In a way this reminds me of Taxi Driver, another SBS drama. Obviously that doesn't have demons and fantasy elements, but they're both about exacting revenge on bad guys where the law has failed victims. Then again, most crime dramas lately seem to be about how terrible Korea's justice system is 🤣
As for the article - "[Kim] Sung Cheol is yet to land a big role in a non-musical project" seems inaccurate considering that he's leading Netflix's upcoming Hellbound Season 2. That's about as big as it gets.
Nam Joo Hyuk brought his A-game to "Vigilante." He scowled, he thirsted for justice, and he looked good doing…
Oh, yes - Nam Joo Hyuk was excellent. I just wish the writing was as emotionally arresting as his acting; he can do so much with just his eyes. But he had to carry that part, because they didn't spend enough time on shading in his character's internal arc. I'm hopeful they'll do a better job of that with the second season, but we will see.
I also don't think genre is necessarily key, but I do think you need to catch a wider net than Disney+ maybe has done these past two years. When subscribers are leaving your service in the millions, you need to find out why. They also can't afford many big misfires like The Impossible Heir. They need another Moving, rather than depending on Moving 2.
First the controversy with the removal of the queer element, and now the MBC lawsuit over the studios deceiving them and bringing the drama to tvN. The BTS drama seems juicier than the drama itself 🤣
How do I explain Sang Min's success? He doesn't give off anything, I don't think he's a very good actor, at least…
He lucked out booking the role he did in Under the Queen's Umbrella. Simple as that. Plenty of examples of actors who had a big breakout role and then never lived up to their promise.
Sang Min is young,tall,good looking and a decent actor. He deserves better romcom. He already did two chaebol…
Since he picked the scripts, you can't really say he deserves better. He chose this. Or his team did. Either way, they definitely should've made better project decisions post-breakthrough.
In addition to subpar marketing, Disney+ don't seem to get that they can't just make a bunch of dense political thrillers or dark action dramas and expect them to be hits. Dramas like Uncle Samsik, Blood Free, The Tyrant etc. were always doomed to be niche. Look at Netflix, their biggest 2024 hits were big-production romance dramas like Queen of Tears and My Demon. For people to stay subscribed to your service, you have to also accommodate the most popular genre, otherwise you're toast.
Moving, apart from being overall great, became a hit because it was accessible to a wide audience, had several romance plot lines that kept fans of that genre happy, while also delivering solid action and special effects, keeping those fans happy too. Even some of the successful Disney+ dramas not called Moving, like The Worst of Evil and Vigilante, suffered from occasionally inert emotional writing. The action and cat-and-mouse games were great, but the writing failed to handle the emotional beats in a satisfying manner. Im Se Mi is great, but the writing for her character in TWE was terrible. In Vigilante they also struggled with the emotional beats in terms of the motivation of Nam Joo Hyuk's character. Many viewers take issue when this aspect of a drama feels unfulfilling.
1
https://www.youtube.com/watch?v=kRrJomcMA0o&ab_channel=IU%27sPalette
As for the article - "[Kim] Sung Cheol is yet to land a big role in a non-musical project" seems inaccurate considering that he's leading Netflix's upcoming Hellbound Season 2. That's about as big as it gets.
I also don't think genre is necessarily key, but I do think you need to catch a wider net than Disney+ maybe has done these past two years. When subscribers are leaving your service in the millions, you need to find out why. They also can't afford many big misfires like The Impossible Heir. They need another Moving, rather than depending on Moving 2.
Also supposedly this will premiere on January 25 already. Can't wait!
Moving, apart from being overall great, became a hit because it was accessible to a wide audience, had several romance plot lines that kept fans of that genre happy, while also delivering solid action and special effects, keeping those fans happy too. Even some of the successful Disney+ dramas not called Moving, like The Worst of Evil and Vigilante, suffered from occasionally inert emotional writing. The action and cat-and-mouse games were great, but the writing failed to handle the emotional beats in a satisfying manner. Im Se Mi is great, but the writing for her character in TWE was terrible. In Vigilante they also struggled with the emotional beats in terms of the motivation of Nam Joo Hyuk's character. Many viewers take issue when this aspect of a drama feels unfulfilling.