This review may contain spoilers
The Glory: A Strong Premise Undermined by Its Own Ending
The Glory begins as a chilling, disciplined exploration of trauma, power, and revenge. Part 1 is slow, bleak, and psychologically grounded, presenting revenge not as gratification but as survival. Unfortunately, Part 2 gradually compromises that integrity, turning a once-purposeful narrative into something far more convenient and emotionally inconsistent.
The most noticeable shift is how revenge transforms from necessity into a near “mission-based” experience. In the first half, every step feels heavy and costly; in the second, payoffs arrive too smoothly, diminishing the psychological weight the series worked so hard to establish. The show insists that revenge does not heal; yet repeatedly frames it as clever, satisfying, and efficient, creating a tonal contradiction.
Several major plot resolutions rely on coincidence and narrative shortcuts. The rooftop confrontation involving Joo Yeo-jeong’s mother feels particularly forced, breaking the grounded realism that defined the series. Similarly, Mr. Ha’s sudden finishing Jeon lacks sufficient psychological buildup, conflicting with his previously passive and complicit characterization. These moments feel less like tragic inevitability and more like expedient writing.
The handling of Moon Dong-eun’s suicidal ideation is another weak point. While thematically present throughout the show, it is never meaningfully explored or developed. By the end, her desire to disappear resurfaces without adequate emotional groundwork, making it feel abrupt and unresolved rather than profound.
The romantic subplot also struggles. The chemistry between the two leads is noticeably uneven, with a visible age gap where they are supposed to be close in age in the story, and mismatched emotional rhythms. Joo Yeo-jeong often feels less like an equal participant and more like a supportive device. His own revenge storyline, while thematically parallel, feels underdeveloped and somewhat inserted, adding little to the core narrative. At times, the character appears designed more for appeal than necessity.
Ultimately, The Glory suffers from a conflict between what it wants to say and how it chooses to conclude. It begins as a restrained, intelligent trauma narrative but ends as a more conventional revenge drama, opting for resolution over coherence. The result is not a failure, but a compromise.
The Glory remains compelling, well-acted, and visually controlled, but its ending weakens the very truths it initially dared to confront. What could have been a consistently haunting character study settles instead for a cleaner, safer finish.
Powerful premise, uneven execution, and an ending that doesn’t fully honor its own themes.
Was this review helpful to you?
