I knew from the first episode this show probably was not for me. I kept watching because 'secret longing' is a favorite character trope of mine, and if this show had a defining theme it's 'secret longing.'
But, even all the yearning and pained glances, couldn't keep me watching this. The conflicts are highly typical from the school portion: 'failure to communicate' 'absentee parents' and 'being looked down for being poor' and the adult portion: 'failure to communicate' 'insecurities and jealousies regarding failure/success.'
There's a lot of nostalgia for their school years that feels unearned. Indeed the flashbacks pick moments from all five years of their relationship and yet don't show any relationship development. No stray touches or being able to communicate in an easier way; there's no sense that the relationship was ever lived in.
A five year 'everyday relationship' is more than studying and a few school pranks and awkward and stilted interactions. But that's all we got in five hours, five hours is double the length of a movie!
Perhaps for some, the warm familiarity and predictability paired with better budget and cinematography is enough. For me, it felt too much like drifting without a compass.
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I gave this a chance because I really appreciated Joy of Life's production and cinematography even though I couldn't get into the plot. Yet, here I am again, bored. There is no tension.
Xu Feng Nian, our main lead, is destined for triumph, and the show makes this clear from the beginning. Clever, strategic and good hearted, beneath a playful exterior is a deeply capable person. Determined to be a 'better man,' than his father he twists and turns to avoid his fate to inherit his legacy as a military leader and martial arts talent.
What is the point of watching? Perhaps for some, there is satisfaction in watching a world where everything has a reason, and talent paired with a good heart always wins in the end.
There is good acting, lots of memorable side characters and very high production values . . . but bland themes and no tension do not hold my interest.
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I love vampire romances due to the fact that the vampire presents one face, but behind that face is centuries of secret pain and history. This show operates on a similar concept, except I couldn't buy in. I'm not sure whether it was due to the acting, script or combination of both.
Lee Dong Wook and Jo Bo Ah have little chemistry and feel like they are from two different dramas. Lee Dong Wook plays his character playfully, exaggerated and a bit campy, whereas Jo Bo Ah plays like she is in a very serious teen supernatural show constantly overwhelmed.
It didn't help that the production values, cinematography, and action scenes were all a bit lackluster and unattractive and there just wasn't anything to keep my interest. . . .
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The female lead, incompetent and thoughtless, but very brave and tries hard is a character I'd rather not see again. I kept having to stop and take a deep breath at how many times she did the obvious wrong or careless thing and often ended up needing rescuing. It's the type of thing where she announces a life or death secret right where everyone can hear, where she jumps in and ends up ruining the mission instead of going and getting help as she was asked to do etc. etc.
I am a big fan of rescue scenes. A man sacrificing himself or something he wants most for the woman he loves is one of my top romantic tropes - but not this way.
The love triangle was great, the backdrop of WWI an important reminder of tumultuous and violent times and what it means to try and make a difference. The costumes, makeup, sets and historical items and/or replicas were incredibly well done.
It's a shame, but I'm dropping.
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If you are in the mood for a silly action cop show, with a side of buddy romance, this is an entertaining watch. There's lots of humor and an over the top villain, coupled with a mix of action/horror/mystery and the time enjoyably passes.
Props also to the main characters being normal people, and the evil character being a power hungry, unbalanced, corrupt panderer and enabler of the wealthy. Also! A hint of lgbtq romance amongst the side characters.
In the end though, like many other dramas, this drags at the end with a lot of nonsensical plot, especially the last 3 episodes. I loyally watched it to the end, as little has entertained me as much, but you really could stop at episode 10.
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This review may contain spoilers
Everyone loses everything . . . Touching characters and heartfelt acting are the reason to watch. In the first 10 or so episodes, we spend a lot of nostalgic 'golden' time, experience the innocence and courage of youth. Hae Soo inspires the brothers to hope that palace life could be different, and you the foolish audience member begins to hope too . . .
But, by the end, the show is racing through a Wikipedia of historical events with Hae Soo barely present. Scenes are chopped and spliced until the plot turns into simply everyone loses everything. Objectively, there's lots wrong with the show not just the plot, the themes are unclear, action scenes weak, and perhaps worst of all the romance between Hae Soo and 4th prince on paper is underdeveloped, toxic and not particularly inspiring. Despite the mess, the strength of the chemistry and the acting kept me watching.
It is worth sticking it out for some key touching moments: Hae Soo's song becoming a legendary classic sung throughout the land or the 14th prince revealing his commitment and deep love for Hae Soo all along.
Does this drama deserve it's legendary status? Overall no . . . but I'm glad I watched. These characters are going to live on in my head for years to come. And that made this drama a rare and precious watching experience.
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Modern love storylines often suffer from a lot of unrealistic danger, whereas historical/fantasy storylines often suffer from outdated romance ideals. So, what if you combine them?
This drama concept isn't new, but it's very well done. The leads have great chemistry, the plot is fast moving, there's lots of protectiveness/rescuing/sacrificing scenes blended with a lot of humor. As with all great dramas, I was reluctant to leave the characters and universe behind.
Music was competent, and while endearing, I'm not sure I'd ever be tempted to rewatch.
I grade on other criteria as well:
Complex Themes - 5
The clumsy (though well-intended) theme is exploring equality in gender roles for both society and relationships. The better executed themes are around learning to be your authentic self and trusting others, as well as what makes a kind and generous person.
Character Growth - 7.5
Both main leads grow and change as a result of the relationship and are transformed as people by the change from a fake relationship to a real one. The rest of the characters are fairly fixed, and second sister's character development is sudden and clumsy.
Complex Female Characters - 8
There's lots of relationships between women, women in leadership roles, and women with complex personalities. The city leader was a great blend of calculating and cruel vs. protective and generous
Production - 7
It did not get in the way. Limited sets and shooting outdoors, everything was shot fairly straight on, costuming was lower budget but in good taste.
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The set-up and mythology is very different and fun to watch. From the idea of a ghost inn, to a goddess with many avatars/faces, to the beauty & the beast type romance with the genders switched. I was blown away for the first eight episodes.
But, while the historical plots tie up nicely, the modern storylines were wrapped up quickly with no real suspense making the last couple episodes complete filler.
As to actors/characters, two of the main female characters are complex and multifaceted: Jang Man-Wol and the Goddess Mago. But, the main male character Koo Chan-Seong is especially flat and uninspiring as the person who always does the right thing.
The music fits well with the show, but it doesn't linger in my memory. There were no special scenes that I feel the need to rewatch.
I grade on other criteria as well:
Complex Themes: 7.0
The biggest letdown of the show. The theme is letting go leads to peace, and you should do it, even if terrible things happened to you while alive. But there isn't a complex inspection of this, forgiveness is just always the right thing to do - and always works out for the characters that do it.
Character Growth: 8.0
The transition from vengeful to letting go is especially touching for Jang Man-Wol, the housekeeper and the receptionist. It's a shame that Koo Chan-Seong gets no complexity or real transition at all. There are also very short, abrupt plot points for the bartender, Sanchez, and Lee Mi-Ra.
Complex Female Characters: 10.0
Jang Man-Wol is great playing vengeful and cynical, with a romantic heart. She is fascinating throughout the show as she develops increasing humour and sensitivity. A very well-rounded character. The housekeeper and the Goddess Mago also have great complexity. Indeed, generally the female characters and storyline were much better developed and well-rounded then the male ones.
Cinematography/Production Values: 10.0
It's gorgeous. Truly the most beautiful TV show I may have ever seen, the colour palette is vibrant and unusual, the clothes budget for Jang Man-Wol must have been unlimited, and there's a beautiful use of camera angles, movements and framing. It has a very stylistic, fairy-tale feel.
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The plot has an intriguing premise with the split personality element. But in practice the plot is: Overly-serious protective male lead, with spirited, loud female lead - what fun! (and it was fun - and addictive).
The main leads are what makes this show worth watching. Despite the overacting, they are endearing to watch, show some range, and are very at ease with each other. You believe that they are in a relationship together with lots of little looks and gestures.
I also liked the friendship between the maid Jing Xin and Qu Xiaotan.
The music, surprisingly, is pretty good esp. the end credits song.
Warning: There's definitely some ethical issues surrounding Qu Xiaotan's use of Qu Tan'er's body that are somewhat laughed off.
I score by other criteria as well:
Complex Themes - 3
(There could have been a lot of complex themes regarding two people sharing one body - but they don't really touch on that. There is no real theme besides be a good person and be loyal to who you love)
Character Growth -7
(As the show goes on, the main actors and characters do show some range, and the split personality part is done well)
Nuanced Women -7
(Lots of points for strong female friendship, but otherwise .. what nuance?)
Cinematography/Production Values - 3
(No money was spent, the costumes are terrible, there's only a few sets. The only reason this isn't a '1' is the producers/director seemed to realise their own budget limitations. )
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This is a really fun, unique premise and world. 2 friends from the outer borders make their way to the capital city to make their fortune.
In 60 episodes, however, it only barely starts .. . the show spends too much time on the multiple worlds and their hundreds of characters instead of really building and focusing on the main relationships.
My main issue is that Sang Sang was standout actor and character for me in this series, and she gets barely any screen time. Instead, there's more side characters than one can keep track of (including 12 spiritual siblings), plus a whole host of other characters from class mates, to mentors, to an emperor and various inner palace politics.
In addition, a lot of the quests are 'mental' quests, where one just watches the main character scrunch his brow a lot and stumble around - which isn't particularly appealing.
Other Criteria I score by
Complex Themes - 5
(There may be more in Season 2, but in Season 1 not so much. Some small themes of being true to who you are, and not being confused by fancy words/wealth/sophistication).
Character Growth -5
(None really, our main characters act the same in the beginning as they do at the end, but there's some hints this will not be true by Season 2)
Nuanced Women -6
(Though there's lots of women, none of the women get enough screen time to form a really nuanced portrayal, except Sang Sang - and even she is only beginning to show different sides of her personality.)
Cinematography/Production Values - 9
(This is beautifully done, a good mix of CGI and real world scenery, well choreographed fight scenes etc. It's not as aesthetically pretty as say Yanxi Palace or Rise of the Phoenixes, but it's a big budget done well).
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I don't think anyone asked for another alpha CEO drama. Let alone one where all the characters are as morally and ethically suspect as the alpha CEO . . but this is what we have here.
All three people in this love triangle have emotionally cheating affairs with each other, try to have their cake and eat it too, lie, misrepresent and just generally act in infuriating ways every single episode.
What's worse, the message to women seems to be:
1) If you are ambitions and strong willed, you need a strong man who can 'handle' you and put you in your place.
2) It is foolish to think you can succeed in your career without men, and men who are not related to you or in a relationship with you will treat you badly, the best way to handle this is to get married and partner in work/business together. Our main female lead has been floundering for years, and it's because she just hasn't had the right male backing.
The one relationship lesson I agree with is that you truly don't know another person unless you allow conflict to occur. Avoiding conflict and always giving in delays finding out if a couple is truly compatible together. This lesson was not enough to keep me watching this show.
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I don't know if I have faith to keep watching . . This is patriarchal romantic tropes at their worst. The main female lead is clumsy, incompetent, irrationally emotional to the point of endangering her home and her life, in poor mental health but not seeking any help for it, has a weird ex boyfriend stalker,. . . .just indignity after indignity and not one action or decision that you can take pride in.
Then!! In sweeps handsome, at the top of his career male lead, chiding her for handling everything so poorly and offering to help . . . and she in a fit of pettiness refuses and ends up in over her head *literally* anyway. You see . . . he was right all along. She doesn't know what she wants or needs- but he does. Everything she plans goes wrong, everything he plans goes right.
The only positive of this drama is unlike Love Next Door (which had some similar overlapping premises), Lee Jae Wong plays an adult male who is ready and able to be in a relationship. He is concerned, protective without being overbearing and does not act like a child with his first crush ( a problem with many dramas with similar premises).
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As the younger generation tries to negotiate new ways of organizing government, society and marriage, we get to feel the satisfaction of our main characters doing the right thing and never losing their way. But, this premise has no conflict, or tension, or character development, and at 40 episodes it's just way too long.
One strong point was a very accurate depiction of domestic abuse.
The main characters are all likeable enough, but the acting is very on the surface, and chemistry is more like good buddies trying to do a group project. Music was adequate and there isn't really anything to rewatch.
I grade on other criteria as well:
Complex Themes (7.5)
Why are we wasting the talents and strengths of women and failing to recognize their obvious complementary strengths? Why indeed. I am all for this theme, though it was bit simplistic done. I did deeply appreciate illustrating the pitfalls of trying to leave an abusive relationship in a traditional, patriarchal society and why leaving isn't easy.
Complex Characters (3.0)
Just no. There were too many characters and they all had one distinctive personality trait.
Complex women and relationships (8.5)
While all the characters are simply drawn, there were lots and lots of women collaborating and being in friendship, and it was a joy to see that so front and center.
Cinematography/Production values (7.5)
Average for a historical show produced in the last couple years. Nothing really stands out.
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This is full stop an advertisement for joining the firefighting service with a nod to other frontline emergency services. All the plot and lingering scenes are devoted to their heroic ever sacrificing adventures. There is no overarching plot or theme, just an 'episode of the week' emergency.
In the background is a truly addictive romantic plot, with the female lead's family being truly villainous in keeping our two main characters apart. The actors do have charisma and chemistry. But, this is stretched out so long and given so little time, that at 22 episodes in I just can't stick with it.
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Yumi is sleepwalking through her life into her 30s after a romantic betrayal. A series of events causes her to wake up and try again, and there is an addictive quality of wanting to see her succeed at last.
This addictive quality is also due to the 'roller-coaster,' action staged inner life inspired by Pixar's Inside Out. The Bond/action movie dramas of Yumi's interior feelings create more adrenaline to the situation, then this ordinary life and romance would inspire on its own.
The conflicts over pride, money, showing your vulnerabilities, ambiguous boundaries with friends and co-workers etc. are what make the show unique, these are the ordinary fights we've all had instead of the extraordinary larger than life conflicts in your normal Kdrama. But, this is also what holds this drama back, the determination to review over and over smaller, quiet dramas just between two people, prevents the show from truly lingering. .
Music was fine and certain scenes are such a good encapsulation of a first date, or a first fight that they are worthy of rewatch.
I also grade on other criteria:
Complex themes: 7.5
This is a character study of what prevents two, ordinary people, good looking, intelligent, nice from finding romantic relationships. Mainly, the inability to risk, be vulnerable, or show true feelings.
Complex Characters/Development: 9.5
Here, this show really shines, illustrating that surface human behaviors that we find so frustrating come from a very complex emotional and psychological inner self. Yumi also shows growth as she realizes that her past relationship has clouded her ability to commit in the present. The character of Sae-yi was truly exciting to see, a type of personality and friendship we often see in real life (encouraging dependency and discouraging growth and independence).
Relationships between Women: 7.0
Yumi is not fundamentally close to any of her peers, and keeps them at a distance which means she has some competitive and a bit catty friends from university/growing up and some kind fun to hang out with co-workers. She doesn't have an in-depth relationship with her mother and appears to have no siblings. The show really falls down on this point, though it may be realistic.
Cinematography/Production: 8.5
The inner feelings drama was cute and well done, and the film had a soft, indie feel to it that suited the show. The clothes and surroundings were all very realistic, and there were some artistic flourishes that mimicked the emotions that were concerning the characters.
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