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Soothing sweetness of a healing Love Story in the midst of brutal, relentless Seoul business life

"Love Scout" offers a cozy, soft and warm love story for the heart. Here: embedded in the tough Seoul office workday. Also: it offers perfect KDrama craftsmanship for this genre. Somehow everything was done right. The social network of our two protagonists also fits perfectly into the whole. Additionally, there are quite some valuable messages between the lines. And then there is the soothing sweetness of a healing (fictional) KDrama-world in the midst of the harsh, intrusive, inhumane, unvarnished reality.

"Love Scout" conjures up a sweet love story in the brutal, relentless professional everyday life in Seoul 2025. On top of that: a workplace romance between a female boss and her male secretary is not exactly the easy choice.
The story has a certain sweetness to it, also thanks to 7-year-old Byeol. She actually manages to bring out the best in everyone, aiming directly at the heart.
However, the backdrop of the drama – or rather that of our two protagonists - is actually rather sad.

SHE is a successful businesswoman with good instincts, running her own headhunting agency, but along the way she has somewhat lost touch with herself – she has sort of cut off her needs. The price of her success is high. She is a workaholic, exploiting her body, and just as she tramples over her own needs, she does the same with those of her employees. Apart from work, she practically has nothing. The advantage: her (guilt) feelings are buried under workloads. No time to delve deeper.

HE has perfected the art of anticipating the needs of others. As a single father, he has everything under control. Admirable. But on the downside, he is almost compulsive, as he has no other choice – he cannot help but recognize the needs of others before they do. His antennas are completely tuned to his environment. Thus, he comes across as quite sympathetic, as he is the nice neighbor, friend, colleague... However, as a single parent there is hardly any room for his own needs either. He defines his joy mainly through the joy and satisfaction of others. This inevitably makes him not necessarily alone, but still somewhat lonely. And there, deeply buried, are well-hidden (guilt) feelings, too.

Both our FL and ML are quite efficient. Almost perfect. But both also work like highly efficient machines. In this, they are similar and can each see behind the facade of the other. A good start for a healing love story. A healing story overall, in the midst of a structurally sickening, toxic work environment where there is no place for human beings with human needs – for appreciation, sincere recognition, fairness, and enough regeneration time to recharge their emotional and physical 'batteries'.

The dance of FL and ML, performed on this stage, is touching the heart. Tender, at times playful, heartfelt. The encounter between the boss and her secretary becomes a gentle rapprochement between two people who are so cut off from themselves and their own needs, yet reflecting, recognizing, opening up and learning to love each other in this very aspect.

It is an overall good mixture. A love story with charming side plots, balanced in a well-proportioned way with socially critical issues. Those who wish, may condone the seriousness. And those who appreciate the earnest critique, will generously be served. Thus, in my eyes, „Love Scout“ offers quite salubrious and gratifying KDrama-delight.

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Fun. Touching. Plus light-heartedly questioning the matter of course of human interaction

"The Legend of the Blue Sea" refers to a very old Korean legend that originally tells the lovestory between a mermaid and a fisherman. However, the KDrama is just loosely based on this fairy tale.

In the rich Korean folklore of "Imuldam" (mostly oral shamanic songs, myths, fairy tales and folk tales) which is still very much alive today, there are frequently supernatural beings that move around in the earthly dimension - whether mermaids, a nine-tailed fox, a Goblin, or other spirits. These "Imuldam" are particularly inspired by shamanism and Buddhism. KDramas repeatedly pick up motifs from this tradition and find contemporary ways to keep them alive and reinterpret them. The special attraction arises from the fact that our human world receives a different value, appreciation and perspective through the eyes of those non-human creatures less influenced by time and space.

"The Legend of the Blue Sea" is based on a mermaid caught in a net by a fisherman in the early Joseon era. Then he fell in love with her. However, mermaids rarely feature in Korean folklore otherwise. The topic makes a nice link to western tradition and that's probably how it was intended. Also, parts of the KDrama play outside of South Korea - in Spain.

At the same time, the story takes up another, widespread and popular motif in KDrama orbit: reincarnation. Most of the time it is about souls that were not able to complete certain experiences in the past and are confronted with these or similar situations again in their present incarnation - in order to do things better or differently. In "The Legend of the Blue Sea", the historical fairy tale from back then and its version, transposed into the present day, are developed in parallel in two narrative threads. Just as the protagonist (and also another character) slowly (again) remember their past life, we, too, experience what really happened back then. Eventually the question arises whether life must necessarily repeat itself or else other decisions could be made.

Actress Jun Ji-hyun obviously enjoys her character as a humorous, mischievous mermaid, innocently and ignorantly experiencing the modern human world. With her performance she definitely jazzes the story up. Her sometimes almost naive trust, which is a bit reminiscent of a puppy in places, stands in warming contrast to the distanced, calculating coolness of her Jack of Hearts in 2017. The picture is completed by - here and there - being able to look back into their Joseon past, where he rather personifies an amorous, honorable nobleman.

Ultimately, this KDrama offers a well-designed dramaturgical variety of telling an enchanting love story in two different ways - and at the same time (with a twinkle of an eye) questioning the matter of course of human habits and interaction.

It´s fun and touching.

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A true enrichment for the KDrama Orbit.

"Recipe for Farewell" is about food for body and soul. About the health-promoting function of food. A meal prepared with care and love may have this function - even in the paradoxical situation where eating is actually no longer possible: in the final stage of cancer in the gastrointestinal tract.

As the story is also about cancer, surprising enough this KDrama is not primarily about dramatically approaching the inevitable death. Eventually, sorrow, fear and decay are not neglected, yet the focus is on joy and pleasure in sensual enjoyment of a freshly and carefully prepared meal. It is about the time you share over a meal. About this deliberately sensory, genuine here and now time together. A good, unforgettable time.

In this KDrama two quite opposing moods harmoniously go hand in hand. Death, pain and farewell may hang about. However, life and the joy of it are not overshadowed by impending death. In fact, "Recipe for Farewell" is not gloomy or heavy. Rather, it emits somehow velvety-silky, comfortably warm rays of light whenever it threatens to get dark and in spite of sadness.

In KDrama there is always eating and drinking at some point. Now that's not special. But in "Recipe for Farewell" everything to do with (Korean) food is intelligently, sensitively, carefully, sensually and lovingly mixed in a stylish way. Eating becomes an explicit topic - from the carefully chosen recipe, mindful purchase and loving preparation to conscious consumption. Each episode is named after a Korean dish. You can learn a lot if you like. In any case it is enjoyable to watch - aesthetic, stimulating, inspiring.

Apart from recipes and the preparation of the dishes, the story draws attention to the essence of food: to the radiance that passes from food to soul. To the joy of being alive. To the gift of being part of this eternal process of transformation that is life: From seed to flower, fruit, leaf, root, color, smell, touch, taste, temperature, liquefaction, finally compost, gases... and dissolved into air.

The story is based on an autobiography of the same name. In it, author Kang Chang-Rae describes how by cooking for his terminally ill wife he actually started cooking from scratch. And that triggered quite a bit - within himself and people around him, too. "Recipe for Farewell" doesn´t aim for your heart. It goes even deeper and reaches out to your gut. This is about ´true and sound´. The characteristic gaze of the protagonist, who is deliberately focused on his job as a chef in the home kitchen, is rather simple and objective. Eventually, by unpretentiously doing his job, their flows dynamic new life within the relationships with his ex-wife and his son, too.

Eating together - the meal - becomes the symbol of the truce of all worldly disturbing topics and opens the way to community -> connection -> bonding -> closeness ... by sharing space, time and the (eating) joy, to be alive (= to be able to see, smell, taste and digest).
The original idea is based on an impulse, that came from his ex-wife, when she actively asked him to cook for her during this last few months - and thus be and remain there for their son (who lives with her) when she can no longer. She wishes for peace between father and son, at the latest when she is gone.

Such a final farewell process may be painful for everyone. The disease itself may be painful. This is acknowledged by this KDrama. Yet, the focus is rather on the shared time together when the mother, father and son feel GOOD with one another. "Recipe for Farewell" truly presents a wonderful recipe for saying goodbye - loving, calm, grounded, with simple, three-dimensional sincerity and warmth. Leaving father, son and audience - although sad as it may be at times - with a positive, thankful outlook on life.

"Recipe for Farewell" runs on the South Korean streaming provider Watcha and is very popular there. The series may even trump the acclaimed production "Semantic Error". In any case, the number of paying subscribers noticeably increased during first week of broadcasting... And in the Watchapedia app, the KDrama is ranked 1st among 190 series from 2022 with 4.5 out of 5 possible points in the viewer rating. I agree. Pretty much everything is done right here. The actors are doing a fantastic job, too!

A true enrichment for the KDrama Orbit.

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Wake up in the midst of sobering contemporary everyday life issues of 3 women in their 30s and 1 man

With "Work Later, Drink Now", KDrama tackles a sensitive South Korean social issue. What starts as a cheerful, cool FeelGood series turns out to be serious business. Viewers are taken by the hand in a clever, light-hearted way, only to wake up suddenly in the midst of sobering contemporary topics, as we accompany the protagonists in their everyday life, work, family and friendship issues - here in particular: three unique young women in their 30s and one offbeat man.

The KDrama points at a topic in which South Korea (though small as it may seem) is once again at the forefront of the world: alcohol consumption. There is so much drinking (and eating, because it's so common) on this show that just watching it can make you dizzy and a little nauseous. To the western eye, that may be WAY too much over the limit. For the Korean eye, it might have to be be sooo much for the audience to even notice that it is/could be too much.

The focus of the story is on three girlfriends in their prime who are hard-drinking and happy to drink. With their personality, they may at first glance be a little off the norm, but then again they aren't. They are (from each other) fundamentally different in their professional situations, socialization and life plans. But it is precisely in this way that they also offer viewers all kinds a sophisticated projection while following each one of them in their everyday life and various challenges they face. The dialogues are razor-sharp, the entertainment high value, the episodes compact. There's also wit, humor and music. This mixture plus the pace are obviously just right to pick up the broad masses of +/- 20 to 40 year olds and to present a mirror of their own living environment in an easily digestible way. The second season will definitely come...




------------ SIDE NOTE: --- Alcohol consumption in South Korea ---
Per capita consumption of converted pure alcohol in South Korea is world class. And rising. The World Health Organization certifies South Korea to be the leading country in the consumption of high-proof spirits. Drinking has established itself outside of private life, especially professionally at company dinners after work. These team dinners often degenerate into a veritable drinking spree (practically prescribed professionally).

After beer, soju is the second most consumed alcoholic drink - a colorless distillate made from rice and added wheat, sweet potatoes or barley, which is on the one hand quite cheap in price and on the other hand, at around 20 percent, is somewhere between beer and high-proof spirits (schnapps, vodka, rum or whiskey ) is located. So it can be consumed in large quantities, especially in combination with beer - and the hangover the next morning is inevitable. South Korea's national drink, soju, is the world's best-selling 'liquor' with around 90 million cases sold each year. Yet, the beer market is also happy about South Korea, which, (in spite of its comparatively small country size) is currently one of the largest and most dynamically growing beer markets on the Asian continent.

What begins as party fun usually ends sadly. In the short term, it may be a hangover. But if you practice this form of alcohol consumption at a high level over a long period of time, the damage to your physical health is enormous in the medium to long term. There are studies that show that even among South Korean students (male), every third (!) drinks to the point of unconsciousness (!) for more than half the week. It doesn't get any better in professional life. And if you don't have a job, there's another reason to get drunk. This has inevitable consequences not only for people and their physical/mental health, but also for the health system. The country pays the price of an enormous pressure to perform taken granted in the context of its own turbo capitalism - with the health of its population and moneywise with billions, too .

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In the first half, the KMovie is actually a one-man show. And that, I think, is the strongest part

"#Alive" is a variety on hip zombie stories. First things first: it doesn't have much new to offer in this respect - zombies as a plague that spreads fear and terror, a horde that you want to shake off or destroy, like disgusting, annoying vermin. Well, that's not why I would recommend this KMovie.

I also don't think that you have to overstrain the reference to the Covid pandemic and the sometimes grueling current lockdown experiences that come with it.

Even fans of the horror genre won't be really happy with "#Alive", because "horrifying" can surely be done even better.

So why am I mentioning the KMovie here? The script revolves around surviving in an almost hopeless situation. However, the focus is not mainly on the action, but rather on the quiet moments in which the protagonist is ruthlessly thrown back on himself. There he is alone with himself and his inability, facing his insufficient survival skills, his loneliness and hopelessness ... and finally the desire to leave this world.

Oh Joon-woo isn't a born hero - perhaps he was trying to be in the day-long, night-long computer games, with his joystick in hand. But then the Internet connection is gone, no water supply, no food, no one can be reached. The self-chosen isolation in his room with his virtual game world, which has shaped him to this day, is one thing. Real isolation with real threats and no virtual team is something completely different. It's about that juxtaposition and the painful process of waking up to a NOW that's so different from the gaming world. Ultimately, the impulse comes from outside, which helps him to venture out of his safe cocoon into the real and thus truely threatening world.

However, the movie isn´t anti-technology. On the contrary, in playful creativity technical gimmicks, old and new, give the story new impetus again and again.

In the first half, the KMovie is actually a one-man show. And that, I think, is the strongest part. It's never boring. Actor Yoo Ah-in once again uses the chance to show what he's made of. In this way, the viewers accompany him through his very personal Hall of Pain, and there he hardly omits any physical form of expression. For this he has meanwhile been awarded the Cine 21 Award for best actor. After almost half the distance he gets support from Park Shin-hye, who embodies a character who pursues a completely different survival strategy - namely, she has one, even if she also reaches her limits with it. As is well known, more than one person form a group and a group develops its own dynamics, which can do more than each individual on their own. Here too. Both of them grow together. Heroes are rarely born as such...

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A vividly told emotional story about the creation of Hangul and its impact. Absorbing. Gripping.

Of course, this historical drama is (as many others) full of intrigues, power struggles and revenge. But King Sejong, the 4th Joseon king, who is the historical subject of this KDrama, was indeed a bright shining star in the Joseon sky. So is this KDrama.

King Sejong created the Korean alphabet. Not just him alone. But this great achievement goes back to his driving force and his vision of a mature people. The story impressively tells of the bumpy road to Hangul. It also tells of how important it is as an identity-creating medium for self-confident citizens. Previously, Hanja - the canon of sheer countless characters of Chinese origin - was the country's binding writing. Not only that, but a whole range of Korean words are loanwords of Chinese origin - to this day. At the same time, this reflects the asymmetrical balance of power between the Korean dynasties and the Chinese dynasties. The use of the Han signs not only symbolizes the hierarchy among the peoples, but also within one's own people. Scribes and scholars were needed, who had the muse and time to learn these characters (more than 100,000 in total). Thus, they had the authority to interpret. It was hardly possible for ordinary people to learn. A scripture that connotes words and meanings in characters is based on a completely different concept than a scripture composed of a compact alphabet. Based on the phonetics of the Korean language, King Sejong developed an alphabet finally consisting of 14 symbols for consonants and 10 for vowels. The writing system to apply those in a way to form words and sentences can be learned comparatively quickly, even by ordinary people. What a progressive concept at the time! What a threat to the elite of scholars and noblemen!

The title "Deep Rooted Tree" refers to verses from the 'Songs of the Dragons That Fly to the Sky' - the Yongbieocheonga. This contemporary document about the Joseon Dynasty and its legacy was the first book that was ALSO written in the new Hangul writing system.

"Deep Rooted Tree" is (among many other truly exciting dramatic events throughout the story) about the impact of scripture for the people of Joseon - a story vividly told in an absorbing manner. A truly fantastic presentation. With gripping protagonists. Multidimensional. With high emotional impact.

The dramaturgical setting introduces the king (from the perspective of the male protagonist) as the bad guy. But the 24 episodes (analogous to the alphabet?) provide an impressive insight into the fascinating life´s work of that great king - embedded in the excitingly increasing momentum of the vendetta of a boy from humble origins who grows up to become an outstanding warrior and finally ends up as royal guard.

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Here it is spectacular not to be spectacular - yet touching and powerful in all simplicity

"The Spring Day of My Life" fulfills the Rom+/-Com concept in a very balanced mix. The humor is not exaggerated, but has an effective, calm charm with its sometimes true-to-life, sometimes intelligent wit. The equipment does NOT want to present the latest from the high-end in terms of fashion & beauty, and the styling is also reserved. Since the KDrama comes along more on the authentic side, the 'Melo' in 'Drama' is also moderate - it doesn't come across as intentionally pathetic, but it goes straight to the heart with all its consequences. This KDrama offers a love story that has a light-hearted side and is giving pleasure while it doesn't strain any fairytale happiness. Yet it rather chooses authentic dramaturgical paths for the development of the story. Optional use for the handkerchief included.

"The Spring Day of My Life" presents itself as a grounded love story about a single widower with two children and a young woman who, after a heart transplant, carries the heart of his deceased wife. The New Heart with Cell Memory theme is not new to KDrama Orbit. In my opinion, however, there is nothing wrong with picking up on it and telling it anew.

In short: the spectacular is nothing spectacular here, but rather the art of telling a touching love story in all simplicity, yet surprisingly vividly. The two leads marvelous performance makes it work, too. For many, they may not be so well known, but they effortlessly take the audience by the hand. This is Cho Soo-young's first lead role (as far as I know). Kam Woo-sung, on the other hand, has been on screen since the early 1990s - his series partner was still in diapers then... He's an unorthodox, pleasantly idiosyncratic figure on the hero/antihero front. His playing comes without perfected beauty, well-placed chocolate sides and enchanting smiles, but he primarily inspires with his presence, intensity and in places minimalistic efficiency. He always embodies his roles forcefully, authentically and to touch. He doesn't have to collect sympathy points, on the contrary - he likes to show his grumpy, nagging, nasty side.

Obviously the producers were quite generous with flashbacks, but other than that, I don't think there's much to complain. If you're not looking for overly superficial, yet not overly sophisticated entertainment - this KDrama offers comforting heart-ache-smile-and-sigh.

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Down to earth romance, providing troubling insight on what South Korean women are facing these days

"Something in the Rain" is a love story about an older woman (35) with a younger man (about 27/28). Yet, above all, the KDrama is a critical social study about relationship taboos and parental respect in South Korea as well as sexism in the workplace. Authentic. Bitter. Sweet.

The original title of the KDrama "Pretty Nuna, who invites me to dinner" contains the taboo relationship with all its dynamics on which the story is based - the woman is older (´nuna´) than her boy friend (a no-go!)..., and still being a sucessful employee she earns good money instead of being married (another no-go). Actually in South Korea this is a serious problem of a recent generation gap and gender conflict.

Just consider the significance of "Something in the Rain" (as the romance that it is) in such a broader sense. If you are missing a special icing throughout the story, than this is simply what it is. It is supposed to. Overall, I consider "Something in the Rain" a rather up to date, down to earth, authentic romance, providing troubling insight what kind of circumstances South Korean women (and men) are facing these days.



--------------------- SIDE NOTE --- South Korean women and romance in everyday day life
In relation to everyday life in South Korea the focus on romance and true love in KDrama takes on a whole new meaning. Very few people really have time for a relationship during their professional life. The working days are long. In addition, women are discriminated against at work, sexualized and reduced to their gender role. They work harder (and often more efficiently) than their male counterparts, but are paid less and are less likely to be promoted, as they are bound to get pregnant soon. If they really do get pregnant, then that's it for professional life. Child care for 70-80 workhour weeks (with commuting and company dinners) is hardly affordable. Women do not have to hope for flexible working hours from their employer. So women with children inevitably end up at the stove. Women can forget about returning to work.

As a daughter, women already have a difficult time in the family. If they are married, then first of all they have to relieve the elders - in both families. (If they are not married, they are blamed or rushed oder pushed to quickly do so). Men, on the other hand, are celebrated by families as sons from the start. Accordingly, they present themselves in public with self-confidence and appear more macho. It's not uncommon for them to loudly and rudely gossip about the looks of women in the coffee shop or restaurant or shop or at work or in public. (Actually with the job market being extremely competitive, the appearance of women can not only decide about the partner, but also about the employment).

There are numbers from surveys showing that on average, seven out of ten South Koreans don't have time to date and only about four out of ten are in a committed relationship. The work is more important. Not necessarily because they identify with it so much, but because they don't want to lose it. The pressure to perform is enormous for everyone. As a result, 3/4 of South Korean women between the ages of 25 and 29 are not yet married. Among women between the ages of 30 and 34, more than half are still unmarried. South Korean women also have increasingly modern demands for a self-determined life. They are less and less interested in macho men and suffocating family structures that reduce them to rasing children, representation and the home. This is also due to the fact that normal households can hardly cover their expenses. Family costs money. Divorce rates are rising (South Korea is having one of the highest in the world), yet women are finding it difficult to return to work. There is also a stigma to living as a single parent. (Accordingly, these days not only unmarried couples, but also married couples are less likely to have children.)

Society is in a dilemma. In fact, it can't help but modernize its patriarchal, women-discriminating value systems if it wants to survive. The South Korean population will otherwise shrink under the given circumstances from 2027 onwards. (Update 30.7.22: Statistics Korea reports on 28. July 2022 first time shrinking in 2021 already...)

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Jang Kiyong unconvincing as creative, Paris-based, free-spirited, rebellious, footloose photographer

"Now, We are Breaking Up" tries to tell a love story in reverse (e.g. it has been there already). This would be an interesting project in itself, yet...

The plot is emotionally quite complex, the characters are in principle jucily interesting and ambivalent. If a KDrama can't take care of a multi-layered, complex mixture of feelings, then who can? Unfortunately, I have to say that (in my opinion) this project doesn't really work out so well with the casting.

Regarding her emotional intensity, Song Hye-kyeo is (as so often) a major factor for watching. As the heroine, here and there her reservedness, sobered by life, is perhaps a bit much. But in places this cracks open. It is this well dosed mixture and subtleness, that makes her role convincing - the experienced fashion designer in her late 30s has turned away from flirtation and rather concentrates on her work, into which she throws herself completely. Being the talented and experienced professional she is, hardly does she ever get upset by anything. ... until her encounter with the young photographer Yoon Jae-gook, that throws her (emotional) life (supposedly) upside down. Her reservedness so far operated as shelter and imprisonment at the same time. Circumstances don't really offer a chance to free herself from the corset of reason, which is protecting her deeply injured heart - never mind let herself fall and trust emotionally. This inner dynamic is not so nice to look at - or rather endure - for the viewers. But I don't think you can blame Song Hye-kyeo, as she handles this inner tension and the ambivalent moments of her complex role very well.

On the other hand (unfortunately) I don´t buy Jang Ki-yong in his role as a creative, Paris-based, free-spirited, a bit rebellious, footloose, and at the same time successful photographer. For me he behaves way too reserved, well adjusted, well-behaved - a sympathetic, dear, rich, successful boy. So unfortunately, HIS ambivalence doesn't convince me. Perhaps actor Jang Ki-yong lacks the life experience (on the rebellious side)? And since he can´t really fill this side with life, I am not convinced by the chemistry between the two leads. It doesn't get to me how the young man in his supposedly fiery manner, would be able to reignite on an EMOTIONAL level the fire of lust for life and joie de vivre (beyond work) that is still blazing somewhere deep down in Ha Yeong-eun... So the key to all further makjang doesn't really fit into the lock. Too bad. Thus the experiment of telling love in reverse didn't really work out that well.

The KDrama is not bad because of that (...though admittedly disappointing ...). On the pro side: There are freshening subplots, each with actors in good humour, who have actually won awards for their spirited performances. The setting in the creative industries is kind of charming, too. Finally, the Korean family values are (once again, but successfully as always) playing with fire on the drama front...

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A very well done, substantial, self-critical, thought-provoking Korean-style political drama.

In “The Whirlwind,” the old masters of Korean film and television use their strong aura to demonstrate what it means to truly want to represent transparency and democracy in South Korea 2024. Even after several decades of 'real' democracy, the political apparatus still feels like a vice in the hands of a few in a backroom and every idiosyncratic move inevitably leads to pain. Here we see the top-class veterans Sol Kyung-gu and Kim Hee-ae and a few more in a Netflix production that has substance and intensity and decisively highlights a major dilemma within the South Korean political scene. A great script with characters who are not just black or white, but full of shades of gray.

2024, as I said. Unfortunately, the struggle to act politically honestly, or to curb corruption and illegal influence by the Jaebeol conglomerates, obviously still is a Sisyphean mission... But there is this longing in the country – a desire that politics will at some point be done by responsible, accountable citizens and not manipulated by this 1 percent of the Jaebeol elite, using the system for their own benefit. ((On the other hand, as a mass, that is all too easily manipulated by misleading information the (in theory powerful) people ultimately doesn´t impress as a source of hope... Sobering. Unfortunately.)) Obviously it is difficult to change the sluggish but powerful apparatus. However, the more scandalous conditions and dynamics are clearly communicated through the media, the more the shiny elite may become disenchanted (as in "The Whirlwind"). And perhaps - the more this happens - at some point the general public will no longer be so easily swayed and deceived. Perhaps, slowly but surely, the number of those, who dare to oppose the whims of the so-called elite, no matter the cost, is against all odds growing. And maybe more and more will follow over time. This is, where “The Whirlwind” is coming from...

In 2024, South Korean politics is no longer just a male affair. Nevertheless, the world of decision-makers is still a world of cliques, and if one person is not willing, then force will be chosen. The pattern seems to be the same forever.
And yet. In this KDrama we are dealing with a protagonist, who doesn't care about all the headwinds. He isn´t impressed. He doesn't want to be bought and is resisting temptation. He might become a role model, yet he is driven by his own interest. He cares about the cause, the idea, his political values, and he risks everything for it. The end - the good, honest one - justifies the means. And suddenly an upstanding citizen also attracts others, too. He embodies a longing, stands for a hope that is truly shared by many - even those who have learned to function well within the corrupt apparatus. Where there is a will, there may be a path, but it can be rocky, swampy and, in some places, hopeless. Once again a brave David has faced off against a complacent Goliath. And if he's not careful, even our ambitious David may imperceptibly stray from the right path on his way to an honest goal. Because in fact, not every means justifies its noble end... When it comes to a world of responsible citizens who are equal before the law, then it is at the same time and first and foremost about accountability and about taking (lawful) responsibility for one's own actions. In all consequence. This equally applies to everyone, too. Uncompromising. Without exception...

So, overall I consider “The Whirlwind” a very well done, substantial, self-critical, thought-provoking Korean-style political drama.

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Dramaturgically opaque fabric of a multi-dimensional plot tapestry

At first glance, "Hide" is none of the spectacular KDrama productions, yet on the solid side of KDramas, I consider this production first class.

We get an extremely complex crime thriller in which white-collar crime is intelligently mixed with many other criminal activities as well as incitement to and covering of criminal activities, plus fraud and adultery and even more. It is based on the Welsh television series “Keeping Faith” from 2018. However, the KDrama freely unfolds its own, definitely South Korean-tinged storyline. (There, of course, the Jaebeol shouldn't be missing, ...who, together with their henchmen, are significantly assigned the role which a gangster clan played in the Welsh series...)

“Hide” definitely offers a dramaturgically opaque fabric, where motives and entanglements reach beyond 'today', too. Continuously weaving surprising twists into the multi-dimensional plot tapestry turns out to be the great strength of “Hide”. Thanks to the entire production team in front of and behind the camera the story grippingly enfolds…and enfolds… and enfolds…

And in true KDrama-like style, no character remains one-dimensionally black or white - no matter how questionable or malicious they may act. Likewise, sooner or later we can relate to the motives of the different characters and why they were drawn into dishonest or even criminal actions. (Even if you don't have to approve of the actions, let alone like those characters.)

Complex. Dense. I would recommend this gripping crime thriller to fans of the genre, who like it with a topping of Korean emotionality.

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The story being told in an unagitated & well-rounded way unfolds its unique (I´d say: high) quality

"Divorce Attorney Shin" is actually based on the webtoon of the same name by Kang Tae-kyung. The KDrama comes with the handwriting of the same screenwriter as i.e. "Thirty Nine", "Always" and "Encounter" – Yoo Young-ah. In the case of "Divorce Attorney Shin" once again shows off her strengths: drawing true-to-life, sensitive portraits of friendship and relationship dynamics with plenty of ordinary life of ordinary people. In "Divorce Attorney Shin" you get (also thanks to marvelous actors/actresses!!) authentic, lifelike characters and circumstances. In this case with sometimes maybe a bit weird, but loving details. With characterful esprit. Unagitated. At times a joy to the heart. Almost soul food.

"Divorce Attorney Shin" tells stories from the red-hot everyday life of many people in South Korea, which is increasingly about divorce. The number of divorces in the country is currently going through the roof. The topic becomes almost normal madness. KDrama understands this just as such. Divorce is normal. Not nice. Not desirable. Not originally intended. But often unavoidable as the next step. And sometimes maybe...

(A bit tongue-in-cheek: the title. Attorney Shin's name "Shin Seong-han" literally means "sacred" in Korean. Thus, his name tag "Shin Seong-han, Divorce" becomes a provocative play on words. Attorney Shin is also the man for the cases when the ´holy state of marriage´ has faltered...)

There are many reasons and circumstances behind such a momentous decision as divorce ( ... and it may always accompanied by a bit of shame and feeling of failure, which needs to be digested emotionally). Some of them come along enrobed in different cases. They are weaving their way around the frame of the story, the main focus of which are three old friends – above all, however, divorce lawyer Shin Sung-han. One of the recurring scenes is the small but finely drawn retro lawyer's office with a wooden sliding door that sometimes gets stuck, which you quickly grow fond of. Also, Shin's apartment with retro-style hi-fi, where he spends his evenings listening to loud Trot music, preferably singing and drinking soju from a wine glass. And then the cozy Ramyeon restaurant around the corner from the office. Added to this is the special relationship between Shin and a client who ultimately joins the team and another young lawyer, who somehow stumbles over Shins piano skills into the office. And then there's his own past as a gifted pianist and the reason why he's no longer one.

Kudos to the layered nuances that paint the complex environment in which divorce tends to be embedded. No divorce is like the other. But most of the time, divorce hurts or hurt started before and therefore led to it. "Divorce Attorney Shin" touches on a multifaceted assortment of backgrounds and triggers over the course of 12 episodes short-term critical circumstances and long-term effects, emotional suffering and opportunities, economic chains and hopes, social stigmas and societal prejudices, and then, too, self-doubt, as well as collateral damage and sacrifice. It's not always just 'the others' who are affected, but the controversial issue of divorce is getting very close to almost all of the protagonists. JTBC attacks a hot social topic with the KDrama.

"Divorce Attorney Shin" offers all this embedded in a variation of slice-of-life. Leisurely, cozy and enjoyable – and therefore digestible. But it's not at all harmless. There is plenty of law-and-order with a comprehensive arc of suspense. On the one hand, this is the professional talent of our protagonist – although not his only one. On the other hand, there is his own family history, marked by the pain of separation and divorce, which is unexpectedly stimulated anew. The dramaturgical dynamic of the story is increasingly gaining momentum and ultimately steers inevitably towards Shin's very personal showdown, where justice is fought – not with firearms or fists, but according to the law, with evidence and with a sense of proportion, heart and mind.

In my opinion, the story finds an extremely fine nuance on all levels, which shows an ever deeper effect over time. Subtle but lasting. I would associate (not timbal, but) Koshi chimes – depending on topic and episode, sometimes more in the timbre of Aqua, sometimes more in the timbre of Aria, sometimes more in the timbre of Ignis, and sometimes more in the timbre of Terra... The story being told in a coherent and well-rounded way unfolds its very unique (I´d say: high) quality.





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SIDE NOTE: --- Trot ---

KPop is a 2000ff phenomenon in Korean music history and by now even most non-KDrama fans are familiar with it. ´Trot´ however probably is less known. But beware: maybe in the not too distant future there will also be a KTrot, who knows...

'Trot' dominated the Korean music scene – as the earliest form of popular music in the peninsula. Trot is less well known to the rest of the world, but has experienced an enormous revival in its own country in recent years, which is now taking the genre even beyond national borders, too. "Divorce Attorney Shin" presents one of the hits, which was released brand new in 2020 on the CD "9 Stories" by Trot old master Na Hoon-a. The 72-year-old landed a megahit, with its YouTube video being viewed 25 million times and thus temporarily relegating the superstars BTS and Blackprint to their places. Korean cultural export strategists are smart and quick. The song promptly finds its well-staged place in the appropriate KDrama with "Divorce Attorney Shin", which also takes the direct route to the international audience via the Netflix streaming platform…

'Trot' grew on Korean soil and is quite retro in its foxtrot and slowtrot beat derived from standard dance. 'Trot' goes back to the time during the Japanese colonial period and the import of the 'enka', mixed at that time with the folksy, epic pansori lamentations (at least for me often reminiscent of flamenco), as well as the traditional aesthetically harmonious, lyric poem form Siga. However, due to its entangled roots with the Japanese 'enka', 'Trot' fell under censorship from the 1960s onward and only resurfaced in the 1980s. However there was also J-pop , hip hop and rap allowed to reach the masses and with that influence the then upcoming new and hip KPop pushed 'Trot' into the background.

Only now, when KPop is firmly established, does interest and space for something 'new', identity-establishing traditional obviously open up again. There may be something old-fashioned about ´Trot´, since young people are more familiar with it via their grandparents generation. However, the music triggers a nationally rooted, melodramatic emotionality... It's quite possible that a contemporary, new variation of internationally hip KTrot will develop over the course of the next few years. At least the trot is rediscovered – not first – but also by "Divorce Attorney Shin"...

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A refreshingly sassy KDrama, critically reckoning with the South Korean education system (and love)

“The Midnight Romance in Hagwon” promises a love story with its international title - and that's what we get. Jung Ryeo-won and Wi Ha-joon are creating the relatively adult, authentic aura of a tender but complicated love relationship between a former graduate and his former tutor. Yet, the two are more than a couple. Today, as teachers, they inspire each other to teach didactically creative. And in doing so, they also inspire their students.

Thus, the KDrama, which in the original means something like “The Graduate”, basically offers more than a romance. It is rather a quite critical reckoning with the South Korean education system. The criticism: It's less about education than about grades -and a lot of money is involved in getting good grades. The students learn the correct answers to their questions. They therefore receive any effective support outside of school, mainly in the tutoring academies, provided their parents can afford it. However, there is one thing, the students don't learn: how to ask the right questions. They don't learn to question or get to the bottom of something. They know their material they have to memorize and what formulas they should be able to apply. Everything else is not part of the entrance exam or a prerequisite for qualifying for admission to one of the three large SKY universities. It has to be Seoul National University, Korea University or Yonsei University (S, K and Y), if anyone in South Korea is to become something...

"The Midnight Romance in Hagwon" aka "The Graduate" takes stock of the prevailing, dubious, even misleading values of a society, still trying to convince the people that they have to obsessively achieve something in order to be valuable of some sort.

When it comes to the academy teaching staff, it is about tailor-made exam preparation, courting parents an acquiring new students. Looking to the right or left, seeing a student as an individual human being with dreams and needs, let alone respond to them? Oh my! Whether it's students or scandals, it's never about the people. It's always about the money. A lot of money. The competition is enormous. The South Korean education market is a lucrative economic engine that is humming along happily.

This KDrama offers a wonderfully staged, emotionally sensitive and vivid approach to these issues, using the fate of various ambitious, highly motivated teachers who would like to try something different, but are not allowed to. They are surrounded by elitist parents who are ready to do anything for the glorious future of their beloved, dearest offspring. They are also surrounded by fiercely competitive academies that are just waiting for someone to make a mistake, because then those protégés can easily be poached and their own coffers start ringing instead...

What a refreshingly sassy KDrama, dealing with all those issues...

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A highlight in KDrama history in terms of the processing of women´s beauty-dilemma

Admittedly, "My Name is Kim Sam-soon" is comparatively old. Here you can experience Hyun Bin very young, almost boyish in his early 20s. Nevertheless, I consider this series to be a highlight in KDrama history in terms of the thematic processing of its content. Yes, there's a lot of nagging going on in Korean style. But the arguments and what is being carried out, it has it all.

It's about women's beauty ideals, especially about being slim. About last-minute panic among women over 30. About romantic ideals and the reality of relationships. About professionally successful women (and those who want to become or thus have big dreams) - not only the protagonist, but also her mother, her potential mother-in-law and the male protagonist's restaurant manager and ultimately also the male protagonist's ex.

The underlying question is whether a woman, who does not define herself by her slimness and beauty, has a chance of 'getting' a handsome, nice man. Is she even perceived as a woman? Taken seriously? From what else can a woman draw her self-esteem beyond 'beauty' to find her place in life - self-confident and happy. Is that even possible? Is attractiveness in the sense of the ideal of beauty a prerequisite for marriage, family and/or for success at work? And is all this the prerequisite for a happy life? Or maybe the question is completely wrong? Shouldn´t it not be a happy, healthy life at the beginning and then you see what else might be added to it? ...love and self-love - the thing with the chicken and the egg...

"My Name is Kim Sam-soon" tells the story about the female flaw without miraculous transformation. At the beginning (and at the end!) there is a self-confident young woman who is overweight (I would say ´normal´ (vs ´ideal´) weight, but obviously not by Korean standards). She has quirks and doubts, talents and visions, hopes and charm. She doesn't let the adverse winds in her life get her down. Her courage sometimes fails her, but she knows exactly what she wants and even better, what she doesn't want. Although her body dimensions do not meet the standards of the fashion industry - she is painfully aware of this, because that is what those around her tirelessly mirror - she does not question herself. As best as she can, she stands by herself and what she thinks is right.

Kim Sun-ah has won multiple awards for her portrayal of Kim Sam-soon. I have the greatest respect for her, because she lives her role to the fullest, just as if she were Sam-soon for real. In a world dominated by the eyes of men, she convincingly fights on behalf of several generations of women for gender-independent self-confidence, for quick-wittedness and for unconditional self love. She had put on quite a few kilos for this role in order to get away from the usual ideal of beauty. So she wins tons of hearts of women (from all over the world), for whom she carries out her inner and outer struggles on their behalf. In 2004, ratings at times reached almost 50 percent. ...The topicality of the subject has not diminished around 20 years later (one could say: "unfortunately").

The original title is: 'My name is Kim Sam-soon'. Internationally, the KDrama is marketed with the title "My Lovely Sam-soon". That's actually an insult (in my opinion). Didn't the 'decision makers' (they must have been men) actually see the series? Why do they focus the narrative perspective on the male protagonist and also emphasize his possessiveness with this possessive pronoun? And why do they only reduce Sam-soon to her appearance again? I do not get it. I assume that these ´decision makers´ probably didn´t understand anything. Even if it's possibly meant to be ironic, I consider that impossible... In any case, I choose the appropriate international title "My Name is Kim Sam-soon".

By the way, "Sam-soon" is an old-fashioned name for the third-born. It has a certain charm that this 'old-fashioned' birth name represents a bigger self-esteem problem for the female protagonist than her looks...

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Crisp and tasty KDrama - revolving around some hot topics that one might rather want to call sci-fi

Intelligent, sharp, with strong characters. A crisp and tasty KDrama. “Blood Free” got me immediately - with an original hook, set within a gripping milieu, topped by thoughtful demeanor of interestingly authentic protagonists and splendid casting.

Of course, the interfering natural interest of those in power (who obviously can never keep their hands off) is not at all surprising. Yet, the processing of some rather hot contemporary issues was presented in a refreshingly concise manner. Including topics that one might call a dream of the future... A bit far-fetched here and there? Perhaps. Nevertheless, often enough well grounded in common sense.

I assume there could as well be a second season... because the end doesn´t necessarily have to be the end, does it?

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