights into Yeon-Su’s persona.
From being at one another’s throats in ‘ The Witch; Part 1’ to former-lovers in ‘Our Beloved Summer’, Kim Da-Mi and Choi Woo-Shik’s onscreen chemistry was undeniably one of the driving strengths of the series. However whilst Da-Mi and Woo Shik’s chemistry was sweet and heartfelt, their characters’ onscreen relationship could admittedly a feel a little shoehorned at times through plot and did place slight strain upon the written relationship feeling natural.
Kim Sung Chul’s role as Kim Ji-woong played a pivotal role within kicking off certain events of the series. Admittedly Ji Woong’s presence during initial events and revelations of the series could admittedly feel a little staid at the best of times but his involvement in later events of the drama is provided as necessary for plot-drive.
Then there’s also second female lead NJ ( Roh Jong Eui) ; a popular K-pop idol who becomes enamoured by main male lead Choi Woong after he doesn’t fall for her charms. Unsurprisingly, NJ’s role in the series was evident from the beginning to present an “ obstacle” within the battlefield of affections for the main leads. However , rather than reimbursing NJ as the “ jealous second female lead” archetype, the series does provide some golden-opportunities to explore some more depth behind NJ’s feelings as well as her personal-growth.
Director Kim Yoon Jin seemed to have a fairly tactful eye behind the camera also. Professional long distant shots and close-ups were cleanly cut , unobstructed and slick in order to delve into the characters’ mindsets and daily lives. In particular, Yoon Jin’s presentation of vivid palettes and tones stood out through the frequent usage of mellow-yellows, tonal whites and blues in order to bring about a hazy tone of nostalgia throughout the entirety of the narrative.
The OST was mainly subtle and predominantly composed of gentle instrumentals - sweet and helping for viewers to focus on dialogue ( instead of lyrics), but admittedly certain tracks delivering a more emotional and memorable impact also.
It was evident to see from the outset that ‘ Our Beloved Summer’ would attract a lot of intrigue and interest from its main cast; particularly A-listers Choi Woo Shik and Kim Da Mi’s dynamic onscreen reunion and performances. However despite the series offering a different take on old tropes and diverging from expected character archetypes with a touch of depth , ‘ Our Beloved Summer’ could sometimes feel weighed down by its predictable setups and inconsistent pacing in parts. Nevertheless, whilst ‘ Our Beloved Summer’ did not possess an original setup, the series was a surprisingly heartwarming watch also.
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Sinking Your Teeth Into " The Sweet Blood"; Too “Sickly” For Its Own Good?...
Undeniably an intriguing concept, “ The Sweet Blood” did have the potential to be a fairly well-rounded web series with original characters and storyline. However, this series simply becomes its own worst enemy with poor-production value in screenwriting, sets and acting .
The acting quality in " The Sweet Blood" is questionable to say the least. It was not unwatchable per say, however , there were certainly dire line deliverances worryingly throughout the series by the main cast consisting of Chae Yun, Eo Jun and Ji Woong. ( As well as the ridiculous amount of makeup plastered onto Ji Woong’s face in scenes.)
By default, Yeon Seo as a character should have been a well-written female lead. She could have had a profound backstory, a likeable personality as well as having conflicted beliefs as someone stuck between human and supernatural societies. Instead, " The Sweet Blood" reduced Yeon Seo to nothing more than an angst-ridden teenager (rather than a seeming immortal), self-inserted into a formulaic love triangle ( square if you wish to include Do Hyun Je) with lacking character development. Even a potentially intriguing side-storyline (regarding Yeon Seo’s relationship with her mother), was disregarded nearly entirely from the series.
Then there’s our main lead Meo Ru; the foundation of Yeon Seo’s love triangle. Throughout the series, Meo Ru rarely seems to ineffably be unfazed by the supernatural, he is absent-minded enough to put himself in danger countless times for the sake of "plot" (despite Yeon Seo’s warnings ) and seems unable to develop emotionally as a consequence. Even more intriguing elements to his character such as his visions and his actual involvement as " The One" were often half- heartedly thrown in near the ending of the series . (And even then, rarely had an active role.)
Following on from Meo Ru, was Yoon Chi Woo; the second male lead of the series. Yeon Seo’s old flame and a dangerous vampire who seemingly poses both a threat to Meo Ru as well as being "unpredictable", Chi Woo was undeniably an intriguing character. However, his greatest flaw came through his half-baked romance with Yeon Seo.
Despite the constant references towards Yeon Seo and Chi Woo’s " days together", there was no sense of actual significance of this relationship either through flashbacks, memories or accounts by either character. This also contributed to the lackadaisical vampire lore of the web series by the adequate detail with both characters’ backstories also.
Sadly, not even the side characters could make up for this with many side characters being thrown in as " quick fixes "for tension, rather than being entirely necessary for the plot.Do Hyun Je ( Cho Eun Ho), the Vatican’s werewolf ( not even kidding with this one) who ( for reasons unknown to most characters and viewers)seemed to like Yeon Seo. ( Admittedly, there was an arguable reason, but the revelation felt more like a rushed solution to erase the " fourth component for a love square", than actually an intriguing part of his character.) Then there’s Yeon Seo’s best-friend Kim Su Jeong ( Yoon Da Young) who is oblivious for a major part of the series to the supernatural, is dragged ineffably into supernatural scenarios for plot development and her later reactions are just lazily-written .
Adding to this, the seeming " threat" of Yeon Seo’s father as a "big bad" near the end of the series, should have been a decisive story moment , but instead, was anticlimactic and lacked development. ( Despite his intriguing paternal bond by blood *no pun intended* with Yeon Seo.) The ending wasn’t bad per say, but it was obviously a quick and thrown-in solution without any sense of completion or at least a cliffhanger to finally wrap up the web series .
So, what’s the best way to describe this web series and is it actually worth watching ? This entirely depends what you’re looking for in a web series. A quick binge-watch for something which is trope-filled and a time saver from a 16-hour drama? Then, yes. A well-written, original web series with good acting and casting decisions alongside an engaging OST? Then, it is advisable to look elsewhere because " The Sweet Blood" isn’t it.
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Psychopath Diary; Where A Loser Can Mistake Himself For A Psychopath...
It’s fair to say that Psychopath Diary is perhaps one of the few Korean dramas out there which actually dares to tackle a genre not often seen in South-Korea called “ Dark Comedy”. Naturally this isn’t a theme which interests everyone out there, however, Psychopath Diary is outrageously funny and equally morbid within its tackling of our Male lead Yook Dong-Sik ( Yoon Shi Yoon ) believing he is a psychopath over the course of the drama.
When viewers are first introduced to Dong- Sik, he is an unlikely male lead. Although respectfully Shi Yoon has taken on some quite suave roles as the “leading”man in dramas such as Hit The Top and My Cute Guys, his drab outfits and curly perm help him to blend into the role as the “ everyday” and “ meek” office worker by appearing in his role as Yook Dong-Sik.
To put it into simple words, Dong- Sik is the embodiment of a “ scapegoat” and a “ loser” ( at least in the beginning of the series); a “ nuisance” to his colleagues and family ( particularly his austere father), depressed and someone who certainly wouldn’t even say boo to a ghost. Ironically his fate changes when a failed suicide attempt leads to him developing retrograde amnesia in the same sight when a serial killer ( Park Sung hoon) left behind his own diary after a murder around the same time . By being given the diary which is mistakingly believed to “ belong” to Dong- Sik, he is ironically led into believing he is a ruthless psychopath.
As you can imagine, this leads to a series of many misunderstandings and dark humour within scenes from Dong- Sik trying to “ remember” his talents by watching a bunch of serial killer movies ( such as American Psycho) to miserably failing at remembering how to lie out some coverings to cover up blood when he attempts to carry out one of his plans. However, as the series progresses, there’s also an added level of surprising progression around some of our characters in particular with our female lead and Police Officer Shim Bo- Kung ( Jung In- Sun) not as a romantic interest, but an intelligent cop in her own right with quite a heartbreaking revelation about her family life , as well of course , Dong- Sik revealing his intelligence when he begins to pursue a cat and mouse game with our charming killer Seo In- Woo ( Park Sung-Hoo).
Yet there’s no denying that whilst Psychopath Diary was a morbidly enjoyable watch, it isn’t a flawless show. The pacing of episodes in addition to the progression of storyline sometimes felt disjointed and a little dragging in addition to the comedic element ( sometimes pushed a little too far in scenes ). In addition to this the cinematography could have been more progressive and intriguing ( specifically lighting) as well as perhaps some more depth into our brushed antagonist Seo In- Woo and what made him actually tick as well.
On the other hand, Psychopath Diary was an undeniably satirical, witty and a social commentary upon many elements of Korean society ( e.g. work , drama cliches and lifestyle). Although not flawless, it is certainly enjoyable for those who are looking for something with edgy comedy, an intriguing plot and of course characters as well.
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The Hong Sisters Are Back…
The Hong Sisters have produced wide scope of dramas over the years with respectfully mixed results . Enter ‘Alchemy Of Souls’: The Hong Sisters’ latest fantasy creation and arguably one of their most ambitious works yet.
In the series, main heroine Naksu (Go Yoon-jung-‘ Sweet Home’, ‘ Law School’ and ‘ Moving’) is a fearless and sword-wielding assassin. She lives in Daeho; a magical land where sorcerers have extraordinary abilities and powers. Yet despite the beauty of different types of magic, there is still one major taboo in Daeho: soul transfiguration. ( The act of displacing one soul into another body.) Caught between a rock and a hard place, the ruthless and instinct-driven female lead is forced to partake in this soul shifting process in order to save her own skin. She finds herself in the body of peasant girl Mu-Deok (Jung So-min- Playful Kiss’, ‘ Because This Is My First Life’ and ‘ Monthly Magazine’).
Meanwhile unbeknownst to the female lead , her destiny is about to change even more when she winds up striking an unconventional alliance with Jang Uk ( Lee Jae Wok- ‘ Search: WWW’, ‘ Extraordinary You’ and ‘ Do Do Sol Sol La La Sol’), the notorious son of the prestigious and magical Jang family. Jang Uk has his own personal reasons for striking an unusual contract with Naksu. However, thanks to their new relations, they will soon discover that their bond will greatly alter their own destinies for better or for worse.
As mentioned previously, ‘ Alchemy Of Souls’ is arguably one of the Hong Sisters’ most ambitious works yet. While the series has admittedly received mixed-reception by some for its format, it is filled to the brim with the duo’s creative and imaginative world-building in a manner that will likely remind some of their previous hit-drama ‘ Hotel Del Luna’. However while ‘ Hotel Del Luna’ seemed to heavily lean into the genres of dark fantasy and melodrama, ‘ Alchemy Of Souls’ is predominantly focused on its action fight scenes and the conflicts surrounding its setting and the lives of its characters. The series certainly does lean into heavier scenes ( especially with regards to the magical lore of Daeho ) but a lot of these more “morbid” or “disturbing” moments often came through the ambivalent moral choices and decisions of the drama’s characters. ( At the end of the day, the jarring decisions made by humans.)
However on a slightly lighter note, it is fair to say that ‘ Alchemy Of Souls’ is fuelled on pure fantasy. The world-building of the series is detailed at times and filled with a lot of fascinating beauty also. On the other hand despite the creativity evidently present in the Hong Sisters’ drama, ‘ Alchemy Of Souls’ does admittedly hit a few ruts when it came to execution.
Some of the forms of magic tackled in the Hong Sisters’ drama are certainly impressive. However while the presence of magic in ‘ Alchemy Of Souls’ was often detailed, there were moments in the narrative where viewers were expected to “ just know” things without a lot of further clarification or information provided. In addition to this, there is also the prominent issue with the patchy lore of ‘ Alchemy of Souls’ in different parts of the narrative. ( Such as the hierarchies of magical families, the out-rankings of certain magical abilities and exactly why certain noble families are able to get away with literal murder while others accused of killing individuals are subjected to literal witch hunts.)
The Hong Sisters’ drama is what many would probably define as an eclectic mixing pot of genres. There are noticeable elements of action-fantasy but surprisingly romance and comedy at times also. This variety of genres will likely offer viewers with a wide range of different moods and tones in different episodes. However despite the continuous strain of creativity in ‘ Alchemy Of Souls’, it is hard to not bring up one of the drama’s more tiresome issues; the tropes. Of course, the induction of cliches into K-dramas isn’t always a bad thing per say.
However, it did seem slightly surprising that even for well-established writers such as the Hong Sisters, there wasn’t a lot of originality or creativity put into these tropes. Instead enforced cliches such as the love triangle, the strong and cold heroine, the snarky male lead, a troubled past lover and some questionable comic relief wormed its way noticeably into ‘ Alchemy Of Souls’ with some varying and mixed results.
Lore and genres aside, there is also the crucial discussion surrounding the characters of ‘ Alchemy Of Souls’. The Hong Sisters seemed to have attempted a ‘Game of Thrones’-style approach with introducing a consortium of different characters (often with dubious morality) in a short space of time. This approach is not always terrible from a writing perspective and certainly did allow viewers to be introduced to some intriguing players in the narrative such as Yoo Jun Sang ( Park Jin), head of the mysterious group Songnim, Go Won ( Shin Seung Ho), the crown prince and potential future king of Daeho and Jin Cho Yeon ( Arin) , the youngest daughter of the Jin Family. However while some of these characters were well-tackled and intriguing in their own right, the lack of opportunities to flesh-out some of these characters did become noticeable as the season progressed.
Main heroine Naksu ( alternatively known as Mu-Deok in the body of the peasant girl) is played by two different actresses; Go Yoon Jung and Jung So-Min. Both actresses delivered fairly consistent dual performances as the main female lead. Admittedly main actress Jung So Min could feel a little flat with her line deliverances at times but this wasn’t entirely the fault of the actress per say.
As a written character, Naksu is a bit of a tough nut for viewers to crack. The Hong Sisters establish early on to viewers that she is a strong, fearless and powerful female assassin. Even in her newfound predicament in the weakened body of Mu-Deok, she takes advantage of her situation by allowing others to underestimate her abilities and seek revenge on those who have wronged her. ( For reasons which are roughly outlined in later episodes.)However in terms of being a likeable heroine who viewers can actually root for, Naksu will likely either be loved or hated by viewers of equal measure .
Of course, the Hong Sisters have attempted to offer sympathy for Naksu to viewers. As the season progresses into later episodes, the writing duo present the fact that Naksu is motivated for particular reasons and motives as well as her unconventional relationship with Jang-Uk.However, writing a strong character(especially a heroine) can often lead to writers falling into the trap of making their characters feel somewhat overly “invincible” or “overpowered” rather than human with actual flaws and issues. Of course, the Hong Sisters have arguably attempted to show this by certain vulnerabilities for Naksu but often this was approached in a way of a “ challenge” for the female lead in order to overcome. Rarely was this shown as an actual problem or flaw that truly allowed her to flourish and grow as a main character.
Costarring alongside the main female leads, there is also the actor of main male lead Jang Uk, Lee Jae Wook. Jae Wook is likely familiar for most viewers for his stoic potential love interest roles in romance dramas. Similarly in ‘ Alchemy Of Souls’, the actor is typecast somewhat again in the series as Jang Uk ; a brooding and deadpan character that viewers will ( similar to Naksu) either love or hate. Of course it is wrong to make out that Jang Uk is a purely despicable character. Similar to the show’s heroine, Naksu, the male lead has his own motives, his own complex backstory and is shown to be an intellectual than allowed him to be fairly interesting in his own right.
In addition to this , there were certainly moments regarding the main male lead’s backstory that were given a dedicated amount of coverage by the drama’s writers also. However, it could sometimes feel as though that Jang Uk’s dominating traits of arrogance and haughtiness were often mistakingly justified by the Hong Sisters as a “result of his situation” rather than simply being explained and used as a stage of further character development. (Often this resulted in some of Jang Uk’s actions feeling frustratingly repetitive or justified even when there was a necessity for them to be called out otherwise.)
Naturally, it is hard not to discuss the main leads without bringing up their oddball relationship over the course of the season. The Hong Sisters play upon the old trope of the cohabitation drama with the “ master and servant” roles being unconventionally swapped throughout between Jang Uk and Naksu ( in the body of Mu-Deok). This unusual relationship dynamic was certainly compelling for viewers and did allow for the slow-burn romance to satisfyingly thrive in this written relationship setup.
Although often entertaining and certainly generating a few laughs with their comical antics, it could grow a little repetitive at times to see their relationship going from one or two extremes without a lot of middle ground between either being serious or overly jokey . This became especially noticeable when it was placed against the somewhat convoluted induction of the “ love triangle”; a trope that while not overly dominant in the major storyline events of ‘ Alchemy Of Souls’, did play a role beyond its necessary requirements.
As for the narrative structure, ‘ Alchemy Of Souls’ is approached in different layers by the Hong Sisters. In early episodes of the series, the writing duo used their time wisely to establish some of the main narrative events, while later episodes heavily dived into further execution and progression. On the other hand while this is certainly not an unusual writing decision in K-dramas, it did often make the series feel somewhat somewhat slow-paced in parts. As a result of this writing decision, ‘ Alchemy Of Souls’ often felt as though parts of the events surrounding subplot and even some moments of the major storyline weren’t as well-rounded as they should’ve been. However, the Hong Sisters did deliver a thrilling season finale that will likely surprise and intrigue viewers with its ending note .
The stylistic approach of ‘ Alchemy Of Souls’ is admittedly where things become a little more rocky. Under director Park Joon Hwa ( ‘ Bring It On, Ghost’, ‘ What’s Wrong With Secretary Kim?’ and ‘ Touch Your Heart’), the series did present a gorgeous array of sleek and gorgeous scenes and palette schemes. However, it is likely that the opinions of viewers will remain somewhat divided by the heavy reliance on CGI over the course of the series. ( Especially with regards to the quality of green screen scenes not always matching up with the desired intentions of the Hong Sisters’ vision.)
In addition to this, there is also the slight nuanced issue surrounding the more stark modern presentations of certain characters with dyed hair and modern-takes on historical outfit designs. Although this is a fictional work and can maybe be excused on some grounds with an artistic licence, it was sometimes hard as a viewer to really immerse yourself in a historical fantasy world when certain actors had their hair dyed in an obviously modern manner.
Nevertheless despite some liberties being taken with the outfit designs, they were certainly impressive outfit decisions taken by the costume department onscreen. The shades of silk and materials used were often vividly bright in the show’s lighting ; often seeming ethereal on the frames of the actors as they were adorned in bright shades of peacock blue, marigold and deep vermillion and certainly helping to embody the magical element of the show.
Aside from the stylistic approach of ‘ Alchemy of Souls’, the OST was mainly composed of schmaltzy ballads. Certainly some of these songs were more memorable than others such as “ Scars Leave Beautiful Trace” ( 상처는 아름다운 흔적이 되어) by Car, the Garden and "Breath" (숨결) by Kim Na Young.
‘ Alchemy Of Souls’ is an ambitious fantasy epic by the Hong Sisters. It is imaginative and filled with some intriguing world-building, characters and a fairly enthralling plot objective that will keep viewers intrigued. In addition to the writing of the show, Director Hwa’s varied palette schemes and lighting choices help to truly bring the series to life in a magical manner. On the other hand, the writing duo’s project is not flawless. The CGI is varied from scene to scene while the characters of the series and the events of the narrative felt somewhat overly niche and rushed at times. Nevertheless with a potential sequel in the works and a certain possibility to fix some of these weaker writing moments, season one of ‘ Alchemy Of Souls’ is certainly a satisfying appetiser for any fantasy lover.
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A “ Lesson” For Itaewon Class...
Most people will probably tell you that this show is the “ most original Korean drama, they’ve ever seen” or “ the best one ever”, however, there was something about this drama which took me awhile to work out where my problem lay from a critical manner. Of course, there’s no doubt that Itaewon Class has some selling points which were tackled for the appeal of the “ young generation” and “international” viewers. This is particularly seen through; casting choices ( note fairly newcomer actors Da- Mi and American Chris Lyon) , themes tackled( attitudes to racism, LGBT rights and of course released prisoners) , fairly unique plot premise and characters as well . So, where did a show with such brimming potential go wrong? Well, its biggest problem was for once not entirely upon the acting ( this is something which I must give the show some praise for , especially from Da-Mi ‘s emotionally vibrant role as her role character Yi Seo, against lead actor Park Seo Joon’s sometimes lacklustre moments) , but, upon the characters and plot itself. The show ( based upon the titular Korean webtoon) centres around Park Sae-royi ( Park Seo Joon) who during his teen years, was wrongfully imprisoned around the same time of his father’s accident, when he is angered by bully and legitimate heir to Jangga Group, Jang Geun-won ( Ahn Bo Hyun). After being released, Sae- royi claims revenge against Jaanga Group by establishing his own restaurant in Itaewon with the help of fellow misfits , intelligent and tech savvy Jo Yi- Seo as his manager ( Kim Da- Mi), Yi- Seo’s classmate and illegitimate son of the head of Jaanga , Jang Geun-soo ( Kim Dong hee), fellow inmate Choi Seung-kwon ( Ryu Kyung-soo) transgender woman and head cook Ma Hyeon-yi( Lee Joo - Young) and Guinean- Korean part-timer Kim To- Ni ( Chris Lyon). As a premise, the show has a unique flair to it, but, I think it’s quick to become apparent that a show which focused upon the characters as plot devices rather than human beings at times, certainly has lacking emphasis upon characterisation . This cliche grew apparent when the show trickled into the tropes of revenge dramas from illnesses, illegitimate heirs to the stereotypical cliche of love scenarios between the “ older” Male lead Park Sae- royi, the “ young prodigy ,and not so innocent” Yi- Seo , the “ tangled between love and duty” Oh Soo-ah ( Kwon Nara) and the “ puppy -dog outcast” Geun- Soo. Whilst there was nothing entirely wrong with having romance in a drama about misfits, Itaewon Class made the classic mistake of centralising too much focus upon the romance of these characters rather than as individuals with personalities, pasts and lives outside of their relationships . For me, this was particularly seen with Sae- royi. Considering the amount of psychological and emotional damage he’s been through as a character since episode one, you’d expect such a character to be a realistic, cautious and likeable Male lead who is able to relate to viewers through their own painful experiences. Instead, Sae-royi is a perfect example of a “ stock Male lead” who has little emotional outburst, awareness to feelings, manipulation or any moments of weakness which truly make us reflect as viewers upon his journey. Arguably , there’s his “ romance” with Yi- Seo to make him more ‘ human’ ; so lacklustre that it’s a question why it exists in the show at all . Sae-royi seems to constantly mislead this girl with “ obliviousness” only to suddenly be falling in love with her next moment, with little explanation or reasons behind his feelings. Whilst I find it hard to fault Da- Mi, Yi- Seo was a female lead who I absolutely loathed upon so many grounds. I can understand where drama viewers are coming from to an extent by the argument that Yi- Seo is a “ strong and independent female lead”. The show made that evident from nearly episode one when she is able to “make or break “ an establishment’s reputation through her social media account and hold herself in a fight against people using her wit as well. This is also what irked me about Yi- Seo as well. She was a strong character , but she had little emotional depth as an individual. Whilst she did have some scenes which exposed more “ vulnerable moments” , these scenes didn’t truly add up with her “ sassy” characteristics at times or were truly built to expose this side of Yi- Seo without seeming somewhat “ random” and poor writing . Note the scene with the confrontation with her mother early on in the show about chasing an ‘older man’ ( Sae- Royi) rather than following her mother’s hopes for her to become a successful and independent woman. Whilst to an extent the scene explains some of the psychological reasons behind Yi- Seo’s desire to fall in love in order to escape from the planned- out intentions of her mother, there was little emotional bonding or vulnerability both with Yi- Seo and the mother who raised her, or anything truly emotional to expose Yi- Seo as a human being in this scene . Whilst I guess there is the argument of Yi- Seo being a sociopath suggested by several fans by her ability to grow on emotional attachments through her manipulative intelligence, there are scenes later on ( such as Yi- Seo bursting into tears in front of Geun- Won) which question whether this is simply bad character writing , or simply a confusing interpretation for us as watchers . I don’t usually bring in comparisons to my reviews, but, looking at dramas with similar “ strong female leads “ like Jang Man- Wol ( IU) from Hotel Del Luna or Ko Moon Yeong ( Seo Ye- Ji) from Its Okay, Not To Be Okay , brings a stark contrast between “ strong” and “weak “story writing. Love or loathe both dramas, there is the undeniable strength within both shows of a female lead who has emotional emotional depth; exposing these characters not just as “ plot devices for romance”, but, human beings as well with feelings, scarred pasts and flaws as well . Overall Itaewon Class isn’t necessarily a terrible drama, but it the epitome of recent romantic “ fad” shows - mediocre storywriting, poorly-written characters and easily forgettable the minute the watcher starts a new drama. If you’re bored and looking for something to pass the time, I’m certainly not saying that you shouldn’t give it a go , however, this isn’t a drama to watch if your looking for something to genuinely commit time towards.Was this review helpful to you?
Will You ‘ Cha Cha Cha’ into watching this drama?
Aside from its questionable title ‘ Hometown Cha Cha Cha’ is a remake of the rom-com’ Mr. Hong’ (2004) updated and directed by Yoo Je-won, the same director behind dramas such as ‘Oh My Ghostess’ and ‘Tomorrow With You’. The storyline isn’t labyrinthine . Cha-Cha-Cha is a straightforward rom-com ( taken from the original movie) of “ city girl moves back to the sticks and falls in love”. However this boils down to the ultimate question for newcomers thinking of picking the series up; “is ‘ Hometown Cha Cha Cha’ actually worth watching? “
Arguably the drama does a really good job at subverting certain cliches and stereotypes beyond the expectations of viewers . Whilst the villagers are sometimes used for stock comedy , they are often more than just filler characters also. Many of them have their own problems which are revealed as the series progresses. For example Oh Cheon-jae (Jo Han-chul) is a cafe owner and a washed-up one hit wonder who despite often ending up as the butt end of the joke, has a more sensitive side by desperately yearning to return back to his brief glory days. There was something oddly heartfelt about each episode taking a moment away in order to focus upon side characters such as the village grandmas who main heroine Hye Jin (Shin Min Ah ) encounters in this small seaside town.
On the other hand this brings us onto one of the biggest elephants in the room surrounding our main female lead Hye Jin. Actress Shin Min Ah is decent enough here. On the other hand her onscreen persona Hye Jin is trickier to address. Hye-Jin is the epitome of the “ carte blanche female lead”; a character who has some necessary plot-driven angst, sweetness and backstory, but rarely has more definitive depth, emotions and realistic flaws.
Adding to the issue of Hye-Jin’s character arc is that whilst she does have “flaws” they’re never really pointed out by director Je-Won more directly . This is because Je-Won tries too hard to present Hye-Jin as a “ loveable and perfect” female heroine without considering that perfection can often be flawed . Of course our MC does have her sob story and angst-ridden moments later on in the series but these scenes rarely enforced more powerful emotions onto viewers as there was little to make Hye-Jin grow or learn from her past mistakes . This was case and point when others such as male lead and main love interest Du Sik( Kim Seon Ho) pointed out Hye-Jin’s mistakes at times as arrogant or rude, the drama rarely gave her the chance to grow or explain herself without either turning the blame on Du Sik for interfering, making Hye-Jin burst into tears or failing to accept her own mistakes sincerely . The problem with Hye Jin is that her character arc runs on pure plot device steam than actual character writing- we never find out what really drives Hye Jin either through her current flaws addressed, her career and future goals ( rather than mere romance) or for the sake of plot.
This moves us onto main lead Du Sik. Similar to costar Shin Min Ah, Kim Seon Ho was delightful as dexterous “all-round-ace” Du Sik- adding his own sweet charm to a character with a surprising amount of profoundness . He’s an extrovert, incredibly talented at everything and good-natured but also shares his own personal troubles as well. On the other hand whilst later episode scenes relished in tackling Du Sik’s past, this did feel slightly rushed than well-paced. We do see Du Sik’s problems build-up in early scenes and it was surprisingly refreshing to see vulnerability against a seemingly “ strong” character such as Du Sik.
Consequently it felt as though the drama could’ve done more to have built-up dramatic tension around Du Sik’s past and character arc. Whilst it is used to present drama and a spanner in the works with his relationship with Hye Jin, it was evidently used to add some tension and dramatic dilemmas rather than feeling gradually built up or allowing to present the profound connection between our leads more sincerely.
This of course leads us to discussing about the romantic setup between our leads which is (unsurprisingly)a rocky road. On a positive note it was heartwarming to see their feelings blossom . Even from the first episode the route of potential romance between our main characters was obvious. Bland chemistry in early episodes was ignited by more cutesy interactions as episodes progressed as well as fire added to the flames with dramatic tension keeping the ball game going between the two characters.
Similar to his previous works, Yoo Je-Won adds his own personal touch of oozy sweetness to the overall production. Pohang City in the province of North Gyeongsang in South Korea sets the perfect location for the fictional Gongjin village. The blue horizons of clear skies and crystal waters, provided an idealistic escape throughout the series.Vivid cinematography accentuates scenes alongside bright lighting, whilst more slapstick comedy from the original movie is replaced by a few farce scenes in order to focus upon more meaningful scenes between its main characters. The ending offers a more bittersweet note for viewers with an ending that was sweet but admittedly expected.
‘ Hometown Cha Cha Cha’ is the epitome of a rudimentary sweet sugary ice cream treat- cutesy fluff and with its own bittersweet edge at times, but it could easily melt under the pressure of its own plot build-up and dramatic tension. Overall it is really dependent on what you’re looking for in a drama- a quick, easy and back-burner romance setup ( which you’ve probably seen a million times already) in order to pass the time? Then definitely.
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A “ Journey” Into The Unknown Depths Of The Human Psyche...
It remains apparent in recent years, Chinese productions are trying to offer a more liberal expression ( despite the enforced censorship laws) over their own culture. It is undeniable that director Ju Xing Mao ‘s contemporary psychological drama “ Journey Across The Night”, attempts to do this by portraying the “ grittier” issue of mental health in its urban setting of bustling Hong Kong.The show was intriguing with its overarching episodes feeding into different topical issues and cases of psychological horror ( paranoia, schizophrenia, psychosis, repressed trauma and depression to name just several) and fairly original, yet nonetheless, the show didn’t truly seem to live up to what should have been a “ brilliant” psychological drama either. By default, “ Journey Across The Night” had all the right elements of being a good drama; a wonderful cast, captivating cinematography, an intriguing premise and characters, but, as the show progressed, it was soon apparent that the drama became its very own worst enemy from a pacing and story - development perspective.
Joseph Zeng stars as psychology student Li Jia , a new arriver in Hong Kong, hoping to finally study at University and find a way to escape his family’s dark and ill-fated history of schizophrenia . Enlisting the help of his professor and trained psychologist Cheng Ming Xuan ( Laurence Ng), Li Jia’s hopes to find some form of normality in Hong Kong, are dashed when he ends up getting involved with Zhang Cha Cha ( Cherry Ngan) and Shi Cheng ( Zhou Cheng Ao) , two individuals who are revealed to have their own onslaught of problems which will gradually push and test Li Jia to all of his limits.
For a show which built itself upon a seemingly unexpected and fast-paced ride into the unknown, the drama’s biggest dilemma was that it was incredibly slow-paced at times. Arguably, this is sometimes necessary for story development , and did allow for some characters such as Cha Cha to shift from being the “ annoying” -sister type for our male lead to more of a complicated love interest. On the other hand, numerous characters in the drama were often cast-aside in favour of either a new “ horror” tale or the slightly lacklustre “ romance” factor present , yet, none so was this more apparent than with our own male lead Li Jia.
Thanks to the talents of Joseph Zheng, Li Jia was arguably one of the most intriguing characters of the show ; a mysterious new arrival in Hong Kong with a prominent desire for normality and to “ save” himself from his family’s ill-fate, a traumatic past and a unique ability to attract new friends and people into his life. Nevertheless Li Jia’s biggest flaw was that he lacked a lot of actual character depth. Whilst it is evident that the show wanted to keep us in the dark about certain elements of Li Jia as a character, it’s hard to truly assess or come to terms with what we see with Li Jia’s “ growth” or “ traumas” being switched-off and on in favour of being used as a plot device, rather than actual characterisation or growth by the ending of the drama .
Whilst Journey Across The Night had an intriguing premise and a fairly decent cast , the show intrinsically lacked a driving factor ( sans Li Jia’s reasons for travelling to Hong Kong) which often made overarching storylines feel disjointed as well as many characters ( including our main protagonist) introduced in the show, one-dimensional.
As past reviews have mentioned, the ending of The Journey Across The Night is a matter of personal opinion more than anything else . An appropriate, yet unexpected twist for a psychological drama , the actual delivered finale just felt too abrupt, sudden and lacking in actual depth to wrap off the many encountered loose ties of the series , than to be counted as a delivered ending. Overall, a decent show if you’re looking for something to binge-watch, but there are certainly better psychological dramas out there than this one.
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A Lesson About Love In Tokyo...
It’s a romance formula that has been seen and done countless times before ; the naive and eccentric country girl arrives in the “ big city” ( in this case Tokyo), develops a crush on someone older than her / out of her league, makes a frenemy and is totally oblivious to the second male lead’s evident feelings for her in every way possible.
Taken frown the eponymous and popular Japanese manga series,Daytime Shooting Star is the epitome of the typical high school romance formula - binding cliches , romantic triangles and a fairly good cast together in hope of making a profitable production . Yet it will probably come to your attention both through the synopsis and previous comments, where the more ethical issue issue lies within the plot and certainly if it will ruin your experience of the overall movie.
Before coming to that point, it’s important to say that our main cast did bring the movie to life through a mixture of comedy and angst on the big screen; Mei Nagano was brilliant as our main female lead, Suzume Yasano- a country girl with a big heart desperate to make friends in the city, whilst costars Alan Shirahama ( playing taciturn high schooler Mimura) , Shohei Miura ( as teacher and Suzume’s crush Satsuki Shishio) and Maika Yamamoto ( who plays Suzume’s frenemy - turned best friend Yuyuka Nekota) were all fairly good within their performances.
What still remains prominent in terms of storyline for viewers, however, is Suzume’s relationship with her teacher Satsuki. Teacher- Student / older lead and younger lead have long been a popular trope in romance dramas ( note Chugakusei Nikki and Hello My Teacher for examples) , however, determining if they’re “ right” for a piece or not should really depend on several significant factors; the age difference between the characters, the purpose of this relationship and what the intended message by the director or screenwriter is for this relationship. ( For example, in Taisetsu na Koto wa Subete Kimi ga Oshiete Kureta, this isn’t sugarcoated and is used to deliver a lesson about life.)
As far as Daytime Shooting Star is concerned, the age difference between Suzume and Satsuki is officially never brought up, however, the implications are strong that he is a lot older . The way the storyline goes, Suzume’s crush on Satsuki and Satsuki’s actions are both questionable and interesting, as Suzume. begins to understand more about Mimura’s feelings - the ending is perhaps not the one many viewers saw at the beginning, however, Suzume’s ending is fittingly sweet and happy.
Overall, not an original concept but certainly sugary sweet and a guilty watch - the element of Suzume’s growth as an individual is quite inspiring, however, there are some issues which are nonetheless raised by parings.
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Is This A ‘Hellbound’ Experience?
With director and screenwriter Yeon Sang-ho (Train to Busan) and co-writer Choi Kyu-Seok basing the series upon their own webcomic and original production, this does leave viewers with one ultimate question; “ is ‘ Hellbound’ actually worth watching ?”
For jaded and cynical detective Jin Kyeong-hoon (Yang Ik-june) humanity has offered him nothing but pain and sorrow. Still trying to come to grips with his wife’s brutal murder and having a fractious relationship with teenage daughter Hee-jeong (Lee Re), Jin’s research into the cases leads him face to face with leader of the mysterious cult ‘ New Truth’, Chairman Jeong Jin- Soo ( Yoo Ah-in). The cult has pledged salvation for “ sinners” by spreading gospels of the angels and encourage them to “ repent”. However as episodes progress it soon becomes slowly apparent towards Jin-Soo’s true nature and the brutal goals of the group, with attorney Min Hye-jin (Kim Hyun-joo) pledging representation for the alleged “ sinners”.
The biggest thing to address about ‘ Hellbound’ is that it isn’t a show for the lighthearted. Whilst devoted fans of the webcomic may notice some subtle storyline changes ,the show is violent and not afraid to present brutal murders alongside people being combusted like human torches throughout the series.
Intertwined amongst the shoddy CGI monsters of ‘ Hellbound’ as well as alongside the spine-tingling OST by Kim Dong-wook, ‘ Hellbound ‘ expertly paces its descent into chaos, knowing when to slow down on abominable killings and when to present its moral deadlocks . From the rising corruption of religion and the cultural phenomenon in South Korea of hysterical puritanism, hypocrisy as well as the rise of extreme conservative views paradoxical to the insatiable appetite of society for violence through popular culture, ‘ Hellbound’ addresses a lot of issues without shame or embarrassment and with the entire purpose to expose current issues and realities in South-Korean society. However this is also where the series began to hit a rut after the midway point; it never really carried through these messages with regards to the medium of the series . Whilst some characters are used with a purpose, some seemingly quintessential main characters have rushed arcs or suddenly disappear without rhyme or reason, whilst the climax and rising tension of the drama often went on a downwards slope after the halfway point.
The acting front is admittedly a mixed-bag ( especially with some line deliverances by the supporting characters.) Of course whilst the main cast shone throughout, one of the most dynamic performances throughout the show was surprisingly Yoo Ah-In’s performance as fanatic cult leader Chairman Jin Soo .
Whilst main lead Jin Kyeong-hoon is admittedly a complex character type as the “ cynical cop” and female lead Hye-Jin as the “ attorney”, they often felt tightly crammed into their roles as stock characters tropes . This isn’t necessarily a bad approach per say and did give director and screenwriter Sang-Ho opportunities to reimburse old character tropes for his own gain, but it did little to really diverge these main leads from their expected decisions and actions, often leading them to be shoehorned into the plot ( as well as lacking more profound depth) rather than allowing the characters to move coherently within the contents of the storyline. For example a major subplot surrounding the series for Kyeong-Hoon is the murder of his wife. Whilst later revelations play briefly upon this subplot, the profound details surrounding Hoon’s reactions as well as his relationship with daughter as a consequence were left underexposed, and therefore lacked more sound emotional-depth also.
Of course getting back to our mysterious chairman it isn’t necessarily the case that he was executed as an entirely “ original villain” as after all Sang-Ho does enjoy playing upon Jin Soo as the “ calm and quiet” archetype. However where Sang-Ho creates mystery surrounding Jin-Soo is that he isn’t a “ redeemable antagonist with a painful past” or “twirling his moustache planning world domination”, but just a regular person with a megalomaniacal desire to deliver his warped sense of “ justice”. However whilst Jin Soo helped us to bring together our main characters and kept the storyline moving, his anticlimactic character arc and exit from the series raided more questions than answers afterwards.
This was often a major problem with ‘ Hellbound’- plot points which could’ve been meticulously executed onscreen or poignant for audiences to reflect upon, felt missed out completely by Sang-Ho’s imbalance of subtext against plot. For example even through the cinematography and as the director Sang-Ho never seemed entirely sure how he wanted to capture the world of the characters. Seemingly ordinary or gritty early episode scenes hinting at the unexpected, turned into moody and drab aesthetic shots of Seoul straight out of a noir crime series. This isn’t necessarily unheard of a director playing with mood or lighting to convey messages or by transcending genres. However , directors or cinematographers usually have a vision in mind when invoking these scenes for viewers. Sang-Ho seemed often uncertain even through the objective lens of the director with how this truly captured or presented the emotional mind-frame of his characters . . Adding to this Yeon and Choi weigh down each dramatic scene straight out of a jump-scare movie; the monsters’ attacks feel animalistic and playfully sadistic, but never truly added a more profound and impactful tone for audiences.
The ending of the series attempt to crank up the shock value to the maximum with the delivered revelations of the finale. However whilst the series does leave a more open ending through a cliffhanger major characters arcs, subplots and storyline moments were rarely tied together or felt more complete as a consequence.
So what is left to take from ‘ Hellbound’? ‘ Hellbound’ is a pacy supernatural thriller with an intriguing plot wrapped into six episodes. Aside from some dodgy acting by our side characters, the main cast were decent enough and the standalone performance by Yoo Ah-In did give the drama some undeniably charisma. However one of the major problems with the Netflix series is that it becomes lost in a maze of its own doing; subtext themes and plot were often lacking in depth and more profound deliverance, whilst even some of our main characters lost their gravitation to audiences by abrupt exploration and coverage alongside an incomplete ending. The series attempts to deliver a “ terrifying” experience through the CGI “ monsters” of the series whose design and presence onscreen felt insipid. Overall ‘ Hellbound’ is not a bad per say during a binge-watch session with an intriguing enough plot to keep you engaged, but certainly lacking within delivering a more sound impact for viewers also.
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Sweet Enough To Give You A Tooth Cavity…
If there’s one thing South-Korean mini dramas absolutely love with romantic-setups it is the “reverse-harem” trope. Unsurprisingly ‘ Peng’( 팽) is no exception and offers viewers the typical cutesy sweet “ potential love interests” for the seemingly “ average” and “ older noona” ( who in reality is only supposed to be thirty) female lead.
Of course it is wrong to entirely critique ‘ Peng’ as “ unwatchable”. Go Sa Ri ( Yoon So Hee) is a 30 year old woman who finds herself rethinking her life decisions after she parted ways with her former boyfriend.Soon she finds herself in a sticky situation as she finds several potential love interests entering her life with complicated feelings evidently growing for them.
The acting is a mixed-bag admittedly. It is hardly Oscar-winning and there are certainly moments where you might question certain line deliverances, but it is certainly passable to watch . Main actress Yoon So Hee has starred in many guest roles over the years but likely is more recognised by K-pop fans for her starring roles in music videos for boyband EXO, an uncredited role in a music video for SHINEE and in one of Super Junior’s concert tours. The actress certainly was decent enough as our female lead and did add her own sweet charm to her role. However the biggest problem with the casting choice for So Hee as Go Sa Ri was that it was hard to truly believe she was the authentic age of her character.
Of course this isn’t to critique the actress or her character Sa Ri entirely. She’s a fairly hardworking heroine. However to explain this point about age further it is important to establish that a younger actor/ actress being cast to play an older (or even vid verse ) isn’t always necessarily a bad move by the casting crew. Often it can work to a drama/ storyline’s advantage by interpolating both with the necessity of their character’s looks, personality or context within the storyline . On the other hand what makes us feel as though a character is truly the age that the writer has mind doesn’t just come down to physical appearance but very subtle touches such as emotions, maturity, popular culture references, generation gaps or social interactions. In ‘Peng ‘ whilst we did see Sa Ri mope about her age at times and show a more mature side also, these key plot touches rarely had more of a quintessential role within shaping Sa Ri’s identity or authenticity as our female lead .
In fact when it boils down to it Sa Ri rarely felt as though she had a more of a realistic edge. She rarely felt flawed or would be allowed to repent for her actions, by often taking central state as the “ victim” or “ pitiful” and even when we did get glances into her life sans romantic relationships, her “ friends” would rarely interact upon a basis which didn’t involve relationships or romance. Even more in-depth glances into her past as well as her familial environment we’re fairly in- existent throughout the drama rarely giving Sa Ri to feel like a well-written female lead.
Naturally the major driving factor of the cutesy pastel-infused romantic setup of ‘ Peng’ boils down to Sa Ri’s “ potential love interests”. ( Unsubtly hinted by one of Sa Ri’s male colleagues that Sa Ri should get married as “she’s getting older”.)Typical of this genre the male leads are mostly used as the “ shiny boy toy” trope with being either fairly good looking, fashionable or a trope archetype in themselves but are mainly used as plot devices to keep the plot moving rather than to have more evident character depth and growth.
Sa Ri’s first “ potential love interest” is Pi Jung Won ( Choi Won Myung). Pi Jung Won is the classic “ childhood friend” trope. Knowing Sa Ri the longest , Jung Won arguably knew the most about Sa Ri out of all the other suitors. The biggest problem with Jung Won as the “ childhood friend” is that whilst he unsurprisingly has “ liked Sa Ri since forever” he never really addresses what initially attracted him to her, his own complicated feelings with Sa Ri viewing him as a fraternal figure as well as meekly remaining in the corner with his hidden feelings until “ necessary plot” drives him out.
Sa Ri’s next potential romantic partner is Yeon Ha Rim ( Kim Hyun Jin). The biggest thing to address about actor Kim Hyun Jin is that in real life he is closer in age to So Hee than his younger onscreen counterpart. His onscreen persona being the embodiment of the “ younger guy”, there’s undeniably mixed feelings for viewers towards this onscreen potential chemistry between their characters ( especially as he does begin to dominate a lot of screen time by the halfway mark). Whilst undeniably Sa Ri does not hide her initial awkward feelings and there are some evident “age appearance” issue addressed , it may raise more questions for viewers by the more sugarcoated approach to realistic factors such as cultural norms, controversy and perceptions towards age gap relationships in South Korea.
Then there’s Sa Ri’s potential suitor through Ki Sun Jae ( Joo Woo Jae)- . Sun Jae embodies the classic “ he’s my boss” and the “ CEO” trope. His potential chemistry with Sa Ri has its strengths and weaknesses. On one side he’s arguably the most mature, decisive and affluent out of the other love interests. On the other hand Sa Ri’s evident discomfort towards pursuing a romantic relationship with her boss does put some strain on their relationship as employer and employee.
Then finally there’s Jeon Woo Sang ( Lee Seung II). Sa Ri’s ex, Jeon Woo spends his time pining over Sa Ri. Whilst some viewers may see this as “sweet”, others will likely see Jeon Woo’s actions as verging upon being a stalker and megalomaniacal from wanting to know about Sa Ri’s love life following her and waiting outside of her house on several occasions.
The final decision by Sa Ri was beyond anti climatic. It was not necessarily bad per say that Sa Ri made this choice as it was upon her own grounds, however, rather than providing this choice with more explanation or build-up, Sa Ri’s decision truly gave the series a poorly-inserted deus ex machina ending; added for the “ unexpected”, yet lacking in more coherent character direction or growth in the process.
So what is left to say about ‘ Peng’? As a miniseries ‘ Peng’ is pretty much what it said it would be on the tin; a romantic show reverse- harem about an older woman choosing her potential romantic love interests. Whilst the show was lighthearted, it often seemed to struggle with conveying more depth to the characters, plot drive ( aside from romantic misunderstandings and lacklustre tropes) and a decisive ending with many profound themes often feeling sugarcoated. Whilst not unwatchable per say ‘ Peng’ lacked that specific zest of being an engaging , memorable or well-written storyline with an ending that will make even the most patient of viewers towards what on earth you just wasted your time upon.
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Surreal Food For Thought, Though Some Storylines Were More Striking Than Others...
Netflix’s Persona is a collection of four South Korean short films, all starring Lee Ji-Eun ( IU). Directed by acclaimed Korean filmmakers Lee Kyoung Mi, Yim Pil Sung, Jeon Go Woon and Kim Jong Kwan and partially produced by record- producer Yoon Jong Shin, each episode was inspired from elements of IU’s own personal life and career.Although there is the initial thought of a vanity project for IU being the main star in each episode, there’s no denying that IU is a talented and versatile actress. Even in storylines which may deliver impactful plot revelations for viewers, IU seemed to add a necessary fair and uniqueness to stepping into the roles of her varied and different ‘’personas’’ in each storyline. Yet due to each episode being vividly different with a new director, story and theme, it is probably easier to assess each episode as a standalone piece before moving on to the overall interpretations of the ensemble.
‘’ Love Set”- Starting off the collection begins with director Lee Kyoung Mi’s strange and surreal storyline on a tennis court. In this fictionalised world, actress Bae Doona is ready to marry IU’s father. Naturally, IU is contemptuous about the matrimony and decides to issue a tennis battle with Bae Doona on the tennis court.
Using minimal dialogue, filmmaker Lee Kyoung Mi turns 19 minutes, into an eccentric , humorous and over-the-top battle of grunts and tennis balls being smacked back and forth in an odd competition of love, rivalry and hormones with a strangely sexual undertone . It is one of the most peculiar shorts in the series with an oddly anticlimactic and abrupt ending. Rather than viewers understanding the reason behind IU’s disagreement, passion and drive to stopping this rivalry, the undeniable relief of not having watch IU’s and Bae Doona’s unexplained and peculiar tennis match instead overcomes the watcher’s mind with just one thought. “ That was weird.”
“ Collector” - Yim Pil Sung‘s film and the second piece of the “ Persona” collection transitions into notably darker territory, with its focus upon an older man named Baek Jeong-u on a date with a notably younger woman, played by IU. As the date goes on, Baek becomes increasingly irked as the younger woman teases him and appears disconnected from their conversion. Pil Sung’s scenes then present the evident discomfort of Baek in a lonely, empty room as he attempts to prepare himself either to relax or to literally be killed by a woman’s subtle emotional jabs. Notably having a more prominent overarching storyline than “ Love Set”, “ Collector” initialises the reminiscent traits of the promiscuous Kumiho ( a nine- tailed fox in Korean mythology) as well as an intriguing critique upon stereotypes of women in South-Korean society. ( Which naturally IU herself has also been subject to in the wider media.) IU’s character is undeniably playful and manipulative with Baek, however, she never goes out of her way to seduce him as Baek practically throws himself at her feet. This subversion reversal of gender dynamics offered both the literal and metaphorical stereotype of the coquette’s ways of playing with a man’s heart. Still oddly surreal and taking time to interpret , the storyline was certainly subversive in this short piece .
“ Kiss Burn”-A clear critique to the oppressive natural of youths in rural Korea, the third entry of “ Persona” brings Jeon Go Woon’s focus on arguably the most ‘’lighthearted’’ short of the ensemble. IU plays a conniving schoolgirl named Han-na, who visits the rural house of her friend Hye-bok. Hye-bok’s father, a forest fire lookout, is strict with Hye-bok and greatly dislikes Han-na under the impression she’s a bad influence. Out of anger and revenge, Han-na helps Hye-bok pull various pranks, but naively ignites other unintended consequences. Go Woon’s filming- style is notably the most basic and simplistic out of his counterpart directors, yet the usage of screenwriting through approachable storytelling, pacing and jokes makes the story easier to follow than the last two predecessors of the collection. The one flaw of this piece is that whilst the storyline was easier to follow behind the reasoning of Ha-na and Hye-Bok’s vengeance, it is harder to truly define what made their characters original or intriguing.
“ Walking at Night”- Persona concludes with Kim Jong Kwan’s monochrome-filmed short tackling the most poignant segment of the entire ensemble. IU plays a deceased woman who appears in her former boyfriend’s dream. In that dream, the couple takes a walk at night, reminiscing about bygones and musing about the nature of love, life, and death.The scenery is kept simplistic with a simple interaction of walking and a succinct soundtrack . The only true uncertainty which may strike viewers as harrowing can be seen through the mysterious figure as the two characters walk into the night- something symbolising the unknown just behind them. Out of all the shorts, this final piece tackle arguably the most heartfelt and profound themes of the series with focuses upon existentialism as well as the social issue of suicide in South-Korean society, giving the piece a sense of deeper meaning and reflection for viewers.
Ultimately, IU is the main star of each storyline and plays each one of her roles with diverse brilliance and talent. Whilst each episode has its own flair, there’s no doubt that some shorts were a lot better than others. “Walking At Night” offered arguably the most touching, harrowing and profound themes of the shorts in literal black and white , closely followed by the surreal, yet social critique of women’s roles in ‘ Collector’. ‘ Kiss Burn’ pointed out an undeniably ironic and twisted ending, but lacked intrinsic character depth, whilst arguably the weakest of the series was ‘ Love Set’. Attempting to weave in too many sociocultural metaphors and messages into one short, the storyline was weakened by its lacking sense of purpose, context and ending.
Overall, the ‘ Persona’ collection was fairly entertaining- IU is a talented actress and the artistic licensing by different directors gave us a fresh feel to each episode. On the other hand, as a collection, the weaker storylines of the piece ultimately complicated episodes and character depth - ultimately not a bad show to binge watch out of boredom, but probably not worth committing time towards if you’re expecting to watch an ensemble of well-written and profound collection of shorts.
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Light And Sugary Sweet, But Will It Truly ” Touch” Your Heart.?
There are probably three main factors which will drive watchers to picking up this drama.Let’s not kid ourselves, though. The majority of watchers will probably be drawn to this series for our main costars Lee Dong Wook and Yoo In Na performing again as starred-crossed lovers after their renowned onscreen chemistry in the hit-drama Goblin; The Great And Lonely And Great God (2016-17).
However, here’s the biggest question that anyone watching this drama and looking through a series of often biased verdicts by watchers praising it with “10/10”; is it actually worth watching ?
Perhaps the most important thing to summarise about ” Touch Your Heart" is that the majority of the show is an easy-going, romantic comedy.The drama follows actress Oh Yeon Seo (Yoo In Na) who had rose to fame because of her enthralling innocent look, which made her the crème de la crème of commercial films or advertisements in South-Korea. However despite desperately yearning to be taken seriously as an A-list actress, she was widely critiqued for her bad acting.
Unfortunately, she got caught in a drug scandal with a big business tycoon, which damaged her career and forced her to off the grid. Two years later, Yeon Seo’s reputation and name is still being dragged in the mud by the controversy with no solid acting offers or contracts, but she continued to lift her head up high. Then one day, she discovers a drama script for another actress in their agency, and becomes infatuated with the premise, fantasying about taking up the role as a lawyer. Convincing the screenwriter to cast her despite initial rejection , the writer finally acquiesces under one condition ; Yeon Seo has to prepare for the role by working in a law-related job for three months. This is easier said than done, however, when Yeon Seo starts off on the wrong foot with the seemingly stoic and straightforward top lawyer at the company, Jung Rok ( Lee Dong Wook). Yet as Yeon Seo and Jung Rok begin to bicker and run into predicaments, both main leads soon find their hearts being melted by one another’s love...
A concept such as ” Touch Your Heart" can easily grow tiresome by the archetypical characters and cliches because it is not entirely unique in itself. Admittedly, this became evident at times within the show becoming enthralled with its own treasure trove of cliches, however, its wrong to entirely dismiss that there was nothing inherently enjoyable about the formula either. The majority of characters ( including secondary ones ) were enjoyable and although they often took time to grow close towards, they had time to sometimes grow outside of the more evident labels enforced in the beginning of the show.
The main female lead Yeon Seo did seem to ring warning bells initially of going down the " ditsy goddess” trope early on in the drama. Whilst Yeon Seo could often be prescribed to the previous trope at times , she was often a loveable character by her genuineness, intellect , resilience and Yoo In Na’s added charm. Lee Dong Wook’s chosen role as Jung Rok may rise eyebrows by his straight-laced role again as the ” stern and abrasive male lead ” ( similar to Goblin), however, Dong Wook seemed to be able to capture Jung Rok’s journey out his shell and development as an individual with emotions and feelings, especially regarding his relationship with Yeon Seo.
Perhaps the one refreshing element of their bond came through defying unhealthy tropes . Yes, there relationship was cliche-ridden by being founded upon the ” opposites attract” and ” rivals to lovers" archetypes , but as their relationship developed, it became apparent that they were able to grow out of the shadows of falling into the territories of ” romanticised” emotional abuse and gaslighting. The couple soon began to grow on mutual respect as they were able to smooth-out misunderstandings by Jung Rok’s brusqueness and Yoon Seo’s emotional honesty .
Even our secondary couple consisting of Lawyer Choi Yoon Hyuk (Shim Hyung Tak) and Lawyer Dan Moon Hee (Park Kyung Hye)was oddly entertaining. Their pairing could could have easily blown into being poorly-sketched and tiresome by the cliches of their stereotypical contractual relationship and full-on personalities , however, beyond the stereotypes of being one another’s ” adversaries ", Yoon Hyuk being a " spoilt mama’s boy" and Moon Hee falling for her looks, they did have some genuine heartfelt moments which helped to fortify the characters as individuals.
On one critical note, whilst the storyline revolving around the prosecutors Jung Rok’s close friend and roommate Kim Se Won (Lee Sang Woo) and Yoo Yeo Reum (Song Sung Yoon was necessary to some extent for plot development , their associated storyline did drag on due to an overexposure with screen time . The friendship dynamic between Se Won and Jung Rok of course was heartwarming in parts, however, having intrigue around Se Won and Yeo Rum as individuals was minimal due to lacking development and an overuse of cliches dragging these characters( in some circumstances)as dull plot mechanisms.
Overall, ” Touch Your Heart" is an entertaining drama- formulaic in parts, with a sprinkle of angst but mostly topped with a lighthearted viewing experience for watchers to help take your mind off heavier subject areas. The cast undeniably were brilliant for the most part ( although though there were some questionable line deliverances) by helping to bring the characters to life. Even the easygoing OST helped to warm up scenes and add a spark to Lee Dong Wook and Yoo In Na’s fairly good acting behind an enjoyable and heartfelt romance onscreen. If you’re a fan of cute and fluffy romantic comedies with a touch of humanity, or you desire to see new life being breathed into certain old cliches, then ” Touch Your Heart" is certainly for you.
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A Tale Which Tries To Warm Your Soul…
‘ Coffee Ikaga Deshou’ ( alternatively translated as ‘ How About A Coffee?’) is one of those dramas which will likely remain under the radar for most drama watchers. Based upon the manga of the same name and Adapted to the small screen by screenwriter and director Ogigami Naoko alongside co-director Mori Yoshitaka, ‘ Coffee Ikaga Deshou’ ‘s plot isn’t complex.
Admittedly ‘ Coffee Ikaga Denshou’ isn’t an overly original concept. Main lead and arcane barista and coffee van owner Hajime Aoyama ( played brilliantly by Tomoya Nakamura) comes across in a similar suave and mysterious manner as the “ mysterious flaneur figure” Izakaya owner from ‘ Midnight Diner’.
However on a virtuous note Coffee Ikaga Denshou’ ‘s plot was fairly driven by its prominent messages during most of the series. From dealing with issues such as struggling to fit in the status quo, disillusionment, popularity and grief, most episodes had something fairly
poignant to address about Japanese society and everyday life.
Yet unlike the reoccurring characters of ‘ Midnight Diner’ who were left only to piece together parts of the owner’s past, Aoyama’s link to his backstory as well as his reasons for becoming a coffee connoisseur, played a more “ pivotal role” within the events of the series. The main driving force behind the " tension" of the plot evidently occurred within the interwoven backdrop of each episode focusing upon surrounding the reoccurring onscreen appearance of the mysterious gangster ( Isomura Hayato) who was hunting down Aoyama for unknown reasons .
There’s a lot to discuss about how the series dealt with Aoyama’s character arc. On a positive note playing upon the storyline of Aoyama’s " secrecy being hidden in plain sight" made him an enticing character to learn more about and when his past was revealed it did present a lot of surprising revelations about our main lead. However Aoyama’s transition between his past persona and his current-self rarely felt more subtle or blurred, whilst his journey and struggles to kick past habits ( unless it was necessary for " dramatic tension") often felt disengaged from the storyline.
Due to the change and swap-up of characters during episodes it’s hard to pick out a multitude of characters to analyse in more depth. However due to their reoccurring appearances it is important to discuss ( without spoilers) about how the series dealt with the mysterious gangster Pei and his character arc alongside Shima Kakine ( Kaho)-the first customer to be shown to be served by Aoyama onscreen- and our " final major antagonist”.
Speaking about the latter character Pei’s initial raison d’être is acting as an antagonistic force within the drama by hunting down Aoyama for unspecified goals. However whilst it was undeniably sweet to see Pei have his moment of redemption through his later actions and decisions, the build-up of Pei’s actual character redemption arc often felt sporadic. Of course whilst the drama did drop hints towards Pei’s own personal connections, this rarely felt more built up or more widely interwoven with with Aoyama’s own character arc also.
Then of course there’s Kakine. Kakine is an odd character to discuss as
after her initial appearance in the first episode, her character doesn’t appear again until the last few episodes when the final storyline kicks in. Whilst Kakine is undeniably kindhearted by acting as the stereotypical " moral cheerleader" figure during the later storyline, she’s a character who felt the most paradoxical due to how the series approached her character. To explain this further it is important to point out that Pei initially commented during one of his first interactions with Kakine that she was annoying as she was " boring and dull". However during the first episode one of her major problems throughout the storyline of this episode was her inability to truly fit in at work. It seems an evidently nuanced point and whilst it is correct to assume perhaps from Pei’s perspective, Kakine is boring as she isn’t cut from the same cloth, it seemed an odd point not to expand upon Kakine’s own feelings and thoughts after this initial interaction. Whilst it is evident that perhaps the series didn’t have enough time to focus upon Kakine’s expanded feelings during this episode, it felt a wasted opportunity not to have used more the to have explored Kakine’s feelings, her previous struggled as well as her desire to make a good cup of coffee after her initial meeting with Aoyama.
Last but not least is evidently our " major antagonist" of the series. Now without giving too much away about the plot, our antagonist has their own personal reasons for standing in Aoyama’s way as well as their own screen time to explore their moments of humanity also. On the other hand their character introduction and build-up felt rushed and lacklustre . Whilst it is understandable that the series wanted to keep us in the dark for as long as possible about their identity, it felt slightly odd that the series didn’t try to foreshadow their character introduction or at least their presence in the series as opposed to a quick " climatic turn of events". As a consequence whilst the first half of the series thrived with strong plot messages and mystery, the second- half( whilst presenting more revelations) did seem to struggle with conveying the same ambience of charisma and strong screenwriting .
So is ‘ Coffee Ikaga Denshou’ actually worth watching? Whilst the acting front is fairly decent ( sans from a few awkward line deliverances) and the drama offers an interesting array of characters, main lead Aoyama undeniably has his own peculiar charm over audiences to keep them watching. Each episode offers the formulaic tale of a new issue or message during the first-half of the series and a melodramatic plot climax and revelation during the final part. The end result of eight episodes stringing out a lacklustre climatic buildup will undeniably leave viewers with mixed feelings.
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Kang Daniel And Chae Soo-Bin Are Reporting For Duty In ‘ Rookie Cops’…
‘ Rookie Cops’ is a sixteen-episode streaming series which has earned intrigue and controversy amongst watchers and drama enthusiasts alike; dispute as a consequence of its limited availability on streaming service Disney Plus, as well as fascination due to its casting choices, setups and characters.
Main female lead Eun-Gang( Chae Soo-bin- ‘ Love In The Moonlight’, ‘ I’m Not A Robot’ and ‘ Where Stars Land’) is a bubbly, optimistic and outspoken individual. Often having felt left out by her parents due to their seeming preferential treatment of her sister Go Mi Gang ( Son So Mang- ‘ Queen Of Mystery 2’, ‘ Mr. Queen’), Eun-Gang has often felt pressured to take up a career which will gain her parents’ respect.
Eun-Gang’s prayers are finally answered when she discovers that her first-love has enrolled in the academy in order to become a police officer. Determined to enter the academy in order to get close to him as well as earn the respect of her parents, Eun Gang seems to be living the dream. However, reality, as Eun-Gang soon discovers, can often be harsh.
Meanwhile the narrative introduces viewers to main male lead and Eun-Gang’s polar opposite, Wi Seung Hyun( Kang Daniel). The level-headed and reserved son of top-ranking officer Wi Ki Yong (Son Chang Min- ‘ My Fair Lady’, ‘ Pride and Prejudice’ and ‘ No Matter What’), Seung-Hyun has felt the need to uphold the reputation of his father, ex officio.
However Seung-Hyun and Eun-Gang’s worlds collide even prior to entering the academy. After an awkward first encounter, Seung-Hyun and Eun-Gang are shocked to bump into one another again at the Korean National Police University.
However as the polar opposite main leads become involved with one another on a gradually frequent basis at the cadet academy, Seung-Hyun, Eun-Gang and their peers soon find themselves facing dilemmas, chasing dreams, and struggling to comprehend feelings on the front line of duty…
‘ Rookie Cops’ is the creation of screenwriter Lee Ha Na. The same writer behind predominantly melodramatic productions such as ‘ Cunning Single Lady’ and ‘ The Time We Were Not In Love’, ‘ Rookie Cops’ attempted to offer viewers the best of both worlds; a lighthearted youth series through Ha Na’s signature vivid tone, as well as a moody cop drama revolving around crime and emotional dilemmas for the main characters.
Admittedly this was necessary to a certain extent for viewers. Despite a noir-style opening, ‘ Rookie Cops’ was heavily invested with giving an introduction to its main leads Eun-Gang and Seung-Hyun, as well as introduce the other key players to the scene.
In particular these reoccurring characters and fellow students of the academy included apathetic as well as studious Ki Ha Na ( Park Yoo Na- ‘ My ID Is Gangnam Beauty’, ‘ SKY Castle’ and ‘ True Beauty’), athletic judo prodigy Kim Tak ( Lee Shin Young- ‘ Crash Landing On You’, ‘ Bite Sisters’ and ‘ How To Buy A Friend’), eccentric yet passionate Woo Joo Young ( Min Do Hee- ‘ Reply 1994’, ‘ My ID Is Gangnam Beauty’ and ‘ Clean With Passion For Now’), sprightly social butterfly Yoo DaeIl ( Park Sung Joon- ‘ Sweet Munchies’ and ‘ Run-On’) as well as amiable student Shin Ah Ri ( Cheon Young Min- ‘ Foolish Mom’, ‘ What’s Up With These Kids!?’ ) and principled youth Seo Beom Joo ( ‘ Voice 2’, ‘ A Piece Of Your Mind’ and ‘ Military Prosecutor Doberman’).
In addition to the students, Professor Cha Yoo Gon ( Kim Sang Ho- ‘ City Hunter’, ‘ Kingdom’ and ‘ Sweet Home’), Professor Bang Hee Sun ( Choi Woo Ri- ‘ Queen In Hyun’s Man’, ‘ Matrimonial Chaos’ and ‘ The Bride Of Habaek’) as well as Dean Kim Soon Young( Seo Yi Sook- ‘ You’re All Surrounded’, ‘ Mother’ and ‘ Hotel Del Luna’) played active roles as the reoccurring members of staff at the University.
Nevertheless it was noticeable that the second-half of ‘ Rookie Cops’ shifted in tone in comparison to the first half ; angst-ridden and with a several surprising plot twists, though admittedly a little inconsistent at times due to quick-paced events.
As mentioned previously, Chae-Soo Bin and Kang Daniel star as the main leads of the series and deliver fairly consistent performances throughout. ( It is admittedly praiseworthy to point out that despite Kang Daniel’s good reputation as a celebrity talent host and soloist, ‘ Rookie Cops’ marked the idol’s first acting debut onscreen.)
As for the main leads’ onscreen romance , Daniel and Soo-Bin’s potential chemistry is admittedly stunted at different stages of the narrative. In the first-half of ‘ Rookie Cops’, shoehorned embarrassing scenarios and encounters were purposefully placed to enforce tension and awkwardness between the main leads onscreen. Yet it’s hard to deny that as plot progress, Daniel and Soo Bin’s onscreen chemistry is admittedly a lot more natural also.
Then there’s the supporting cast. Although there were admittedly several moments of overblown dialogue, the supporting cast delivered fairly solid performances. In particular, Lee Shin Young, Park Yoo Na and venerable actor Kim Sang Ho particularly stood out due to their charisma onscreen.
As mentioned previously, ‘ Rookie Cops’ is divided almost into two-halves by its tonal shift; a fairly easygoing introduction ( aside from its initial opening), gives ways to a darker second-half with several unexpected twists and revelations for viewers.
The first-half of ‘ Rookie Cops’ admittedly downplays a lot of initial tension from the opening, as well as future events to come. Instead, ‘ Rookie Cops’ fixated upon character introductions, early dilemmas for the characters and potential setups, before plunging into the deep-end with a pacy and angst-ridden second-half with varying results .
The tonal shift did help to keep viewers intrigued and intensify the climatic events of the second-half. However, this also caused some drawbacks for ‘ Rookie Cops’ also.
Although some of the intriguing counterplots of the series such as the rocky friendship between Kim Tak and Seung-Hyun, Eun-Gang’s gradual maturation as well as emotive themes such as anger, loss and love as well as focusing upon other subject areas such as corruption, peer pressure and corporal punishment, there were several subplots which were admittedly poorly fleshed-out. For example, Seung-Hyun’s estranged relationship with his father and the escapades of other side characters such as Shin Ah Ri were often disregarded during key moments.
Through the directing lens of ‘ Kim Byung Soo’ ( ‘ Queen In Hyun’s Man’, ‘ A Korean Odyssey’ and ‘ He Is Psychometric’), ‘ Rookie Cops’ is a fairly slick and glossy production.
Admittedly early episodes of the series seemed to place a heavy- budget emphasis upon frequent cut scenes of the academy; with little variance in tone or schemes. However as the second-half dawned upon the series, ‘ Rookie Cops’ took a different approach to filming by helping to captivate through Byung Soo’s leadership, the emotional tones through gradients and palettes of the characters at different times in the series . ( In particular off-whites, golden hues and blues were frequently shown onscreen during key scenes and interactions.)
The OST of ‘ Rookie Cops’ is predominantly composed of a compilation of schmaltzy ballads and pop tracks. Admittedly with some tracks more memorable than others, LUCY’s contemplative and guitar pop track ‘ Police Class’ from OST Part 2, ‘TIME’, an upbeat song performed by singer Kwon Eun Bi from OST Part 4, as well as Kang Daniel’s adrenal-infused tempo song ‘Hush Hush’ featured on the Special OST were surprisingly ear-catching tracks .
The finale of ‘ Rookie Cops’ was admittedly dependent on expectations. Although there was a shocking twist for the audience, the execution of the sudden plot-twist felt admittedly last minute; quickly thrown in to the storyline narrative in order to add edge and surprise , though failing to help impact the characters or the falling action.
Lighthearted, angst-ridden and surprisingly profound at times, ‘ Rookie Cops’ is a series which offered viewers with a lighthearted and sugary coming of age tale, as well as moody crime-drama in parts also. Nevertheless despite some brilliant acting performances and an intriguing setup, ‘ Rookie Cops’ did admittedly suffer slightly under the weight of execution by underdeveloped subplots and several overindulgent tropes. However for those looking for the best of both worlds through both sweet and darker themes, ‘ Rookie Cops’ is a fairly entertaining binge-watch also.
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Ano Toki Kiss Shite; Funny, Romantic And Heartbreaking…
The plot of " Ano Toki Kiss Shite" will not appeal to every viewer out there. Its bizarre premise of kind-hearted Nozomu Momochi ( Matsuzaka Tori) beginning to fall in love with the outgoing mangaka-artist Yuizuki Tomoe ( Aso Kumiko)-even in the body of cantankerous caretaker Tanaka Masao ( Iura Arata)-can be seen as oddly " risky” or " weird " in the eyes of some viewers.
However, anyone who has watched this drama beforehand will agree that these stereotypes are wrongly-placed. At the heart of Toki Kiss Shite is an oddly comical, yet heartwarming romance tale where selfless Nozomu Momochi learns the importance of self-love during his unconventional relationship with Yuizuki Tomoe.
As far as the cast is concerned, ”Ano Toki Kiss Shite" was fairly dynamic. Matsuzaka Tori was fairly brilliant as our softly-spoken and down-to-earth male lead Nozomu Momochi. The actor himself admitted that he was drawn to the role by the funny and unpredictable nature of the storyline especially for our male lead.
Momochi as a written character initially seemed to ring warning bells as the archetypical " easily-manipulated" male lead who would be drawn in as the scapegoat by Tomoe, however, Momochi undeniably has his own fair share of problems. Despite having a heart of gold, he does not believe that he should have greater ambitions due to his dead-end job at the supermarket. His one form of escapism is the work of Tomoe. Momochi’s meeting with the mangaka-artist leads him to developing an unusual relationship with the artist- not " romantic” in the beginning ( as Momochi tries to explain to his gossiping coworkers who believed he was having an affair with her), but soul-connecting.
Admittedly, it would have been more intriguing to have seen Momochi fleshed-out more with individuality. Whilst we find out a lot as viewers about Tomoe, her emotional struggle and her close relationship with her mother, our male lead felt too much of a blank slate. We rarely saw or hear him talk about family , his past or even simply react emotionally outside of the enforced " I love sensei” or a " new problem which makes me moody" routine. Arguably whilst this story is a romance tale about Tomoe and Momochi, it would have helped to deepen this soulmate relationship if we knew more about the second component and of course our main lead Nozomu Momochi.
That issue aside , this " soul-connecting" relationship provides to become more of a reality than truth during the surreal supernatural events of the series. Despite being mentioned briefly beforehand ( though without definitive spoilers towards the entirety of the circumstances) , Momochi finds himself in an awkward position when his idol claims to be possessing the body of Tanaka Masao. Naturally perturbed , Momochi finds himself slightly on edge due to the awkwardness of the situation.
However there is oddly something endearing about Momochi not straying from his original words of wanting to develop a soulful bond with Tomoe. In a more lighthearted scene of the series when visiting a bathhouse, he desperately attempts to protect Tomoe’s “dignity” as a woman surrounded by men ( despite Tomoe’s later fairly forthright comments).
Now, Tomoe is admittedly harder to assess due to respectfully played by a female and a male actor.Whilst Matsuzaka commented that Aso Kumiko was brilliant for the role, the actress herself admitted that she did find the role a little unrealistic, though enjoyably intriguing. On the other hand, Iuta Aruta confessed he was questioning whether to regret taking up the role when he was given the script, however, Aruta joked that there is a first time for everything-not least playing a female heroine for the first time.
Honestly, both actors were equally as brilliant as the other by imitating one another’s mannerisms . As a character, Tomoe is more straightforward. A talented and successful manga-artist of the popular series “SEIKA no Sora”, it would be easy to establish Kumiko as the " spoilt princess" archetype, however, Kumiko’s life has certainly not been entirely comprised of sunshine and rainbows.
Yet whilst talking about our female lead, it is impossible not to mention her complicated relationship with her editor Takamizawa Haruto ( Miura Shohei). Now, here is where mixed feelings will be generated for viewers. Takamizawa is what you’d expect of your " jealous-fuelled” second male lead; infatuated with Tomoe, and desperate to make Momochi’s life a living misery. On the other hand, it didn’t refreshingly make Takamizawa a " bad person” either. A backstory provided a deeper insight into his relationship with Tomoe as well as his later revelations with Momochi provide that out of all of his faults, he truly does love and care for Tomoe.
Perhaps the slightly annoying aspect of Takamizawa and Tomoe’s relationship is to do with the “ unrequited love” ideology. It’s understandable that Tomoe didn’t believe that Takamizawa didn’t have any feelings for him ( especially considering their current relationship), however, it’s hard to understand how Tomoe could remain so blasé at times about having or at least struggling with her feelings even once with Takamizawa. ( Bearing in mind their relationship prior to the events of the series.)
As far as the comedy is concerned, “ Ano Toki Kiss Shite" is a required taste. Some may enjoy the comical sketches between Matsuzaka Tori and Iura Arata , whilst others may feel offended or uncomfortable by the exaggerated actions of Tori and Arata’s "awkward situations " and the stereotype of the " foreigner” with Momochi’s coworker Li Shan Shan ( Uraji Nuno)’s “ misunderstandings” by still trying to grasp the Japanese language . However, against some of the more questionable comical moments of the series, ” Ano Toki Kiss Shite” hits hard with some intriguingly issues about Japanese society- Kumiko is revealed to have been a victim of Japan’s vicious problem of ageism and prejudice when she first applied her work to the publishing agency. In a male- dominated environment, she had to take up the male pseudonym “Kanikama Joe” for her work to succeed. Additionally Tanaka Yutaro ( Kubozuka Airu), Masao and Masao’s wife Tanaka Honami ( MEGUMI)’s familial relationship represent the problematic dysfunctional family in all its glory.
However, the one issue which did feel a little less addressed considering the nature of Momochi and Tomoe’s presented relationship was the missed issue of homosexuality and the LGBT community in Japan. Now, this is arguably where we do go down a bit of a slippery slope as it is undoubtable that Tomoe is still a woman. ( The affections of the pair are taken upon the devoted bond of a fan and mentor also.) However, to the outside world, Tomoe’s affections and closeness in the body of Masao to Momochi certainly presented a different story. Whilst arguably the series did address a certain awkwardness in Japanese society around the issue of same-sex relationships with Takamizawa seeing Tomoe ( evidently in Masao’s body) in the beginning, this felt like a bit of a missed opportunity to present more seriously also. ( Especially considering some of the other poignant themes of the drama.)
So, is “ Ano Toki Kiss Shite” worth watching? Whilst the comedy and plot premise may not be appealing to everyone, ” Ano Toki Kiss Shite" is fundamentally an awkward and heartfelt romance tale of a devoted fan learning to be selfish and pursue his own feelings for Tomoe with an eccentric yet heartwarming supernatural twist.
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