K-Drama 
Is It A ‘Bad And Crazy’ Decision To Watch This Drama?
Crime and action dramas can often a tricky to tackle for screenwriters. Nevertheless screenwriter Kim Sae Bom ( ‘ Uncanny Counter’) and director Yoo Seon Dong ( ‘Uncanny Counter’, ‘ Vampire Prosecutor 2’ ) are able to turn a passé “ buddy cop” premise into an adrenal-kicking ride with Lee Dong Wook and Wi Ha Joon taking front seats.
The storyline focuses upon the titled ‘ Bad’ guy of the series Detective Su-yeol (Lee Dong-wook). Su-Yeol’s original passion and drive to deliver justice has been lost over the years as a consequence of trying to climb up the social ladder. However Su-Yeol is soon hit with some home-truths when he is incessantly haunted by the ‘ Crazy’ and self-proclaimed helmet-wielding " hero" K ( Wi Ha Joon). As the main lead begins to struggle with battling against the mysterious hero fanatic in his daily life, he soon becomes involved in uncovering a greater web of lies and corruption at the heart of justice. Reluctantly he enlists the help of quirky hero K, his ex-girlfriend and witty detective Lee Hee Kyum ( Han Ji Eun) as well as good-natured rookie cop Oh Kyung Tae ( N) in order to bring down a greater threat from the shadows.
It should be clarified that the initial plot setup of “ corrupt cop becomes good again” isn’t an inherently new or exciting concept to K-dramas. Nevertheless, Kim Sae Bom was willing to add a retro flare to the narrative through the action escapades of K and Su-Yeol facing against bumbling and brutish thugs, convicts and adversaries in weekly episodes.
There’s a fairly comical undertone during many early exchanges between K and Su-Yeol ( without spoilers). Lee Dong Wook and Wi Ha Joon’s onscreen bromance chemistry could admittedly come off as slightly strained under the weight of loose threads in the plot at times, but the jovial bickering between their onscreen counterparts will certainly generate a chuckle or two for audiences. However despite the drama’s coverage of some lighthearted comedy sequences and interactions , Kim Sae Bom was not afraid to delve into darker subject areas also.
Naturally this brings up the discussion of the cast lineup. Venerable actor Kim Dong Wook starred as one of the main star-attractions of the production as Su-Yeol. The veteran actor admittedly did feel slightly typecast to the role of the “stoic and mysterious” archetype once more. However whilst goofy initial charm seemed to define Dong Wook’s character, later complexity surrounding Su-Yeol, truly gave his onscreen persona a definitive edge .
Yet whilst later episodes did present some heartfelt moments to explore vulnerability within the tougher character-build of Su-Yeol, the main lead’s earlier interactions with his family rarely foreshadowed or hinted a buildup towards Su-Yeol’s feelings. Of course , it is important to establish that although screenwriter Sae Bom did slowly develop Su-Yeol from the outset, it could often feel as though elements of his character were rarely fleshed-out with more depth .
Then of course there’s the discussion surrounding “ K”. Played with a daring boyish charm by Wi Ha Joon, “ K” acts as the second mysterious main lead of the series.
Without definitive plot spoilers, it is important for viewers to note that “ K” seemingly embodies everything that Su-Yeol strives not to be ; anarchic, comical, unpredictable and possessing a great hero complex also. Understandably “ K”’s greatest character-drive comes through his developed bond with Su-Yeol. Yet whilst comical ( and often fractious ) interactions between the main leads could be entertaining and sometimes complicated , it often felt as though “K” was rarely given a more serious presence in the storyline . ( Until later events when Kim Sae Bom deemed his character as a necessary plot-device; mysterious but often being used merely to expedite plot.)
Costarring alongside the two main leads was Han Ji Eun as female lead and love interest Lee Hee Kyum. Hee Kyum is an intriguing character with her own reasons and problems and especially due to her “ complicated” relationship with her ex and main male lead Su-Yeol. ( Especially with consideration to her somewhat acrimonious and unexplained breakup.)
On the other hand, whilst Hee Kyum was a necessary asset for the events of the narrative , there was a notable flaw at times with the main female lead; she lacked a definitive edge. Arguably it is noteworthy that Hee-Kyum is fairly resilient in the face of adversity and is quick to stand her ground also. Yet sadly Hee-Kyum rarely had opportunities to be explored outside of necessary plot-line . It was fairly sweet and engaging to witness the unfolding and potentially rekindled flame between the former-lovers onscreen. However, there were many notable aspects of Hee-Kyum’s intriguing backstory ( mentioned only several times as passing references), dreams, familial relationships and reasons for becoming a detective which were often left disregarded throughout the narrative .
Admittedly Lee Hee Kyum wasn’t the only victim of absent character backstory . Second male lead Oh Kyung Tae, a necessary character from the beginning, is dismissed through a “ necessary plot point” from being actively involved in the series. Whist this was arguably crucial to allow the events to unfold, Kim Sae Bom rarely measured opportunities through screen time to “ get to know” a key player in the drama; he’s altruistic, clever and observant but that’s also the problem. Oh Kyung Tae never truly felt as though he was a realistically flawed character.
Other side characters of the storyline included detective Yang Jae-Sun( Cha Si-Won)- Su-Yeol’s loyal work colleague and slight sycophant , shady but knowledgable psychiatrist Yum Geun-Soo( Choi Kwang Je) and the mysterious and unnerving professional psychiatrist Shin Joo-Hyuk( Jung Sung-Il). Whilst these side characters played important roles in various parts of the drama, predictability soon arose ( in parts) for the roles due to the evident writing-setups for these characters .
On this note it is important to bring up the nature of the opposing forces of the narrative. Admittedly ‘ Bad And Crazy’ never truly established an “ overarching” antagonist per say until later events of the storyline . Whilst the series did gradually veer towards having a final “ threat” during end events, the storyline instead placed multiple adversaries for the main lead such as corrupt politician Assemblyman Do Yu Gon ( Lim Ki Hong), the big kahuna of a drug gang Boss Yong ( Kim Hieora)and her right-hand man Andrei Kang ( Won Hye Joon) as potential “ red herrings”. Whilst these side characters did play their necessary role within the events of the narrative and help to buildup to the finale, the ending admittedly felt somewhat anticlimactic as a result of rarely presenting these antagonists with more profound character-qualities.
Admittedly ‘ Bad And Crazy’ was a slight anomaly when it boiled down to pacing . Whilst some dramas can notably suffer from the classic problem of possessing strong beginnings and weak endings, ‘ Bad And Crazy’ presented the opposite: a weaker beginning notably gave rise to a lighthearted introduction to characters, whilst the second-half focused heavily upon crucial details of plot and heavier topics.
Whilst this wasn’t necessarily bad per say and did allow for audiences to establish the key players of the drama, tedious pacing during early conflicted dilemmas for the characters contrasted by quick-paced action scenes during fights, often rarely allowed golden-opportunities to delve deeper into the ins and outs of the storyline. As a consequence, the ending is admittedly dependent upon expectations; some may enjoy the final events of the series with satisfaction , whilst others may feel disappointed and letdown by the final result.
Then of course there’s the discussion surrounding Yoo Seon Dong’s filming. Whilst Seon Dong could captivate a certain ineffable charm under his directing reigns with fast-paced action sequences and chases, Seong Dong’s camera work could often be amateurish at times also. Admittedly this isn’t entirely the fault of the director per say. The addition of pacy editing and cut scenes in order to make up for the usage of sloppy fight scene choreography and punches highlighted mixed-results throughout the camera work. On the other hand, the OST did often help to draw attention away from these scenes through an eclectic mix of generic instrumentals and unpredictable tempos - in particular ‘ Bad and Crazy’’s EDM opening song helped to capture the adrenal-infused mania and atmosphere for anyone willing to stay along for the ride.
Overall, ‘ Bad And Crazy’ is a series which felt somewhat shoehorned at times by plot, characters and pacing. Nevertheless whilst predictable and niche at times , the twelve-episode series was surprisingly delightful in parts with a pacy narrative allowing opportunities for viewers to become intrigued within some of the drama’s touching depictions of its main characters. Fast, thrilling and not without its rougher edges, ‘ Bad And Crazy’ will perhaps not serve as one of Lee Dong Wook and Wi Ha Joon’s best performances to date for some watchers , but it certainly can offer an adrenal-infused binge-watch for those intrigued from beginning to end.
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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?
The Beauty Of ‘Extraordinary Attorney Woo’…
“My name is Woo Young-woo, as in flower and luck. It means a lucky charm as pretty as flowers. But perhaps Young-woo as in clever and foolish would’ve been a better fit. Woo Young-woo, who remembers every single book she’s read since birth but can’t even go through a revolving door. Clever and foolish Woo Young-woo.” - Woo Young Woo ( Park Eun Bin).
Legal romance drama ‘ Extraordinary Attorney Woo’ attempted to make some big steps in the world of procedural dramas with a positive representation of autism and some complicated legal cases. However while the sixteen-episode series certainly soared far and high with its subject, plot and acting performances, it certainly had a few issues along the way also.
Extraordinary Attorney Woo’ is mainly focused upon upcoming law attorney Woo Young-woo (Park Eun-bin- ‘ Operation Proposal’, ‘ Do You Like Brahms?’ and ‘ The King’s Affection’) at Hanbada Law Firm. An intelligent and top-achieving law graduate from Seoul National University, Young Woo finds it hard to navigate her way through social and emotional situations due to being on the autism spectrum. Struggling with earning respect from those in the law profession as well as clients, Young Woo’s journey to make it to the top is far from easy or straightforward. However, with the surprising support and camaraderie of fellow coworker and young lawyer Lee Joon Ho ( Kang Tae-oh- ‘ My First First Love’, ‘ Doom At Your Service’ and ‘ Run On), Young-Woo is determined to continue persevering and to overcome social prejudices.
Probably best known for ‘ Innocent Witness’, screenwriter Moon Ji Won is likely not a familiar name for many K-drama watchers. Nevertheless, there is a lot to talk about when it comes to Ji Won’s writing decisions as well as subject matters. At heart, ‘ Extraordinary Attorney Woo’ is a fairly lighthearted watch. Of course, this isn’t to say the series isn’t afraid to delve into some deeper issues. (Screenwriter Ji Won was fairly open about addressing topics such as stigmatisation, assault and crime to name just a few.) However , it is important to acknowledge that ‘ Extraordinary Attorney Woo’ doesn’t expect or require viewers to have in-depth knowledge about everything addressed. Instead, ‘ Extraordinary Attorney Woo’ is a procedural drama with a big heart and attempted to remain fairly accessible to a wide audience .
It is infectiously feel good ( if not a little tiresomely at times),comical as well as surprisingly touching with its open address of real-life issues.Nevertheless, the show does admittedly run into trouble in a few moments with accurate depiction and has divided some viewers over its “factual” representation. ( Especially with regards to the portrayal of autism throughout the course of the series.)
Delving into ‘ Extraordinary Attorney Woo’ would not be complete without talking about the title namesake and main female lead, Woo Young-Woo. Played brilliantly by actress Park Eun Bin, Woo Young-Woo is a character who could’ve easily gone of one of two ways. Young-Woo is shown to be a quirky individual. She has a complete obsession and fascination with aquatic mammals ( especially whales) and has a meticulous routine with the order of things in her bedroom, as well as partaking in eating her father Woo Gwang-ho (Jeon Bae-su)’s carefully prepared kimbap on a fairly daily basis. However as the plot premise would suggest with Young Woo’s new profession, one of the female lead’s major growth points comes through having to acknowledge that real-life can rarely be so structured.
The motif of whales in the opening and ending credits, their symbolism on objects as well as passing dialogue at times by Young-Woo can often be said to wonderfully coincide with Young Woo’s character growth and journey. ( Whales are symbols of extraordinariness, strength as well as change; traits that perfectly epitomised Young-Woo’s personal journey .)
Additionally, there were moments in ‘ Extraordinary Young Woo’ which could feel a little frustrating with little frustrating to see Young Woo having taken one step forwards and one step back at times. Although in retrospect, it did help to add a touch of realism to Young Woo’s personal struggles. ( One of the most heart-wrenching moments of the series occurred when Ji-Woo openly spoke out about social stigmas held against those with autism; “ Even now, hundreds of people click the like button on a comment that says, ‘It is a national loss if a medical student dies, and an autistic person lives.’ That is the weight of this disability that we bear.” ) As mentioned previously, her autism is admittedly a topic of debate for a lot of viewers with regards to its accuracy but regardless of opinion, it seemed as though Moon Ji Won’s depiction of an autistic and successful female lead was well-intentioned.
Then of course there’s the discussion surrounding her surprising ally and coworker Lee Joon Ho, played fairly consistently by actor Kang Tae Oh. Lee Joon Ho is what many viewers would define as the “ nice guy” archetype; sweet and a good person to have in the female lead’s corner as well as a potential love interest for the writing of the show but a little staid at times also.Of course, this is certainly not a bad writing decision per say. He was fairly supportive, kindhearted, had his own struggles at times as well as remaining non-judgemental when it came to first meeting Young Woo and learning of her autism, instead valuing personhood rather than her disability. ( “I want to be on the same side as you, Attorney Woo. I want an attorney like you to be on my side.”)
However considering Joon Ho’s relevance in the storyline as well as the focus on empathy throughout the series , it felt odd that the narrative didn’t delve slightly deeper into some of these writing traits. Aside from that, his potential romantic relationship with Young Woo was admittedly a subject of debate for a lot of viewers. Although some saw this as a positive and healthy relationship as well as a good message put across for autistic characters to have love interests, others have noted that the potential relationship seemed a little enforced and took away somewhat from the initial camaraderie between the main leads.
In addition to the main leads, ‘ Extraordinary Attorney Woo’ boasts an eclectic group of side characters also. Woo Gwang-ho, played by Jeon Bae-su, was a surprisingly heartwarming side character as Young Woo’s single father, senior attorney at Hanbada, Jung Myung-seok ( Kang Ki Young) was Young Woo’s stern boss and mentor, Choi Su-yeon ( Ha Yoon-kyung), played the role as the female lead’s coworker and her former classmate at law school, Han Seon-young ( Baek Ji Won) was the CEO of Hanbada law firm and her father’s old friend from university, Kwon Min-soo ( Joo Jong-hyuk), Young Woo’s peer at work, and Dong Geu-ra-mi ( Joo Hyun-young), Woo Young’s close friend and associate.
The narrative of the series unsurprisingly takes an episodic format; a situation or dilemma case is presented to the characters and the audience, Young Woo’s approach or reaction to a situation is often seen as unconventional or comes under scrutiny by those around her, Young Woo is forced to work hard to prove her approach is okay, and then she is forced to confront or resolve the issue or dilemma of the episode, often resulting in a bittersweet outcome or a surprising turn of events.
Perhaps the one problem with the narrative structure came through feeling a little predictable and repetitive at times. Early episodes rarely fell into this trap but later episodes did noticeably begin to heavily rely on niche tropes which while having the possibility to be intriguing in the frame of ‘ Extraordinary Attorney Woo’, were often slightly niche. ( Cliches such as the “ traumatic backstory”, an “ envious antagonist” and the “ enemies to lovers” being noticeable in particular.)
Stylistically under the directing reigns of Yoo In Shik, ‘ Extraordinary Attorney Woo’ was a fairly slick and glossy production. The palette scheme was multifaceted; ranging and varying from scene to scene and heavily dependent on changing mood, tone and atmosphere. Although this was a fairly standard approach, it certainly did often help to animate scenes to life for viewers. (Standout examples include the ever-changing neutrals of the law firm feeling warm or harsh, the friendly and comforting tones of Young Woo’s family home and the use of rain, sunshine or nighttime background to reflect the feelings and emotions of the characters.)
The comprised OST for ‘ Extraordinary Attorney Woo’ was typically upbeat and lighthearted. A few of these tracks often bordered on being overly chirpy while others were bittersweet and serenading. Admittedly there were a few songs throughout the sounds track which did feel a little indistinguishable from one another but this was also dependent on personal taste. However, there were some songs such as Beyond My Dreams" (상상) by Sunwoojunga and “Tuning In To You" (기울이면) by Wonstein which did stand out.
‘ My Extraordinary Attorney Woo’ is a procedural series filled to the brim with heartfelt moments and empathy. Naturally the series did have its ups and downs ( especially in the latter part of the drama), but the main cast were fairly consistent throughout with their onscreen acting . (Especially actress Park Eun Bin). Overall, a fairly good watch though a little rough around the edges.
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A Wasted Journey Down The Rabbit Hole...
Filmed by director Baek Soo Chan ( A Girl Who Sees Smells, Reunited Worlds ), written with a fairly, fresh unique storyline by Kim Kyu-Won and having brilliant casting choices of Joo Won ( Bridal Mask, Good Doctor), Kim Hee Seon (Room No.9, Angry Mom) and Choi Won Young ( Sky Castle, I Remember You and Mystic Pop- Up Bar) , Alice truly had all the given possibilities of being an avant- garde masterpiece.So, what went wrong with such a good show? Well, it would seem that there were a couple contributing factors for the show’s own demise, not least; characterisation, inconsistent plot and lacking dramatic tension.
To give the show some credit, the beginning did build- up a lot of intriguing plot for viewers; a nearly apathetic detective ( Joo Won) who after witnessing the death of his mother nearly ten years ago, is confronted with the past and the future with the mysterious meeting of his mother’s doppelgänger , a physicist interested in time travel, and apparent time travellers from the future who may have played a part in the death of his mother . Yet, one thing which did grow slightly apparent about this show from episode one, was the lack of creativity with cinematography, something which for a show about time travel ( apart from the old “freeze in time” scenes), there was little added to express this.
Additionally, a lot of drama watchers that I’ve talked to about this show, have seemed to sugarcoat a lot of the inconsistencies which began arising the beginning of this drama ( not least the exact extent of the laws of time travel and the strength of Gyeom’s powers), however, it can perhaps be overlooked slightly in the beginning with the abilities of our acting cast ( well, to an extent). As per usual, Joo Won was brilliant within his portrayal as an intelligent detective yearning for the truth behind his mother’s death. In fact, there is little to really fault about Joo Won in his portrayal, but, rather how the scriptwriters decided to continue onwards with Joo Won’s character, Park Jin Gyeom. There were a lot of moments which the scriptwriters didn’t even try to explain to us as viewers; Gyeom’s random emotional outbursts as someone apparently apathetic( yet his lacking emotional relationships even with the possibilities that could have been explored with his own father ), his lacking intelligence within moments in the show ( such as his inability to draw the conclusions of a simple DNA test with his mother’s doppelgänger)and of course the exact extent of his powers; something not explained even by the confusing ending of the drama and Gyeom’s character twist ( equally making little sense in regards to Gyeom as a character or the exact reasons behind his actions).
En par with Joo Won as an equal , undeniably was Kim Hee Seon. Whilst I’ll be honest in saying that I had to watch a couple of clips from older dramas/ movies to know her past works, Hee Seon was certainly was well-cast within her dual role in the drama. Whilst Joo Won also had to conflict between playing a younger and older- self of his character in the series, Hee Seon had to go one step further in the more complicated matter of playing two carbon copy characters with ( though not specified)presumably different ages and personalities. This is a hard feat for any actor, and it’s fair to say that it was believable upon Hee Seon being two different people here; a mother/time traveller and, of course a young and intelligent scientist . Sadly in a similar manner to Jin Gyeom as a character, there were too many plot holes associated with both Yoon Tae-Yis. Whilst the show offered some explanation towards how these two characters are identical copies of the other, there was little rational or plot build- up for viewers to this moment, in a similar manner to the emotional context of whether Doctor Yoon played a part in the discovery of the agency as a consequence of her works, her questioning intelligence and the revelation of her emotional trauma seemed to not truly flesh her out as a character at all in the drama . (This also adds on a side note, what exactly happened to the Book that the characters stressed as important by episode 16, seemingly disappearing from the storyline until last minute.) Then of course there’s the additional “ platonic, yet mutual feelings angle” the drama took between the relationships of Jin Gyeom and Doctor Yoon. Whilst to an extent it was easy to understand where Yoon’s misunderstandings came from before learning more about Gyeom , Jin Gyeom’s own misleading assertions towards Yoon being somehow linked to his mother, took the show on a slightly disturbing ( though thankfully only suggested) factor when considering that Doctor Yoon is still identical to his mother.
Thankfully, the show didn’t extend too much into this near-incest relationship, but, it is noticeable in later episodes how the driving action of the plot drives to a near halt in order to focus on their “ affectionate” relationship rather than actual plot development like earlier episodes . However, in order to appeal for viewers, the writers did attempt to present a love interest for Gin Yeom through the introduction of Lee Da-In as Kim- Do Yeon. Whilst Da-In certainly wasn’t awful within her portrayal, her character was simply unnecessary to the plot; She had no character development and most importantly, no actual contribution to the plot as well.
On a more positive note , Kwak Si-Yang’s performance as Yoo Min- Hyuk , a time- traveller and agent for Alice , was brilliantly angst-ridden, adding to some complex and emotionally- driven scenes between his character’s horror and realisation with his actions after he finds out a shocking truth. Although undeniably Min- Hyuk probably had some of the best ( and possibly only ) decent characterisation in the show on his road to redemption with Gin Yeom, the scriptwriters didn’t give Min- Hyuk any justice as a character. This is something which felt quite detached both emotionally for viewers and the scriptwriter, with the decision for the relationship between Min Hyuk and Gin Yeom to be carried out with little build-up or development, apart from the cycle of Gyeom being weary of Min Hyuk, beating him up and repeat. ( For viewers who know this secret, I am sure that you can agree with me that the ending which could have been emotionally touching, completely killed this relationship with little sense considering Gyeom’s reaction.). Additionally, of course, Kim Sang Ho and Choi Won Young’s roles on the sideline added some emotional angst and sincere questions throughout the drama through their performances .
Overall, Alice had a lot of intriguing premises and ideas, and a fairly good cast yet, lacking characterisation, inconsistent plot and a rushed ending with little sensical plot ( especially regarding the laws of time ) and emotional deliverance, added to the wasted potential for a good show by becoming dire .
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Is ‘ Don’t Lie, Rahee’ Actually Worth Watching?
Produced as an original miniseries by Naver TV Cast, ‘ Don’t Lie, Rahee’ ( ‘돈 라이 라희’) is a fairly lighthearted yet niche setup with an abundance predictable cliches along the way.
The series focuses upon the titular female lead and influencer Noh Ra Hee ( Kim Na Hyun). Despite having other 100,000 subscribers and a popular image, Ra Hee struggles to maintain her perfectionism . Instead Ra Hee has turned to fabricating a web of lies in order to boost her influencer persona. However when a particular lie leads her to running into childhood friend and her first love Seol Ho-won ( Kim Ji Woong), Ra Hee finds it even harder to keep her hidden secrets …
‘ Don’t Lie, Rahee’ is notably a simplistic and lighthearted concept. Whilst the series was surprisingly compacted into its short duration time of four episodes, this did admittedly present a double-edged sword. A shorter and easygoing setup allowed the miniseries’ narrative to be expedited and wrapped up quickly, but it also highlighted a major dilemma also; there was no real sense of impending doom or growth ( even in a short space of time) for the characters.
It is important to reiterate that ‘ Don’t Lie, Rahee’’s storyline and execution was limited from the outset with only four episodes . On the other hand whilst extended time can be a contributing factor towards writing a detailed and well-executed plot, certain short stories and mini dramas have proven time and time again that writing and the usage of plot is key also.
One of the most notable things about ‘ Don’t Lie, Rahee’ is that even in a very short space of time, the series often struggled with trying to buildup the dilemma surrounding Rahee. Of course this isn’t to say it wasn’t apparent from the outset or nonexistent but aside from some cutesy exchanges between Ho-Won and Rahee onscreen, a multitude of selfies taken by Rahee, or a heart to heart chat with Rahee’s close friend Go Min-yeong ( Choi Yeon Soo), it was hard to really pinpoint precise moments ( aside from the final episode) when the storyline really permitted a climatic build or sense of unease for the audience.
The acting of the miniseries is admittedly decent enough. There were admittedlt a few abrupt moments of awkwardly delivered dialogue and interactions but the main cast, specifically Kim Na Hyun and Kim Ji Woong, were certainly charming enough.
Former SONAMOO member and actress Kim Na Hyun ( ‘ The Miracle’, ‘ Café Kilimanjaro’) played main female lead Noh Ha Ree.
As a character, Ra Hee is fairly hard for audiences to warm up to. Initially whilst she is supposed to be haughty, fractious and evidently flawed through her multiple shared falsehoods, it was difficult to really feel pity for Ra Hee during seemingly sympathetic moments in the final part.
Perhaps one of the key reasons for viewers feeling somewhat disengaged from this seemingly “ quintessential” character came through the fact that there were few redeeming moments or even opportunities to see past Ra Hee’s false pretences early on.
Of course throughout the narrative, we are supposed to see Ra Hee “ grow” by her rekindled feelings for Ho-won as well as her confession in the final course of the narrative. On the other hand whilst this did resonate a certain sympathetic tone with audiences, it was hard to really grasp how Ra Hee truly matured or developed as a character, or at least painted in a more sympathetic light early on by foreshadowing or trying to build up her storyline subtly more even in a short space of time.
Costarring alongside Kim Na Hyun was idol-actor Kim Ji Woong ( ‘ The Sweet Blood’, ‘ Kissable Lips’) as leading man Seol Ho-Won.
Reserved, slightly brooding, good-looking and altruistic, Ho-Woon embodied all of the stereotypical tropes surrounding a main lead and a potential love interest with differing results. Whilst is arguable that Ho-Woon was a a necessary component for the events of storyline and for Ra Hee’s character , Ho-Woon was a shoehorned archetype. He was kindhearted and sweet but aside from his ambivalent feelings for Ra Hee and helping her in different ways, Ho Woon rarely had prominent flaws or at least notable drives as a character. Instead Ho Woon came across as a carte blanche main male lead; necessary for keeping the plot afloat, but rarely sticking out as a sentient or driven character.
On the other hand it is undeniable that the chemistry between lead actors Kim Na Hyun and Kim Ji Woong was prominent throughout the short series. Despite some limited dialogue and situations, Na Hyun and Ji Woong were able to power through with surprisingly natural and coherent chemistry from beginning to end.
The quality of production and filming is admittedly to be expected for a miniseries. ( Although notably slightly glossier than some productions due to the corporate funding by Naver.) It’s slightly limited by settings and quality of camera angles and gradients in parts, but certainly not bad either.
Overall ‘ Don’t Lie, Rahee’ truly epitomizes a “ binge-watch” miniseries; shortly compacted into less than twenty minute episodes and easy enough to watch in one sitting. The acting is solid enough and whilst there were a few questionable moments, the chemistry between our main leads was surprisingly dynamic. The storyline is limited by certain elements of writing, execution and buildup, but did offer enough opportunities in for those willing to disengage and embark into a lighthearted and fluffy viewing session.
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“Spellbounding” Performances...
“ The Witch Part 1 ; Subversion” (2018) has been sitting on my “ To Watch List” for the past year or so , yet , I could never quite find the right opportunity to properly see it. By chance a couple of weeks ago, however, I finally had the opportunity to sit down and watch it properly, when a film channel in my country was airing the movie late one night .Having always been quite a big fan of Korean revenge thrillers and horror movies such as Oldboy (2003) and The Tale of Two Sisters (2003), “ The Witch Part 1; Subversion” lived beyond my expectations with an actually intriguing and grappling storyline by screenwriter/ director Park Hoon Young. This is because whilst the movie was brilliantly focused upon bloodthirsty violence, there was a good amount of time to see and understand our main female lead Ja Yoon ( Kim Da-Mi) through her interactions , as well as fairly difficult themes being tackled such as mortality, dementia and illness being shown throughout the movie as well.
On the other hand, I must admit that it did take me awhile to recognise that Ja- Yoon was being played by the same Kim Da-Mi from Itaewon Class , due to appearing strikingly younger without the makeup or hair dye. Yet as Da-Mi has proven before during her performances , she doesn’t merely act and her role here is no exception . In the movie, Da- Mi truly stepped into her character and her performance as Ja-Yoon; a seemingly naïve and talented schoolgirl with a secret which becomes more intricate as the duration of the film progresses .
Another immediate note of praise must be given to Da-Mi’s costar Choi Woo Shik. Admittedly, Woo Shik has always been under my radar as a good actor for awhile after seeing his lesser-known and brilliant performance as the seemingly innocent Male lead in Hogu’s Love and then his diverse roles across several Asian films and movies. Woo Shik’s role in “ The Witch” is no exception as the sardonic, near-psychopathic and ruthless physic
(referred to only as “ Nobleman” during the ending credits), determined to destroy any sense of Ja-Yoon’s normality by revealing her hidden secrets. Naturally Jo Min Soo and Park Hee Soon cannot be forgotten by animating the movie with being the seeming mysterious antagonists, Dr Baek and Mr Choi , and the underrated role by Da Eun as the mysterious accomplice of Woo Shik’s character, certainly shouldn’t be overlooked as well.
Yet whilst the movie was undeniably brilliant by its transition from a seeming teenage comedy to horror over the gradual halfway point of the film, “ The Witch” was undeniably flawed from its lacking sense of greater purpose with its cliches. That’s not to say that these cliches didn’t add anything to the characters or storylines, however, there seemed to be too many loose ends with some of these flaws meaning that it took away a lot time from intriguing focus and the actions the storyline.
Overall the Witch; Subversion Part 1( 2018) wasn’t completely flawless ( from cliches that have been seen and done before to arguably some shakier performances by Go Mi Shi), however, the film was filled with an intriguing storyline, action and fairly spellbinding performances by the majority of the cast ( particularly Da-Mi and Woo- Shik) and definitely worth a watch.
Although Woo- Shik will be a sad loss to not being the sequel, so long as Park Hoon Jung maintains the quality of screenwriting , Part 2 will be equally brilliant with the added performances of Jin Goo, Park Eun Bun and Lee Jong Suk appearing in the next part.
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Undeniably, Seo Kang Joon truly stole the show within his dual performance as callous hearted businessman Nam Shin, and of course our loveable and naive robot main lead Nam Shin III. Whilst most actors struggle to make subtle assertions for audiences when they are playing dual characters, it was intriguing to note from expressions and body language, the evident difference between human and robot Nam Shin. For audiences, it truly felt as though we were watching two different actors onscreen with Joon’s effortless transition from naive Nam Shin III in one scene with his bodyguard , friend and later love interest Kang So Bong (Gong Seung Yeon) to the sardonic and cynical Shin in the next moment.
Seo Kang Joon was naturally asset to his brilliant persona as both Shins in the series, however, it was also thanks to the fairly well-written characterisation of screenwriter Jo Jung Joo that allowed Joon to fully innovate his acting skills and array of emotions onscreen. As audiences, we are supposed to note the clear differences between both Shins as characters and our sentiments towards them. The human Nam Shin is put forwards to be cynical, selfish and aloof, whilst ironically the robot Nam Shin III maintains a benign sense of innocence and altruism throughout the series. Whilst it did feel a little enforced for us to stereotype human Nam Shin as “ the one we aren’t supposed to like” and Nam Shin III as the “ favourable hero”, it was surprisingly well-tackled how screenwriter Jung Joo subverted from this obvious “ black and white” framing by slowly explaining previous flashbacks and its foregrounding behind the personality split of our two characters.
Without spoiling too much for viewers, the human Nam Shin isn’t intrinsically someone who is intrinsically “ evil”, ( though certainly not a virtuous figure either ) but an individual trying to retract from years of emotional and psychological neglect by both his parents. From a young age, Nam Shin has been forced to grow up fast by being wary of others ( thus Lee Joon Hyuk’s character Ji Young Hoon being one of the few friends that Nam Shin has in the show) and having his innocence and naivety stripped away from him at such a young age.
In contrast Nam Shin III was built upon the memories of the “ innocent” Shin by his mother and scientist Oh Ro Ra ( Kim Sung Ryun). Shin III was brought up in a complicated, yet fairly familial environment by Ro Ra and her scientific partner David ( Choi Deok Moon) with a sense of emotional stability and respect kept between the trio. This is what makes Shin III an oddly likeable, and heartwarming character; he grows to develop his own individualistic core, free from machinery and wires unlike many of the “ humans” in the series based upon his emotional and human experiences. It is because of this that the human Nam Shin gradually grows to detest Nam Shin III; his machine counterpart that still reflects a life that he never had of innocence and being loved openly by his mother.
The relationship and obstacles which occurred between both Nam Shins was easily the tour de force of the series, however, a notable problem which did arise within the portrayal can probably be found in a later and hard-hitting plot twist for both characters. Although it does notably effect Nam Shin III more based upon his circumstances, it felt a little lacklustre in the grand scheme of the show to not consider Nam Shin’s own reaction towards this news in more emotional manner by allowing us viewers to get rid of the previous barricades or isolation around him and actually allows us to see him as an individual, rather than a plot mechanism.
On the other hand, it is important to not forget the brilliance of Gong Seung Yeon’s role as Shin’s bodyguard So Bong. Although arguably a little less in the limelight due to her simplistic role in manner of speaking as the “ love interest” of the series, Seung Yeon was able to capture something truly brilliant within her development of body language and general ambiance around Nam Shin III. As a character, So Bong is used as the archetype of the “ fearless female lead” and for a major proportion of the series, screenwriter Jung Joo plays upon this role for So Bong for all it’s worth.However, there was something oddly heartwarming behind So Bong as a character and her growth at times throughout the series. Initially starting as dishonest and an opportunist, So Bong’s relationship with Nam Shin III is intricately complicated, yet oddly allows us her to reveal her true self as a kind-hearted advocate of the robot. Additionally it was certainly refreshing that So Bong did not fall for the cliche trick in K-dramas of being in a love triangle with human Nam Shin, even notably accepting the fact that regardless of whether Nam Shin and Nam Shin III were identical, she’d always hold more faith in Nam Shin III due to his purer principles.
Naturally this does draw us onto whether the relationship between a robot and human was too problematic within its promiscuous undertones, or notably heart-rendering within this series. Whilst it does draw in some ethical questions which did feel a little glossed at times within the drama , the relationship between So Bong and Nam Shin was fundamentally the ideology of “ boundless love” for both characters, as well as surprisingly well-developed with the ridiculousness of the setup . It was refreshing for once that the two love interests were given time to actually develop a bond as friends before moving on with their relationship. Fundamentally, whilst the romance factor could have fallen into the trap of becoming an unnecessary quality in the series of interesting science-fiction elements and high budget CGI , it instead helped the strength the bonds and character development between the two main lead’s overall.
However, despite being enjoyable, the series was not flawless within its execution; minor plot inconsistencies became apparent in the storyline, and for those with analytical minds, it may appear additionally frustrating that the characters do not evidently address the elephants in the room of these evident mounting problems arising into their view and refusing to do anything for the sake of “ plot development” in the storyline . Nevertheless, the final ending of ‘ Are You Human Too?’ was surprisingly bittersweet for audiences, with an intriguing ending scene which was purposefully symbolic .
Therefore it is undeniable to probably take away that ‘ Are You Human Too?’ did have a brilliant premise, undeniably brilliant CGI which did not undermine the more serious moments of the series and fairly decent characterisation as well. In terms of acting, Seo Kang Joon was certainly fairly brilliant ( alongside his costar Seung Yeon), in his dual role as Nam Shin III/ Nam Shin with an ability to beguile audiences through both of his performances.Yet whilst it would be fun to claim that all the acting and characterisation in the show was top-notch, there were a couple of notably questioning moments and cliche story-writing, not least through Park Hwan Nee’s role as Shin’s fiancée Seo Ya Na and the moustache-twirling “threat” of the series, Seo Jong Gil ( Yoo Oh Sung) and plot inconsistencies to be wary of. On the other hand, there’s no denying that overall ‘ Are You Human Too?’ was a well-written romance and as science-fiction and fantasy drama, which is certainly worth watching as an escape from ordinary conventions.
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A ‘ Door’ Into The Realm of Disappointment…
Based upon the eponymous novel by Robert A. Heinlein, ‘ The Door Into Summer’ ( alternatively known as ‘ Natsu e no Tobira: Kimi no Iru Mirai e’ or ‘ 夏への扉 キミのいる未来へ’) seemed to initially offer viewers an intriguing premise under the directing reigns of Takahiro Miki and the writing of Kanno Tomoe.
However despite the movie’s impressive plot premise and the casting choice of renowned actor Kento Yamazaki ( ‘ Orange’, ‘ Alice In Borderland’, ‘ Death Note’), ‘ The Door Into Summer’ soon suffered greatly under the aimless direction of plot holes, lacklustre genre exploration, character and plot growth as well as pacing also.
The movie initially focuses upon young scientist Takakura Soichiro ( Kento Yamazaki). Trying to complete the research of his late paternal and mentor figure Matsushita Kazuto ( Hidekazu Mashima) upon plasma research in 1995, Soichiro’s plans are scuppered when he’s betrayed from the shadows and loses control over his research . With no other options, Soichiro is subdued into a cryogenic chamber. Waking up nearly thirty years later in 2025, Soichiro discovers that the world has changed significantly as he desperately tries to find a way back to 1995…
Perhaps one of ‘ The Door Into Summer’’s greatest downfalls and arguable strengths came through its emotive moments. Admittedly it isn’t out of a question for the science-fiction genre to explore and widen the scope of expectations with presenting the emotional conflicts and struggles of humanity. In particular one of the most heartfelt moments of ‘ The Door Into Summer’ came through Soichiro’s relationship initially in 1995 with his adopted feline friend Pete and being able to relate to his cat’s emotional struggles. In the latter-part of the series this relationship was replaced by Soichiro’s android friend PETE ( Fujiki Naohito); one of the few characters who could offer viewers surprising comic relief and emotional complexity at times also .
Nevertheless ‘ The Door Into Summer’ was a storyline that was supposedly focused upon elements of time travel and pseudo-science. However whilst the lingering presence of humanoid robots and time travel are intriguing plot hooks for viewers, Kanno Tomoe’s screenplay greatly struggled under the cataclysmic weight of plot inconsistencies and lacklustre loopholes as well as logic .
One of the major problems of Tomoe’s world-building and “factual “ science came through its lacking and quintessential presence in the main events of the storyline. Perhaps the major source of the problem can be found that ‘ The Door Into Summer’ was heavily dominated by its emotional aspects. However rather than using this as an opportunity to explore characters or even widely offer an edge of complexity towards Soichiro, Kanno Tomoe ladened the narrative in parts upon Soichiro’s insipid, potential romantic relationship with main female lead Matsushita Riko ( Kiyohara Kara).
This was a notable flaw throughout Miki’s movie; there was rarely a sense of plot. Seemingly quintessential characters and events were rarely developed and whilst the movie did attempt to present a gradual “ villain” , ‘ The Door Into Summer’ could often feel aimless and directionless within its messaging and plot development. In particular the ending of the movie notably presented the outcome of the plot’s aimless narrative with an anticlimactic and lacklustre conclusion.
In addition to this there’s also the issue of the lacking opportunities to really flesh-out characters and in particular the main male lead of the series. For a a main character who is supposedly constantly looking towards advancement , Soichiro’s uninspiring and tailored reaction towards the near-future, technology and the world around him felt somewhat regimented rather than befitting for his seeming character archetype.
The acting of the series was admittedly a slight mixed-bag. Kento Yamazaki’s role as Soichiro was admittedly somewhat uninspiring with certain line deliverances feeling enforced. The supporting cast such as Matsuhhita Riko played by Kiyohara Kara and Natsuko as Shiraishi Rin in particular were decent enough with their performances but rarely brought forwards a dynamic charm due to limited screenwriting opportunities. Perhaps one of the few standout performances of ‘ The Door Into Summer’ was Fujiki Naohito as PETE but due to limited dialogue and depth opportunities, Naohito was rarely a wider scope to exploring his onscreen persona with tact.
Perhaps one of the few saving graces of ‘ The Door Into Summer’ under the directing reigns of Takahiro Miki came through the movie’s impressive and glossy CGI, cinematography, slick shots and fuzzy retro and nostalgia shoots also. Although admittedly a somewhat generic approach with certain filming techniques, Miki did help to captivate a certain aesthetic throughout the filming of the series. The OST of the series was slightly dull in comparison to the slick shots of the movies; synchronic in parts, but rarely giving viewers an opportunity to feel the emotional weight and impact of scenes either.
Overall ‘ The Door Into Summer’ is a film which whilst boasting some impressive filming shots, scenery, CGI and some familiar faces, often felt heavily burdened by its writing. The elements of science-fiction present within the narrative of the film are approached tactlessly with aimless plot motivations rarely giving further insight into the growth of characters or tension either. The ending of the series will likely offer viewers with a final admittance of the narrative’s disappointing deliverance despite its unlimited potential.
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Well, I Certainly Won’t Be “ Hiccuping ” To Say That This Drama Has Its Flaws...
With numerous reviews over the years upon the drama, it wouldn’t be surprising if this review easily becomes disregarded amongst others. Nevertheless, it’s important to give an honest and objective verdict on whether “ Pinnochio” still lives up to its legacy as a “ good” series , or is overrated for what its worth.
Pinocchio tells the story a man ( Lee Jong Suk) whose life was devastated by corrupt reporters. Seeking revenge since childhood, he takes up another identity as “ Dal Po” ; the deceased son of an old man suffering from denial and mental illness called Choi Gong Pil ( Byun Hee Bong). Together with his “ niece” and sufferer of the fictionalised illness “Pinocchio Syndrome”, Choi In Ha ( Park Shin Hye), the two go on a journey of self-discovery that forces them to face some uncomfortable truths.
Undeniably the most intriguing concept present within the show was the ideology of Pinocchio Syndrome; a (fairy tale-inspired) condition which causes the individual to hiccup whenever he or she lies. As someone suffering from the condition, In Ha is often subject to discrimination and prejudice by wider society, however, this concept of the show did lack genuine or factual explanation to viewers towards its causes- is it hereditary, psychological or just a cause of random gene mutations? Although it is notable neither of In Ha’s parents suffer from this disease, it did remain a lingering question towards exactly how and when In Ha was diagnosed with Pinocchio Syndrome and the actual science behind this fictionalised disease.
Instead, the fantasy concept of Pinocchio Syndrome is truly reduced to more than an asset plot device to accompany more prevalent focal point of journalism within the show. The aspects of critiquing the competitive and exploitative natures of the industry of media did notably help to present a surprisingly realistic and somewhat fairly profound depth to the storyline.
Dal Po’s entire character is driven by his enmity and obligated feelings of revenge for his family . Yet by becoming the very thing he hated more than anything in the world, he stumbles upon the truth that the world of journalism is not as black and white as he originally had the preconception of ; news outlets, individuals and reporters may twist certain stories for their own gain whilst the true victims remain without voices. Whilst Lee Jong Suk has often had a mixed bag of performances over the years, his role as Dal- Po did seem to capture multifaceted and depth to his character. This is because Dal- Po is still motivated by his intentions for revenge, but he also learns to forgive and learn that sometimes honesty is the greatest weapon of them all.
Yet this also moves us on to the obvious problem of the drama. The ridiculous amount of cliche coincidences happening in the subtext of thirteen years of secret messaging between the second male Beom Jo ( Kim Young Kwang) and In Ha, the notable “ chances” which arise for Dal-Po being able to land a job as a journalist despite his limited qualifications ( regardless of his intelligence) and of course the sudden reversal of “ external forces” which kept away characters such as Dal-Po and In Ha from developing relationships in order to suddenly have a “ happy ending”. Although a preferred choice for the dramatised events of the series, it was initially off-putting at times within the cliche and unrealistic setups which suddenly manifested without prior build-up.
Yet perhaps the biggest problem in the series was the dragging sensation of storyline in places. Initially this is somewhat ironic for a show which has surprisingly quite good pacing for the majority of the show , but the duration of episodes in addition to transition in places upon plot devices, over actual characterisation often resulted in this problem.
The biggest example of this problem can be found through In Ha as a character. Although Shin Hye can’t be faulted within her stellar performance and her character does initially having an interesting backstory, her actual relevance to the storyline often felt minimal and intrinsically quite lacklustre. In Ha simply does not have notable character growth in the series. Arguably a lot of In Ha’s problems and the drama wouldn’t have been as effective without In Ha having remained the same, however, this is also a somewhat nonsensical venture into In Ha as a character. Considering her experiences and scenarios growing up, In Ha neither really seems to be given the chance to confront them openly and actually learn and develop, often resulting in her character coming off as a plot device in order to keep the story motivated such as her relationship with her mother and Dal Po , than an individual in her own right.
In terms of the latter mentioned point , the relationship between Dal Po and In Ha was a little questionable over the course of the series. Although not relatives by blood ( giving the obvious explanation against the otherwise incestuous proposal) , a lot of viewers often forget that In Ha and Dal Po grew up together for more than thirteen years as uncle and niece as well as during their younger years having a notably fraternal relationship - the pairing between the two characters just felt odd and mismatched. Actors Lee Jong Suk and Park Shin Hye did help to cover up some of the more awkward onscreen moments through their performances and the show acknowledged it to some extent , it still seemed oddly problematic to romanticise this pairing in the first place as well as the striking differences between both characters and their personalities.
Perhaps the most praiseworthy relationship in the show occurred between Dal-Po and his biological, revenge driven brother Ki Jae Myeong(portrayed by Yoon Gyun Sang), provided the zeal of the revenge story and the clear differences in motive and experiences of both brothers.
Dal-Po seeks revenge in a similar manner to Ki-Jae, but in the process considers and acknowledges reconciliation and forgiveness against certain individuals due to being distracted by a kind-hearted “paternal” -figure and surrounded by a fairly loving family . On the other hand, Ki-Jae’s experiences was solely driven with cause of distraction for revenge with a carte blanche given by viewers just to see how far he can gross the line of morality. This presents an intriguing relationship between brothers with Ki Jae oblivious for a major proportion of the series due to not knowing Dal-Po’s true identity. Jae Myeong’s performance was surprisingly good and a honest gift to this drama by making up for some of its more evident flaws .
So, was a “ Pinocchio ” a good series, or another overrated drama? It’s fair to say that the concept of the show was intriguing by tackling difficult issues of manipulation, injustice and exploitation, the OST was quite good, and there were some particularly well-written characters such as Dal-Po and even In Ha’s mother, Song Cha-ok ( Jin Kyung) who was surprisingly given some profound depth despite her antagonistic role in the series. Nevertheless, “ Pinocchio” isn’t as flawless as watchers truly make it up to be- the ridiculous coincidences took away from the surprising twists of storyline, In Ha as our female lead was severely underdeveloped and the relationship between both characters was ultimately a little uncomfortable considering the angle of the storyline. It is probably fair to say that “ Pinocchio ” wasn’t a dire or terrible drama by any stretch of the imagination and had many likeable assets , but it certainly was overrated within being passed off as a “ flawless” drama by some fans.
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The Drama That Will ‘ Reset’ Your Expectations…
Time loops and time travel in drama screenplays can often be a tricky subject to execute and director Sun Mo Long and co-director and screenwriter Lao Suan’s ‘ Reset’ was no different. Nevertheless whilst the series did fall victim at times to its own loose pacing and some tediously dragged out plot points, ‘ Reset’ offered viewers with a fairly suspenseful and intuitive take upon the niche of time loops.
The series revolved around Li Shi Qing ( Zhao Jin Mai) and Xiao He Yun ( Bai Jing Ting); two young bus passengers who find themselves involved in a fatal accident. However rather than perishing to their seemingly predestined fates, Shi Qing and He Yun find themselves trapped in a “ Groundhog Day”-style time loop. As Shi Qing and He Yun attempt to go to great lengths in order to avoid being involved in the accident, the main leads discover that fate has an odd way of catching up with them even when they least expect it..
‘ Reset’ notably incorporated multiple genres into its storyline. Suspense and mystery greatly dominated the events of the narrative , whilst elements of potential romantic chemistry lingered on the sidelines. However surprisingly even during lighthearted moments of the storyline, screenwriter Lao Suan did offer certain opportunities to flesh-out and explore its side characters and antagonists with some surprising heartfelt and tour de force moments also.
As for the pacing ‘ Reset’ was admittedly a slight mixed-bag. Whilst the series could be very quick-paced as well as knowing when to offer respite, the beginning did suffer slightly under the weight of tedious scenes, dialogue exchanges and tension. Admittedly whilst certain elements were necessary for building up the events of the storyline , this did bring about a somewhat laissez-faire structure with pacing often feeling slightly tedious or loose. The finale of the series was admittedly filled with some unexpected turns, but did lack an element of regimented structure by instead feeling somewhat dragged-out.
The acting of the series was admittedly fairly good. Whilst there were some less impactful deliverances of dialogue and interactions onscreen, the main leads did arguably offer brilliant performances. Bai Jing Ting delivered a loveable charm to his onscreen persona as game designer He Yun, whilst Zhao Jin Mai notably had a sweet and charismatic air onscreen as Li Shi Qing.
The chemistry between the duo onscreen could often feel somewhat stunted in parts. Whilst there were some surprisingly heartfelt exchanges between their onscreen personas, the questionable kiss exchanges and affectionate moments between both main leads at tones could admittedly feel insipid at times.
As for their characters, ‘ Reset’ was a strange amalgamation of dynamic writing opportunities for its side characters and antagonists , whilst its main leads could often lack opportunities for being truly fleshed-out. In particular, this became noteworthy with main female lead Li Shi Wing; naive, seemingly fractious and somewhat altruistic but lacking any greater sense of depth or character development throughout. Arguably whilst viewers did see some greater writing opportunities with He Yun and his own personal drives, the main lead did suffer a somewhat similar fate with being underdeveloped.
The cinematography of the series arguably remained one of the drama’s most stunning attributes. Through the directing reigns of Sun Mo Long and co-director Lao Suan, ‘ Reset’ did offer viewers with a notably stunning array of slick and professionally cut editing and scenes. The OST was admittedly just as pleasing with scores and tracks that whilst slightly generic in parts, did help to reflect the mindset and set the tone for the events of the storyline.
Sun Mo Long and Lao Suan’s ‘ Reset’ offered viewers with an intuitive and surprisingly suspenseful take upon the old trope of time loops and time travel. In execution, the series is admittedly weaker with lacking character development for its main leads and somewhat inconsistent pacing, but the slick cinematography and opportunities to see unlike side and antagonistic characters grow did offer some great takeaways from the drama also. Overall whilst ‘ Reset’ was not a drama without some prominent flaws , the series was admittedly a fairly good watch and engaging with its audience.
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In between raving hype surrounding the main cast and the plot, screenwriter Son Eun Hye’s ‘Dali And The Cocky Prince’ has erupted quite a stir amongst avid drama watchers praising the series as ‘’dynamic’’ and ‘’fresh’’. However, this boils down one ultimate question; “Is ‘Dali And The Cocky Prince’ actually worth watching, or is it a classic case of an over-hyped production?”
The series applies the basic romantic comedy formula of ‘’ opposites attract’’; Moo Hak( Kim Min Jae) is a confident and nouveau riche social-climber, whilst Kim Da Li (Park Gyu Young) was born into “ old money” and is a naturally talented art exhibitor and critic . During a trip to an art exhibition in the Netherlands Da Li and Moo Hak end up encountering one another for the first time . Soon afterwards Da Li finds herself struggling to keep her art gallery afloat and consequently through several setups become indebted to Moo Hak. However (typical of romantic cliches) Moo Hak and Da Li begin to fall in love…
One of the greatest strengths of ‘ Dali And The Cocky Prince’ comes through Kim Min Jae and Park Gyu Young’s onscreen chemistry. In between some of the more questionable line deliverances at times Min Jae and Gyu Young’s pairing was dynamic and fun, but ( playing to the drama’s strengths and downfall as a consequence of testing viewers’ attention spans) slow-burn.
Actress Park Gyu Young’s performance and stylist helped to convey a sweet and charismatic charm surrounding the female lead. Da Li is refreshingly not your typical ‘’spoilt princess’’ female lead archetype. She is kind-hearted, an afficionado of Modigliani and has a natural artistic flare which has long been nurtured by her parents ( her namesake evidently being famous Spanish surrealist painter Salvador Dali), but as a child of a prestigious family, she often finds herself lost in cloud cuckoo land when dilemmas regarding the museum are raised. Whilst aspects of Kim Da Li’s past and background help to explore her character in more depth and do help to present her goals, personality and motives, Da Li undeniably did often feel shoehorned into the role of the ‘’ victim’’. (Especially in later episodes as more revelations come to light.)
Of course, the ‘’victim’’ trope isn’t always necessarily a bad thing in a series. It can help to explore characters in more depth and it did present some more raw moments for otherwise seemingly impeccable characters. For example Da Li is not truly made aware of her attempts to bury her head in the sand until Mu Hak acts as her personal anchor to ground her back to reality. However, whilst praise must be given to presenting Da Li as someone who gradually faces reality with grace and charisma, it seemed odd that the series didn’t present more opportunities for the female lead to take her first steps through more independence and personal growth rather than being enforced into the role for the “ sake of plot tension”.
Of course this naturally brings us onto our second topic of debate; male lead Jin Moo Hak. Expected of his namesake from the title Moo Hak has become accustomed to a wealthy of hedonism and money since his tiny family run-restaurant turned into an international food conglomerate through successful business ventures. Kim Min Jae walks onscreen with an air resonating Jay Gatsby; gaudy suits, satisfaction over materialistic purchases and truly buying into his own ideology that money can truly buy love and happiness.
Moo Hak is arguably the perfect foil and counterpart to Dali; arrogant, haughty and overly confident (which both provides to his advantage and lands him in hot water throughout the drama) but not without his more “ redeeming” character traits either. For example Moo Hak is undeniably a hardworking and charismatic entrepreneur, as well as gradually more empathic as he comes to see ( from Dali) the importance of genuine and authentic relationships that money cannot buy. On the other hand Moo Hak ( similar to the female lead) is very much enforced throughout the series as a plot device; existing to create a splash of tension and jealousy to keep their potential romance “ interesting”, but often dismissing more intriguing elements of Moo Hak’s journey and success along the way.
‘ Dali And The Cocky Prince’ really did not shy away from reimbursing all the overused tropes and cliches you’ve seen before from the “ foreigners” to the the infamous “ drunken escapades of your main character”, “ mistaken identity” and even the “ shower scene” find their ways multiple times throughout the drama.
However one dreaded creme de la creme of cliches which appeared in the storyline occurred through the issue of the “ love triangle” setup between Moo Hak, Da Li and her “first love” second main lead Tae Jin ( Kwan Yool). In the expected setup that you can imagine, Tae Jin and Da Li ended their relationship on an “awkward note”. (Pining and unrequited love ensues for Tae Jin as the “ impartial female lead” is milked by screenwriter Eun Hye throughout the subplot.) Then to add the cherry on top of “ tension for the sake of tension” there’s also the unrequited feelings ( which are often played for comical foil than actual heartache) of Ahn Chak Hee ( Yeonwoo) who often “bickers” with Moo Hak over her feelings for him and leading to numerous comical misunderstandings.
Thankfully Eun Hye only added these “ tropes ” as a side storyline with an major plot shift to a “ thriller mystery” subplot soon taking frontal stage as the focal point of the drama. In between these scenes there’s a notable shift on other characters unexplored in this latter half.
For example there’s supporting character Won Tak ( Hwang Hee) who is a hardworking police officer with a sibling like relationship with Dali, and Moo Tak’s quirky secretary Yeo Mi Ri ( Hwang Bo Ra). Whilst admittedly both characters were often the root of “ plot motivation” or “ comical foil”, they admittedly did add a sweeter note to the darker subject areas of the drama.
Then of course there’s the last topic surrounding director Lee Jung Sub’s take on the cinematography. Whilst honestly it did feel as though Jung Sub had some more evident missed opportunities with playing with the artistic creativity of the plot, there were admittedly some brilliant scenes and aesthetics carried through adding a warm palette to the romantic-comedy. The ending was admittedly trope-induced; not bad per say, but lacking more fluid coherency towards the characters’ own choices and decisions in the final act.
So what’s left to say about ‘ Dali And The Cocky Prince’ ? Is it worth watching or is it an “overhyped” drama? The biggest thing to say about the rom-com is that the drama accommodates from lighthearted to more serious to suddenly lighthearted again, and isn’t afraid to interplay the cinematography more subtly with this.Our main leads had good chemistry and it was surprisingly sweet to see the “ polar opposite” trope executed once more. On the other ‘ Dali And The Cocky Prince’ isn’t an inherently original or brand new concept with tropes and cliches often weighing down more intriguing story elements, characters and even the ending (to a certain extent). The drama isn’t entirely “ original ” as a consequence of this screenwriting decision and whilst the comedy may vary for viewers, the drama is certainly a decent and sweet enough rom-com.
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The Woe And Joys Of Adolescence …
Teen and high school storylines are not an unfamiliar subject in South-Korean popular culture , with myriads of teen films, productions and dramas being churned out every year en masse in South-Korea. However whilst many South-Korean film and drama enthusiasts find themselves drawn again and again to these setups , the typical depiction of “squeaky clean” high school life has left many enthusiasts torn about whether South-Korean directors and producers should try to push the boat out towards a more “ realistic” presentation of teens.
‘ Adult Trainee’ can be found somewhere between daring and eye-brow raising - belonging in one of the notably categories of South-Korean “ teen productions” which attempts to market itself at an older age demographic as well as being “ raw and truthful”.
This is certainly reflected within casting choices of rookie and lesser-known actors as our main lineup . However whilst this does create certain benefits for the storyline by respectfully a more mundane presence of the characters onscreen ( aside from the initially controversial casting decision of Miyeon), certain line deliverances and scenes admittedly could differ within quality and performance. Of course this isn’t to critique the cast or bring down their talents as actors. However it is crucial to point out to those expecting impeccable performances that you may be slightly disappointed by the final result.
The storyline itself is composed of three storylines ( and evidently three “main couples” ). Rising rookie actor Ryu Eui Hyun is the notable main character of the first few episodes as Seo Jae Min; a high-school boy addicted to sexual gratification and attempts abstinence in order to focus upon spending more time with his crush. Yet before we could even delve more into the highs and lows of Jae Min’s tale we are suddenly whisked away to another school and experience through notably conservative high schooler Yu Ra ( Jo Yoo Jung)’s exploration of casual relationships with a boy, as well as our final story through the problem of single high - schooler Na Eun( Kwon Young Eun)’s first experiences of love and feeling self-conscious about her body.
The seven-episode miniseries wasted no time within diving into each storyline and their problems, yet with a short time to cover these plot points and characters, it should come as no surprise that these executed plot points and characters could often feel incomplete.
Admittedly‘ Adult Trainee’ does interweave the subtext with some more “risky” issues of teen relationships. However it often felt as though the show wasn’t entirely sure which direction to go with these messages at times with more serious scenarios often being “ fixed” by feelings, romantic relationships or love, rather than taking the screen-time to focus upon character-building or growth.
In the miniseries we rarely saw these opportunities to understand more about our main characters’ social and emotional interactions.
Admittedly‘ Adult Trainee’ does interweave the subtext with some more “risky” issues of teen relationships. However whilst these “ problems” did touch upon some realistic issues for teens and helped to motivate plot-angst , ‘ Adult Trainee’ rarely took time to diverge from problems defining the characters. More realistic teen issues such as relationships with friends or family, likes, dislikes and searching for personal identity were rarely touched upon and even our main characters often felt shoehorned into particular tropes such as the “ infatuated teenage boy”, the “ goody-two shoes high-schooler” and the “ bullied girl” rather than well-defined or subversive approaches to the cliche archetypes.
In between the more “heavy” topics in ‘ Adult Trainee’, the miniseries does interweave the plot with notably more comical scenes. The comedy is fairly lighthearted- enough to generate perhaps a chuckle for audiences and necessary to take the weight entirely off certain issues , but admittedly variable in quality from scenes and context.
The ending of the series acted as a deadlock for ‘ Adult Trainee’ - enough to just briefly finish off some plot points of the final storyline, but admittedly lacking in an over-arching sense of fulfilment and satisfactory completion for audiences.
So this leaves the ultimate question; is ‘ Adult Trainee’ actually worth watching? ‘ Adult Trainee’ is a short miniseries which attempts to present itself as a more “ realistic” depiction of teenagers. ( Alongside comical scenes which may differ for audiences dependent on personal tastes.)Acting performances admittedly did vary from certain episodes and scenes but a possibly unfamiliar cast lineup for audiences will likely give the series some fresh appeal. The more “ daring” messages of the series whilst addressed, admittedly did feel slightly downgraded and lacked an impactful punch. As a consequence whilst the split narrative of the series for different episodes spiced up the storyline, characters often fell flat due to little time for audiences to digest their personalities and growth onscreen by instead often being shoehorned into romantic setups.
Overall ‘ Adult Trainee’ was the epitome of a “ binge-watch” drama to watch when you have nothing else to do; not unwatchable and certainly entertaining within its different plots, setups and heartwarming messages , but admittedly lacking in more subtle character growth, plot buildup and diverse as well as more relatable and realistic issues for teens.
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Soundtrack #1; A Discordant Love Story…
The recent venture of juggernaut industry company Disney into the world of K-dramas has marked an onslaught of mixed reception from viewers and critics alike. Nevertheless with a recent investment by the international streaming service Disney+ into copartnership and copyright deals with South-Korean producers and companies, it is hard to ingore the recent presence of Disney within the world of K-dramas. Indeed, the latest series to come out in selected countries from the streaming service, ‘ Soundtrack #1’, is no exception. A stipulated love story between two friends, ‘ Soundtrack #1’ is a short and benign romance drama which while bittersweet in parts, could often feel contrived by its setup and characters.The narrative of ‘ Soundtrack#1’ focuses upon two close friends. Lee Eun Soo ( Han So-Hee- ‘ The World Of The Married’, ‘ Nevertheless’ and ‘ My Name’, ) is an aspiring lyricist. Nevertheless despite having the ability to pursue her dream job, Eun Soo is struggling to find a source of inspiration and has hit a difficult period of writer’s block.
Thankfully Eun Soo has found comfort and support by relying upon her friend and photographer Han Sun Woo ( ZE:A’s Park Hyung Sik-‘ The Heirs’, ‘ Strong Girl Bong Soon’ and ‘ Happiness’). However as Eun Soo and Sun Woo attempt to navigate their current relationship, it becomes apparent that romantic feelings between friends aren’t always so easy to navigate.
‘ Soundtrack #1’ came together as the byproduct of screenwriter Chae Yoon (‘ She Would Never Know’) and director Kim Hee-Won ( ‘ Fiery Priest’, ‘ Vincenzo’ and upcoming series ‘Little Women’). While Hee-Won was certainly not treading upon unfamiliar ground with the romantic melodrama ‘ Soundtrack #1’, it certainly seemed an intriguing choice to pair up Hee-Won, a director known famously in recent years for her witty slapstick comedy-style and revenge dramas, with screenwriter Chae Yoon, who is associated with the lighthearted romance series ‘ She Would Never Know’ for ‘ Soundtrack #1’. Nevertheless despite the eccentric pairing choice, it is arguable that the contrasting idiosyncratic styles between screenwriter and director helped to bring a certain flair to the miniseries.
Perhaps it is important to establish that ‘ Soundtrack #1’ doesn’t push boundaries within its initial setups and plot premise. It is a basic and conventional romance story. In particular it was evident to see the influences of screenwriter Chae Yoon within ‘ Soundtrack #1’. The similar rhetoric of the male lead attempting to escape the friend-zone with his lifelong friend and crush, convoluted feelings developing between close friends and of course repressed feelings causing complications along the way were certainly similar to Yoon’s previous screenplay .
Nevertheless it is hard to deny that despite the lighthearted angst of ‘ Soundtrack #1’, there was a distinctive trait of interminable melancholiness and yearning within ‘ Soundtrack #1’. Director Hee Won’s classic touch of internal and external conflict have become reoccurring themes throughout several of her projects. Although ‘ Soundtrack #1’ may not possess a tale about a character with an eventful past or a personal vendetta, it certainly did highlight the complications that can arise within feelings, careers and between contrasting elites . ( For example Sun Woo’s internal disillusionment and fixation upon his work and coveted feelings for the female lead helped to perfectly contrast Han So-Hee’s external struggles and uncertainty as a songwriter.)
Then of course there’s the discussion surrounding casting choices. Han So-Hee has admittedly triggered mixed-responses amongst viewers and critics alike for her initial performance as main female lead Eun Soo. The actress’ previous career trajectory has seen her star in a mixture of different genres and styles with her recent performance( at the time of writing) in the revenge-thriller ‘ My Name’ being widely praised.
Nevertheless it is hard to deny that despite Han So-Hee’s talents within certain roles and genres , i her performance within ‘ Soundtrack #1’ could often feel somewhat lacklustre with line deliverances and emotional intonations initially. So Hee’s performance did admittedly improve somewhat in the latter-half of the miniseries with a level of heartache being conveyed within her onscreen persona but it is perhaps fair to say that Soo Hee’s performance could feel somewhat lacking at the best of times.
Costarring alongside actress Han So-Hee was ZE:A’s Park Hyung-Sik as main male lead Han Sun Woo. Hyung-Sik has certainly gained a lot of experience within the world of rom-coms and melodramas and this certainly did allow the actor to approach his onscreen role with an easygoing charm. However despite Hyung-Sik’s talents, it is difficult to deny that there were times where the actor could feel somewhat stilted by certain dialogue deliverances .
Then of course there’s the discussion surrounding Hyung-Sik and So-Hee’s potential onscreen chemistry. There was certainly nothing wrong per say with Hyung Sik and Soo Hee’s onscreen dynamic. Although there was an initially inconsistent start , the onscreen chemistry was decent enough. However it is still hard to ignore that while their potential was certainly not unwatchable it rarely felt coherently natural. Perhaps it can be said that these problem boiled down to the flaws of limited screen time . Throughout the duration of the series, an onslaught of variable acting performances by the main cast in addition to the limitations of a restricted time frame rarely helped to allow this onscreen dynamic flow naturally.
Under the directing leadership of Kim Hee-Won, it is clear to see that the four-episode formula and short episode lengths for ‘ Soundtrack #1’ was a double-edged sword.
Of course, it naturally enforced the narrative to be compact and concise within its restricted time frame and duration length. The series was rarely caught up in the trap of being lost down the rabbit hole of an abundance of unnecessary subplots and irrelevant characters. ( Instead these subplots were only briefly touched upon such as So Hee and Sun Woo’s work careers.)
Although there were supporting characters within the series such as Composer Kang Woo Il ( Kim Joo Heon-‘ It’s Okay Not To Be Okay’, ‘ Do Do Sol Sol La La Sol’ and ‘Juvenile Justice’), Sun Woo’s business partner Yoon Dong Hyun ( Yoon Byun Hee- ‘ Love In The Moonlight’, ‘Mr. Sunshine’ and ‘ Vincenzo’) and several surprise guest appearances ( including Yoon Seo Ah, Seo In Guk, Lee Jung Eun, Park Hoon and Park Min Jung), these secondary characters were rarely featured beyond their necessary face value in order to trigger or intensify certain plot events.
On the other hand while a restricted time space did allow the narrative to be more cutthroat with its themes and storyline, it did certainly highlight some specific drawbacks also as a consequence of this compact formula . A limited time frame rarely allowed viewers to see the onscreen relationship between characters being explored beyond their necessity to the plot, hardly allowing opportunities for ‘ Soundtrack #1’ to subvert all of its cliches or experiment with new formulas. Naturally,this could sometimes lead to certain narrative points such as the later development of Eun Soo and Sun Woo’s relationship feeling somewhat rushed.
When it came to filming and production it is certainly noteworthy to point out that Hee Won’s stylistic approach to the series helped to captivate the journey and feelings of characters throughout.
Slick editing and glossy gradients helped to animate scenes to life with specific palettes and tones popping out onscreen. Additionally this helped to differentiate between idealism such as through the eyes of Sun Woo as well as the stark reality presented by Eun Soo throughout the series. ( Perhaps one of the most memorable contrasts can be found in the first episode of ‘ Soundtrack #1’ during Sun Woo’s photo shoot of Eun Soo. Through the literal lens and vision of the male lead, Eun Soo is adorned in a flowing white shirt and smile, giving off an ethereal ambience and air of confidence. In a contrasted scene, viewers are shown reality from the perspective of Eun Soo, adorned in drab clothing and hunched over a computer screen.)
With the title name such as ‘ Soundtrack #1’ it should come as no surprise that the series is heavily invested within using imagery and the OST synchronically. For ‘Soundtrack #1’, this came through an onslaught of schmaltzy and sugary love ballads and solo tracks.
Of course for a series predominantly focused upon young love and relationships, this isn’t an entirely odd choice. However rather than selecting an impressive score for the series or at least choosing songs than could’ve heavily fomented emotional and tear jerking scenes, ‘ Soundtrack #1’ was caught in a slight rut with some of its chosen tracks being unimpressive. Perhaps the few exceptions to this can be found through lovelorn ballad “ Wanna be your lover”[ “이젠 친구에서 연인이 되고 싶어”] by Monday Kiz , LeeHi’s upbeat track “We'll Shine Brighter Than Any Other Stars” [ “우린 어떠한 별보다 빛날 거야”] and Prerettiest One’s acoustic guitar song “ Standing Egg” [“ 너만 예뻐”].
‘ Soundtrack #1’ is a series which does little to diverge away from the expected tropes and basic setups of romance dramas. Although there an were certainly some questionable acting moments at times and the limited time frame for the narrative often led to events feeling rushed, ‘ Soundtrack #1’ was surprisingly able to attain a balance between lighthearted fluff and bittersweet angst. Additionally, the collaborated efforts of Kim Hee-Won and Chae Yoon allowed the narrative to explore an idiosyncratic perspective by both director and screenwriter upon romance and repressed creativity. Although perhaps ‘ Soundtrack #1’ was let down at times by its OST and pacing at times , the four-episode miniseries certainly will offer viewers with a decent and quick binge-watch.
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Will This Drama Be Your ‘ Knight’?
SBS’ ‘ Let Me Be Your Knight’ offered viewers a predictable and cliche-ridden setup surrounding the haughty singer of LUNA ( a popular idol group ) Yoon Tae-In ( Lee Jun Young) who is diagnosed with somnambulism. In order to avoid media-attention, the CEO ( Kwak Ja Hyung) of the idol group’s contracted company employs world-renowned in-house somnologist Kang Sun Jun ( Jung In Sun). However there’s a catch; the CEO ended up employing Kang Sun Jun’s identical twin sister In Yoon Ju ( also played by Jung In Sun) instead. With her own personal motives for taking up the false identity of her estranged twin, Yoon Ju finds her nerves tested to the limit when she begins having to keep watch over the insufferable Yoon Tae-In as well as sharing a house with his fellow band mates Lee Shin ( JR), Kim Yoo-Chan ( Yoon Ji-Sung ), Woo Ga-On ( Kim Dong Hyun) and Seo Woo-Yeon ( Jang Dong-Joo).
Directed by Ahn Ji Sook and composed together by a quartet of screenwriters (Shin Seo Ha, Hae Yeon, Seo Jung Eun and Yoo So Won) as a marketed story about “ romance and healing, ‘ Let Me Be Your Knight’ is undeniably a fairly disengaging and “ fluffy” drama.
Of course, a good drama doesn’t always necessarily need to have labyrinthine plot points and often romantic escapist dramas do present versatile opportunities for dynamic screenwriting. However, where an ultimate problem did lie with ‘ Let Be Your Knight’ ‘s presented formula is that reimbursed cliches and tropes often led to predictable and generic outcomes throughout the storyline.
There was an admitted problem with the casting choice of Jung In Sun as the main female lead ; she didn’t seem to quite match the role for audiences . Respectfully the age of her character In Yoon Ju ( as well as arguably her “ twin sister”) is never truly specified throughout the series. However, with consideration to Yoon Ju’s notably more benign personality traits, mannerisms and soft-spoken tendencies at times, ‘ Let Me Be Your Knight’ often seemed to indicate that the screenwriters should’ve facilitated to two possibilities; a younger actress to play the suggested role, or changing elements of Yoon Ju’s age or mannerisms as a character to better-suit the casting choice of Jung In Sun .
Admittedly this isn’t entirely the fault of the actress. Yoon Ju presented a polar opposite to her seemingly “cold” twin; emotional, kindhearted and notably benign at times but rarely did she seem to have a quintessential requirement for her character’s seeming “ difficult past and problems”; flaws .
This isn’t to say that Yoon Ju didn’t have potential to have intriguing character exploration moments ( including her complicated relationship with her sister as well as the loss of her parents) nor did she show affection to others throughout the series. However considering the fact that Yoon Ju has had to take up the false identity of her sister; a qualified professional in sleep diagnosis and aside from a comical “ initial struggle” early on, it seemed odd that neither the band mates or CEO Moon didn’t begin to grow slightly suspicious by her actions or mannerisms early on. As a consequence, the female lead often suffered from a predestined fate as a “ carte blanche Mary Sue”; a plot device in order to keep the storyline intriguing,but missing out on truly engaging with the audience as a fleshed-out and definitive female lead.
Costarring alongside Jung In Sun is Lee Jun Young. Jun Young is undeniably a good actor and has proven his talents in versatile roles over recent years. However there seems to be a recent and notable pattern with In Sun being cast in the “ stoic” male lead role with his onscreen persona Tae-In being no exception.
Tae-In is a character who is notably hard to warm up to during the initial events of the storyline ; he’s brusque, aloof and aside from gaining the adoration of the “maknae” of the group Woo Ga-On ( Kim Dong Hyun), has struggled to get along with the rest of the band. Admittedly Tae-In’s growth is gradual through his initial self-depreciation after the flop of the band’s recent album ( which he mainly wrote) as well as gradually falling for the female lead. However similar to Yoon Ju’s missed-out opportunities to be explored as a well-rounded character, Tae-In’s more evident character drives such as the traumatic link of his somnambulism, gradually developing a closer-bond with his teammates and even his exact reasons for attraction for the female lead, were rarely covered in order to shoehorn him into particular scenarios and plot events.
The onscreen chemistry between Lee Jun Young and Jung In Sun whilst decent enough, did seem to lack a certain dynamic charm for audiences. Tae-In and Yoon Ju’s gradual attraction from one another to “ contempt to love” rarely flowed coherently due to the characters often being enforced into romantic cliches and scenarios, rather than gradually developed.
In addition to this, there’s the issue also with consideration to the indecisive writing decision of the “love triangle” between Tae-In, Yoon Ju and fellow band member Seo Woo Yeon (Jang Dong Joo). Whilst the “love triangle” trope was used in the series as an attempt to “ keep chemistry alive”, there was rarely time to truly see this dynamic with more finesse. Woo Yeon was often limited merely to his archetype as the “ second male lead”; the dreamer who is pointlessly chasing the female lead without clear reasons or even definitive character traits along the way.
The side characters of the series admittedly were often used in a seeming attempt to fill-out screen time through various subplots. It’s wrong to entirely state that these subplots weren’t interesting per say; Yoo Chan’s complicated relationship with his mother, Shin’s clandestine relationship with radio presenter Ji-yeon (Ha Young) and Ga-On’s traumatic experiences as a trainee did seem to put forward some intriguing side storylines throughout the series. On the other hand whilst a lot of the side characters were arguably more fleshed-out than the main leads, the primal focus on the main storyline rarely gave opportunities to delve deeper into the subplots. Instead these storylines were often slightly rushed, brushed over or given anticlimactic resolutions by the ending of the series.
‘ Let Me Be Your Knight’ was arguably self-conscious from outset about not overcommitting itself to a complicated plot in twelve episodes. Nevertheless whilst the basic formula surrounding the main leads’ romance and issues is compacted, the series did often seem to struggle with truly expediting plot. Instead the pacing of the series could often be tedious in parts with niche plot setups and enforced dialogue becoming apparent. Perhaps if the series had given more opportunities to exploring characters, or even a definitive plot goal, then ‘ Let Me Be Your Knight’ could’ve had a less anticlimactic and impactful ending.
The cinematography of ‘ Let Me Be Your Knight’ was admittedly decent enough under the directing reigns of Ahn Ji Sook. Most scenes throughout the series were filmed throughout a usage of slick, long distance and closeup shots and gave a professional and glossy edge to filmed sequences and key moments. However despite the aesthetic edge of filming, the innovation of presenting the arts in intuitive ways , reflecting the emotional scope of its characters through palettes or tones ( aside from niche pathetic fallacy in certain scenes) , or even vivid mise-en-scène moments were greatly absent from the series.
The OST of the series was admittedly a mixed-bag. For a series which mainly focused upon its central characters being in the music business and industry, it seemed odd that certain song tracks in the series were slightly insipid at times . This isn’t to say that these songs were bad per say. In fact there were definitely several tracks which helped to definitively reflect the mindset of the characters and will likely grow on some. On the other hand, it seemed surprising that the OST didn’t always deliver a memorable punch for the audience either.
‘ Let Me Be Your Knight’ is a fairly lighthearted and niche romantic melodrama . Whilst the acting performances are decent enough and the side storylines did offer intrigue for viewers, the drama could often feel unable to escape its own set-limitations. In particular certain casting choices, predictable screenwriting tropes and character archetypes alongside poor pacing in parts, presented ‘ Let Me Be Your Knight’ as an above-average drama; watchable and enjoyable during a binge-watch, but lacking in more definitive traits also.
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“ Meteor Garden”? More like a “ Meteor” Destruction Site, If You Ask Me...
It seems when coming across Meteor Garden(2018) , you come across two types of fans; the diehard lovers of Meteor Garden, who most likely haven’t seen other versions before , or the biased haters who constantly draw-up the parallels between their “ favourite” version and Meteor Garden as well.In all honesty, Meteor Garden (2018) isn’t an entirely terrible drama in its own right ; it adds a much needed modern generational update from the 90s manga and the original ‘00s drama versions through technology, as well as thankfully getting rid of some of the more dire cliches ( including the amnesia trope) than some of the other versions. Additionally whilst a lot of critics seemed to be quite cutthroat about the casting choices ( particularly Sheng Yue) , Dylan Wang certainly wasn’t a bad choice for Do Ming Si . Although he was certainly not as memorable as his predecessors, Wang actually added quite a much needed light-humoured and boyish manner to his performance as our lead Male lead ( which may have been one of the few enjoyable factors of the show).
On the other hand, there’s no denying or sugarcoating that the Chinese version of Meteor Garden lacks a lot of originality, cultural insight and storyline than the other adaptations, sometimes making this 50- episode version feel very disjointed and dragging after the halfway point due to gradual fading interest in a lot of the storyline and characters.
This ironically also moves us onto the second problem of the show being how “ toned down” some of the riskier issues of the show actually were ( including the main driven plot point of the extent of bullying) as a consequence of Chinese censorship. Naturally this isn’t entirely the fault of the scriptwriters, as one writer joked and revealed shortly after a flood of complaints from critics upon these issues, how they had quite literally been told by the censors that “ they can’t have bullying”, “ there can’t be evident gaps between rich and poor”, “ violence is wrong” and a man dating several women will send out “ bad messages” if they included any of these themes in the actual script . ( For those who don’t know, the Taiwanese version created controversy and was banned upon most mainland Chinese airways for these exact reasons when it was first aired).
This doesn’t defend the problem, however, that there’s little sense of cultural reflection or intrigue around Meteor Garden (2018) . Even Chinese netizens pointed out that for a show centred in one of the world’s leading consumerist and fashionable cities , Shanghai, a lot of the outfits, hairstyles and accessories of the drama felt too outdated and unfashionable ( leading to the popular joke that the fashionable “ F4” were the “ four country boys”) for modern Chinese youths and unlike the other versions, the drama simply didn’t kept on culturally with the latest fashion.
Whilst there’s no denying that every adaptation is based upon romantic cliches and tropes from the original Hana Yori Dango manga, most of the versions have at least brought something fairly new or different to the table. The Korean version( Boys Over Flowers -2009), brought us elements of the infamous aspect of “ Chabeol” heirs and a fairly intriguing love triangle , the Taiwanese version (the original Meteor Garden -2001) became a cultural sensation across most of East Asia as one of the the first big “ idol dramas” to hit Chinese airwaves with Do Ming Si as a fairly dark character, and Ze Lei as a gentler version than the original manga whilst finally the Japanese version (eponymous to the manga as Hana Yori Dango- 2005-2007) played fully upon the Tokyo cultural aspect of living conditions for most Japanese families within small flats ( a running gag in the show) and Tsukasa as the lovelorn Male lead, and Rei as the cool and mysterious love interest.
Yet the Chinese version really has little to really offer ( apart from the evident name changes) on this front; the aspect of the show being set in a University is copied from the Taiwanese version , and the “ spoilt brat heirs” montage is directly taken from the Korean version and even the ending nearly directly copies the Japanese version without a second thought.
Although a respected actress , Sheng Yue really doesn’t add anything new or different to her version as Shan Cai in any manner of performance or character progression ( unlike her previous incarnation by Barbie Hsu and respectfully Mao Inoue ) being thrown out the window after the first few episodes. Similarly , the remaining members of the F4( played respectfully by Darren Chen, Connor Leong and Caesar Wu ) have always been portrayed in most of the adaptations as unrepentant bullies who gradually grow upon viewers through their often respectful and loyal feelings towards certain topics and especially through their gradual friendship with female lead. In the Chinese version, however, the F4 , just didn’t share the same level of bonding or actual development as the other versions; instead inexplicably “ perfect “ because of their skills and only “ falling” short of these perfections when it was necessary for the plot.
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Whilst respectfully it is quite fun for fans of any of these versions to see little homages or scene parallels ( such as wearing a similar outfit or being in a similar setting ) to their favourite scenes, there is a difference between putting in small Easter eggs or homages ( such as Barbie Hsu’s sister appearing as a character) and then directly copying dialogues, scenes and scenarios nearly word for word. There’s just nothing new, unique or intriguing which the Chinese version brings to this latest version.
To put into refined words, Meteor Garden is a hot mess . Whilst it certainly isn’t a drama beyond salvation ( due to some fairly comical moments thanks to Dylan Wang) and certainly shouldn’t be disregarded as being “ dire and beyond watching ”, there’s just nothing to really add or show in this version which hasn’t been brought up before by the respected Taiwanese, Korean and Japanese adaptations as well . Hopefully the Thai version will bring something new or at least intriguing to the classic tale of Hana Yori Dango/ Boys Flowers , as Meteor Garden (2018) just didn’t quite bite the bullet for doing any of this.
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