namopanik

is this anywhere online?

He has quite a lot of screentime if that's what you ask.
He plays a young, low-ranked police officer soon to be paired with the demoted male lead. He quickly recognizes heroine's abilities and asks for her help solving cases or helps her participate. Not sure whether it heads towards puppy crush or he just has a sweet personality.

that's one scary chair.

I'm determined to finish this one day, but the drag is real. I wish it was 30 episode drama instead of 50. It's repetitive and predictable. A plan is interrupted or someone gets falsely accused and you can safely fastforward two episodes to see the situation cleared out only to complicate again. Rinse and repeat. The directig style seems dated too: when a scene ends, a camera lingers on someone's face showing how s/he makes this exaggerated expression shift for a few seconds.
I also wish the king was introduced sooner.

The synopsis doesn't give the plot justice, because there's so much more going on. The girl was raised in a prison, became a warden, trained for a spy, failed to became a policewoman, was an entrepreneur and helped or run countless small businesses and schemes. She was also trained in astrology or something and posed as a shaman. The list can go on and on. And there's a birth secret of course. I'm around episode 36 and Waeji-bu wasn't even mentioned yet. So don't expect a legal procedural, as the synopsis hints.

Done. It falls somewhere between a grand novel and a latin telenovela with a family tree having a twist or two. Buddenbrooks minus Mann (if that makes any sense at all). As one of the reviewers said, the music feels pompous and randomly used at first, but steadily grows on me and leaves no doubts: the aim is to focus the whole epoch in a single family. Running a steelwork company and fighting for a position during a restructuration of the banking system doesn't serve as a background only, but forms the plot, while unearthing family secrets happens as the things go their way.

I guess they were just aiming for pretty views. Which is fine and doesn't really matter since there's no such conference in either of those cities and it's rather unlikely to come to Europe to discuss such a discovery on a random convent. Plus, the crew get a longer trip, good for them. More ice cream for the crew! :D
They generally tend to put pretty over realistic in this episode. It bothered me when she was taking a supposedly workable picture of the painting through a glass in a dark room or when she just took a centuries old painting out of its safe hiding place and hanged it in the garden, in a full sunlight and air. Shouldn't she know better? Or threw it in her suitcase and brought back to Korea without any custom issues. And how come she hadn't had enough money to stay in a hotel, but could afford a trip? But ok. With two connected lifetimes, why can't she have a handy teleport too.
I hope it's resolved in some satisfactory way how Lee Gyeom ended in Italy.

I'll give them a look. I feel you about watching films not for their plot only, if it worked that way people would just read a synopsis and save their eyes. If done well, it can save an otherwise meaningless work.

Eun siblings are so precious.

Are you sure? In that scene when the professor talks to Kim Mi Kyung's character and later when they're all having a meeting and he sends her to buy him a toothbrush and socks it looks like Florence to me... And now she comes back to get a scolding, she and her professor are standing on the balcony and there's the cathedral on the right (00:31).
But you're absolutely right, later when she walks with her suitcase it really is Piazza Maggiore in B.! I was so fixated on the panorama (and hating the professor) I missed it then. Not so sure about river and bridge in the next scene though. Quite a walk.

Because I had really low expectations. What's so bad about it? No one makes me seriously cringe, no one is terribly wooden or overexpressive. And during those few episodes I saw there weren't much to work with, so no huge challenges to fail either.
Do you mean someone specific or everyone?

I don't think I ever saw a kdrama this stylish, so coherently lit and shot. Even that stupid PPL washing machine matches the colour scheme.
/also: I can totally picture someone saying: ok, we can feature a sunscreen, but give us something in blue.

Ok, maybe I'm heartless, but that assignment was borderline cheesy. I get that they tried to make it original, but how are childhood pictures relevant for the job or his present capacities? IRL, no one would bother reading all her introductory letters too, it's just not polite to expect it. It seems like a suicide move - on a one hand she shows she's flexible and eager to please, but on the other comparing all those masks she produced side by side may lead to a conclusion it's all fake. Maybe it's just me.

I'm watching Joseon Gunman for him and he's the same trusty side-kick there :) Maybe dorkier. I wish he had more screentime. In R88 he was completely overshadowed by Ryu Joon Yeol and Park Bo Gum for me, I forgot he was even there.

I spot a fellow fan of Empress Ki. If you like that drama, you may enjoy NIF too. Both dramas have main characters stating 'we can't just kill them all' which is my personal sine qua non of a smart political intrigue. Both focus on the consequences of actions, not just separated arcs of getting rid of one foe after another and never mentioning him again. And both see a perfect revenge as setting things right, not just seizing the power or destroying everything blindly. So in essence, they're very similar.
That being said, if you liked different things about Empress Ki than I did, you may find it dissatifying. There's no love triangle, obviously. Contrary to almost every single historical kdrama, there's no lenghty past arc of a main
character's childhood to make him more pitiful and likable, and the ill-fated battle mentioned in the synopsis is also presented as a one super condensed scene in the exposition. The show just throws the viewer head-first right in the middle of things, which I personally like. Some people complain there's not enough romance or human relationships in general (?), but I strongly disagree. Interactions and common history are more like an undercurrent, holding everything together. They are also signalized in flashbacks, which are sparse but meaningful and for me exhaustive [you know, like when people whine that they would want to read/watch a Harry Potter prequel with his parents and their friends? - but it's all there! It'd be just more of the same, with the same twists and disillusionments, and conclusions we already know. But I digress.]. I think it's also a single example of a royal family with multiple wifes and their offspring that really felt like a family, as foreign as it was.
The pace is inhuman, but it's so worth it.

it's only two episodes. If the showmakers counted on resolving everything in two last eps while cluttering 28 previous, they can only blame themselves now.
/Also, did you notice their geography doesn't match?:D They posing Firenze for Bologna for some reason only to send the heroine somewhere in rural Tuscany. Why even bother introducing Bologna in that case.

There's some slapstick comedy in a love triangle between heroine's two best friends and her new boss (and before that between one of them hiding from his lover's angry wife who starts a public campaign against her). The main plotline - hm, you know when there's a nasty car accident and people are slowing down to see all the details? That kind of fun. There are at least two characters /(maybe even four?)/ who make you feel week after week they can go any lower, but they exceed all expectations. The heroine is confrontational and ladylike at the same time, so it's a deligth to watch in itself, but also produces some very good lines. Sung Joon makes faces in a background. And there's a cherry on the top - a brazen, no-BS little girl side eyeing everyone.

Not sure how to feel about this. I think I like the classic better, it had an elegant structure. Framing it in a lovestory with a theme of overcoming social standing seems like a trivialization. It's fine as 47 ronin story, it'd fine as a romance set in the early 1700s, with the girl having slightly lower status and both she and her lover having to follow their lords wishes even when it comes to their personal lives (because there's nothing personal about their lives to decide on their own). It even matches, with common theme of honour, obedience and denial of self. But at the same time pushing a 48th female ronin feels fake - as in 'too modernized in principles' and disregarding the context.
But after Keeanu Reeves version nothing should really bother me anymore. The story is based on the true events, but there no 'original' version, only countless retellings.
It's easy on the eyes and there are so many wonderful details though! Hair ribbons and ornaments made of paper. On-fingers koto picks (tsume) made of bone. I feel it's not aimed at the international viewer, it requires a little more context knowledge than usual. Which is fine.

PS tangerines = good luck

episodes are 34 minutes long, not 48

it's marked on the cast list, click 'show more cast'

Woah. They're similar, she and Jo Yeo Jung. I was pausing and rewinding, hospital scenes were mixed with Eun Hee scenes so I could compare them side by side and I still wasn't 100% sure. And they doesn't even look that alike in the pictures! I wonder whether there's any meaning to Lee Yoo Ri (real) appearences too. Is she going to throw away her facade, Eurus Holmes style? Two more episodes to fill.
And speaking of which, that rack with Disney costumes is still bothering me.