Is it “ So Not Worth” Watching This Drama?

In between the badly-timed laugh tracks, sound effects and sporadic comedy jokes in dialogue and screen titles ( often accompanied by outdated hashtags) , “ So Not Worth It” ( written by screenwriters Seo Eun Jung and Baek Ki Hyung ) attempts to offer a “ fresh” take on youth culture in South-Korea with a group of international students. However whilst the show did present some intriguing messages towards recognising diversity and fighting against prejudice stereotypes in South-Korean society, “ So Not Worth It” often failed to hit the mark by struggling to reach its full potential.

The acting is admittedly a mixed-bag. As the majority of the cast are comprised of novice or first-time actors, it is undeniable that the acting quality varied a lot. During more heartfelt moments of the show, the cast were able to give dynamic performances, however, comical elements surrounding their characters was a little questionable to say the least.

As characters, the show often reimbursed into going into extremes of being over-the-top stereotypes. Teaching assistant Se Wan ( Park Se Wan) was arguably less overtly flamboyant than the other characters in the series due to her down-to earth personality and constant need to have other part-time jobs in order to survive. Consequently , this was closely followed by Hyun Min ( Han Hyun Min). There seemed to be a lot that the series was trying to address with Hyun Min’s difficult lifestyle as a student as well as annoyingly being mistaken as a foreigner. By far, there were certainly some interesting and funny moments with Hyun Min’s interactions around sister Han Hyun A ( Choi Yu Jin) and his mother, however, more controversial issues which were prominent with Hyun Mom’s character were often swept under the carpet .

The series enjoyed playing and milking on the comedy elements a lot also. It is therefore no surprise that clueless and klutzy Korean- American Jamie ( Shin Hyun Seung) soon began to predominate screentime with his predictable pairing with Se Wan. Refreshingly as we progress we do learn a bit more about Jamie outside of the comical moments regarding his complicated life, however, it did feel at times this portrayal was a little lacking. ( As the series could have even helped to portray difficulties for Jamie trying to adapt to a different culture.)

The other supporting characters such as Korean - Australian Sam ( Choi Young Jae), Hyun Min’s roommate Tetris ( Tetris Brown) and their roommate Hans ( Joakim) were often used to generate quick farce moments in the show rather than being used to reach more poignant moments .

It was evident to a lot of watchers just how much this show had been tailored for western audiences. This isn’t a surprise considering the popularity of K-dramas in the west, however, the stereotypes in order to appeal to ‘ westernised audiences’ were incredibly enforced such as Thai K-drama fan Minnie( Minnie)’s constant references to K-drama quotes or actors in order to make the show " appealing ”. ( Including a cringeworthy moment when Minnie is visiting an army barrack and begins to reference ‘’ Descendants of the Sun ".)

Then there was the American international student Carson ( Carson Allen). As viewers, we admittedly did get to see some brief glimpses into Carson’s love-life which helped to sketch her out more as an individual. However, her “ old-man” style of speaking often took away more profound moments of her character by being used as a tiresome running gag in the show.

Of course it is wrong to suggest that ‘ So Not Worth It’ didn’t have some more bittersweet moments either. There was a fairly intriguing element to a group of international students becoming friends which was fortified by standing up for one another at different moments in the show. When Carson reveals her Korean boyfriend had an affair behind her back, the ragtag group of friends are quick to rush over to give him an earful. In another scene of this episode, Se Wan and Carson have a fairly sweet moment as friends, whilst in a later episode Hyun Min’s mother makes a profound point that being a mother isn’t just a biological, but having a strong bond with your child ( regardless of whether they are blood-related or not) also . In another heartfelt moment of the show, Carson altruistically plans matchmaker with Terris and her date after cottoning onto to Terris’ feelings . Yet in between the more profound moments of the series, the boorish comedy often took this away in exchange for childish and tiresome jokes and running gags . The ending was arguably left on the possibility for a second season with a feeling for incompleteness for viewers , however, a lacking sense of fulfilment truly did bring to the question what on earth viewers spent 12 episodes watching .

So is ‘ So Not Worth’ it “ worth ” investing time towards ? If you’re looking for a quick series to binge-watch then this sitcom is the answer to your dreams. However, the desired attempt to present a diverse cast evidently targeted for a “quick fix” to attract western audiences was strongly apparent over quality. There was a certain glamorisation over more subtle issues in South-Korean society with numerous one-dimensional characters in an attempt to heighten poorly-written farce moments.

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Use For My Talent; Sweet, But Unremarkable ...

Let’s be honest for a and disregard the " Korean vs. Chinese version" argument by openly confessing that neither version will ever be a " masterpiece". Of course, this is not to say that both versions of the show were "unwatchable". Both cast and production values in the dramas are good . However, the screenwriting? Well, that’s another issue entirely.

For those unaware, the Chinese version follows the same basic premise as its predecessor; successful male lead and owner of a cleaning company Gu Ren Qi ( Jasper Liu) suffers from Mysophobia as a result of trauma. Through a series of strange events, he ends up meeting and employing female lead Shi Shuang Jiao ( Shen Yue), however, she is his polar opposite by her unkempt and blasé nature towards dirt . Ultimately this leads to a complicated rocky road as Ren Qi discovers himself falling in love with our female lead.

Cultural changes aside, there are a couple of things which did work well in this version ; the male lead seem a bit more paved out as a character with his backstory, and he did not have the same accentuated reactions ( as his Korean counterpart) to a piece of dirt. However, ultimately Ren Qi did suffer the same fate as a" staid male lead". His backstory (rather than being used for development), is played upon the " tragic trope” card with few defining reactions or emotions outside of chasing the female lead Shi Shuang Jiao.

Shi Shuang Jiao was also your archetypical " prosaic heroine". There was nothing inherently wrong per say with Shuang Jiao as a female lead. She was sweet and a kind-hearted person,however, if you could put an evident sticky label on Shuang Jiao, then it would certainly read; the ‘“quirky and cutesy” female lead who is" stuck in the middle" between Ren Qi and the " boy next door" Lu Xian’( Dai Yun Fan). After all, Shen Qiao only truly existed in the series as the " love interest" rather than an individual in her own right.

Of course, then there’s the pairing between Shuang Jiao and Ren Qi. Admittedly, whilst there is certainly emphasis in the Chinese version of Ren Qi and Shuang Jiao sharing "mutual ground", this is also where the series hits a bit of a rut also. This is because whilst it is implied over their shared " traumatic pasts" helping their relationships to develop, it is hard to truly define what either Ren Qi or Shuang Jiao truly saw in one another ( apart from this) in the first place.

The side characters of the series were a little forgettable . Second main lead Lu Xian did have the potential to be intriguing , however, his ineffable desire to " chase after the female lead" and not truly having a life outside of wanting to win her affections put any possible character development down the drain . The other two pairings of the show between Zhu Yan ( Su Meng Di), Shi Jun Jie ( Yanan), Li Dong Xian ( Charles Lin) and Wang Qian Qian ( Huang Si Rui) were arguably more entertaining at times than our main leads, though they were certainly nothing to write home about either with cliche setups.

So, what’s left to say about " Use For My Talent" and is it worth watching ?The Chinese adaptation wasn’t inherently "bad" per say. It did have a really good cast and an incredibly sweet pairings. For fans of cutesy romantic dramas then this is right up your street, however, just don’t expect great character development either.

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Brilliant Cast, Average Storyline...

Easily one of the most hyped Korean movies of the year, screenwriter-director Lee’s ” Seobeok” drew attention by the collaboration of two of Korea’s biggest stars in the industry, Gong Yoo and Park Bo Gum working alongside one another. However, something which does seem to have been left out in reviews beforehand in favour of biased comments upon the actors themselves, is glossing over the actual storyline.

Seobok is an odd fusion of drama, philosophy and morality in the first-half closely followed by fast-paced action with gunfights and psychic powers in the final part. It is surprising, but somehow, these two halves did blend quite well, resulting in a rather entertaining film.

The movie is the tale of Min Ki-hun (Gong Yoo) a former intelligence agent with a traumatic past. He suffers from a long-term illness which causes him to occasionally lose consciousness (mostly at times most convenient for the plot). Chief Ahn (Cho Woo-jin), his former cunning agency head, recommends that he be part of a revolutionary experiment that might help to cure him of his ailment. This experiment involves Seobok (Park), brought to life through stem cell cloning and genetic engineering. Seobok is a gentle, benevolent soul who is fascinated about the world, and morbidly about mortality.

Seobok’s bone marrow contains special cells that could unlock the secret of immortality. Unsurprisingly, a lot of people are interested in him, mostly for selfish reasons.After a surprise ambush by some military forces, Min and Seobok find themselves on the run together. If viewers can put two and two together, the screenwriting openly becomes predictable as the story moves along .

Admittedly, the action scenes are pretty enthralling, opening up in the beginning of the film with a terrific moment when a vehicle is driven through a brick wall. Yet whilst the plot does begin to build up to a satisfying climax, the pacing is ultimately slow in parts with perhaps the only reward seeing the antagonists get their just desserts, as well as some more profound moments of angst-ridden backstories for the characters. The philosophy in the movie whilst arguably risking the problem of being overwrought, did add a multifaceted layer to the storyline.

As far as acting goes, Seobeok is certainly headlined by its two main actors Gong Yoo and Park Bo Gum, who do not disappoint within their performances.

Amazingly, Gong Yoo was hesitant to accept the role at first and was unaware that he would be starring alongside junior actor Park Bo Gum. However, Gong Yoo later confessed that he enjoyed playing the role ( as well as being able to break away from his typical ” good guy” roles as a foul-mouthed and cynical agent), something which he certainly excelled within his performance as troubled protagonist Min. In a scene exploring Min’s back story, Gong Yoo captivates the pure humanity of his character in arguably one of the most memorable parts of the film.

Evidently, costar Park Bo Gum also had his fair commentary upon feeling fairly nervous with working with Gong Yoo in the film. Regardless, Park’s somewhat romanticised appearance as the mysterious Seobok, did not diminish his talents onscreen as both characters and their bond over the course of the film was fairly likeable and easy as a viewer to become invested within. Admittedly, the side characters were mediocre at best; not dire nor unwatchable, but the antagonists in particular felt formulaically one-dimensional.

As far as the ending goes it is more a matter of opinion. Some may interpret it as more a clever metaphor, whilst others may be less impressed by the abrupt and sudden conclusion . Overall, ” Seobeok” had undeniably brilliant performances by the lead actors Park Bo Gum and Gong Yoo who certainly do not disappoint. However, whilst the movie attempted to style itself as an intricately complicated philosophical, action-thriller ( and was successful to some extent in parts), it often struggled to pace its own storyline as well as breaking out of unoriginal cliches . Nevertheless, it was enjoyable in parts, and certainly worth watching to pass the time.

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An “ Extraordinary” Waste of Time..

It’s fair to say that sometimes certain dramas can be incredibly overrated.Although this isn’t an entirely groundbreaking commentary upon dramas, it’s important to remember that sometimes a lot of these shows are “glorified “ by fans in favour of the “casting” or “ chemistry” between the leading actors or chosen cast of the drama, and Extraordinary You is no exception.

Naturally it is of course wrong to truly say that the actual show didn’t have any good features; it played satirically upon the youth romantic comedy genre with its own parody of the F4 ( “ A3”) from Hana Yori Dango/ Boys Over Flowers, the concept itself of a teenage girl ( Kim Hye Yoon) coming to find her own sense of freedom and control where she is written as an extra in a webtoon ( not an entirely “ brand new” concept when compared to older dramas such as “ W; Two Worlds”) was intriguing and the mystery behind Ha-ru ( Ro Woon) for at least the first couple of episodes added to some early advantages of the show as well.

Yet when taking a greater step back by comparing the overall storyline , character performance and characterisation of the drama, there’s no sugarcoating that Extraordinary You was quite simply a “hot mess” .

Whilst Hye Yoon must be praised for several heartfelt moments through her performance , the irony is not lost that for a show playing upon romantic cliches by screenwriters In Ji Hye and Song Ha Young, Eun Da Oh was the epitome of a “ stock” and restricted female lead with little actual character depth, interests outside of her obsession with “ Ha-ru” or actual intrigue for viewers at all over the whole of the drama. Whilst of course there’s nothing wrong with a female lead making a decision over her own love interest ( in particular with the concept of the show), her apparent declaration to defy fate and become independent through actual character progression apart from obsessions and boys, was tossed out the window after this scene early on in the drama.

Additionally whilst Ro Woon brought a mysterious air of composure to his portrayal as the leading man, Ha-ru, his performance sometimes felt a little lacklustre and wooden at times within the show. Naturally this also partially the fault of the screenwriters as well from transitioning Ha-ru as an actual figure of intrigue and an individual early on in the drama ( parallel to Lee Jae Wook’s character, Baek Gyung) to an overrused plot device. It seemed evident that not even before the halfway point of the drama Extraordinary You became too obsessed with its own cliches and repeating the same cliches over and over not as a statement or joke against romance mangas/ manwhas, but ironically as actual plot line.

This consequently lead the show down a really slippery slope of gradually worse characterisation even with fairly intriguing and comical characters such as “ Dry Squid Fairy” ( Lee Tae Ri) to reverted plot devices and lacking originality by the ending of the drama. Overall whilst Extraordinary You isn’t an unbearable or dire drama to watch, however, after the halfway point, the actual intrigue and devotion towards the drama becomes minimal and by the ending of the drama, there’s that awful lingering relief that it has ended your suffering by finishing it. Certainly a waste of time if you’re looking for something with genuine originality and intrigue .

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Kim Soo-Hyun’s Sublime Return To Thrillers…

Remake dramas can often go down two selective routes; diverging from the originality of its predecessor, or offering viewers a production en par with the original. Thankfully Coupang Play’s first series led by director
Lee Myung-woo, ‘ One Ordinary Day ‘ ( a remake of the original BBC series ‘ Criminal Justice’), offered viewers a fairly knockout adaptation with arguably darker explorations of the criminal judicial system, an intriguing setup as well as a brilliant cast lineup ( most notably A-list actor Kim Soo-Hyun as the main lead).

The series focuses upon seemingly “ model student” college-student Kim Hyeon-soo (Kim Soo-hyun). In an effort to apparently gain popularity Hyeon-Soo decided to hook up one night with Hong Kook-Hwa ( Hwang Se-on); a mysterious yet beguiling troublemaker. However Hyeon-Su’s fantastical night is cut short as he wakes up to a horrifying sight. Seemingly framed for a crime he didn’t commit, few seem to believe his plea for innocence- apart from gruff lawyer Shin Joon-Han ( Cha Seung-won). Alongside soft-spoken novice lawyer Seo Soo Jin ( Lee Seol), Joon-Han is determined to prove Hyeon-Su’s innocence yet as further problems arise in the case, the true question of justice begins to become more clouded along the way…

‘ One Ordinary Day’ delivers anything but mundanity for viewers - its heavy-going and macabre themes upon murder, crime, prison, corruption and injustice will likely not appeal to everyone. Whilst the first episode admittedly offers viewers a fast-paced and adrenal-infused episode, the latter episodes do hit a slight rut at times of struggling to maintain the same alacrity. ( Admittedly whilst some of these scenes were necessary for slowing down and building -up setups and characters, they’d sometimes disengage episodes from keeping viewers captivated by moving at a quicker pace.)

Casting top-actors in a lesser-known and more mature production can always be a gamble for both the actor as well as the company. However Kim Soo Hyun does not disappoint bringing forth a gut-wrenching performance as the main lead . Hyun-Soo is the ultimate enigma for viewers- a bright student and seemingly a kindhearted son, but his myriad of reckless decision-making causes him to start his hellish journey throughout the series. Naturally whilst the storyline never wanted to give too much away about Hyun-Soo’s ultimate final verdict , there were admittedly moments in the series surrounding Hyun-Soo which felt as though they could’ve been shown in more intrinsic depth. ( Including further insight into his relationship with his parents , his experiences with peers during his younger years ,Hyun-Soo’s college life as well as about his fight for survival in prison.)Even if the drama had offered these some of these moments as merely “Red Herrings” it could’ve allowed for more opportunities to have seen a multilayered onset for Hyun Soo as a character.

Alongside Kim Soo Hyun is costar Cha Seung Won who played the role of the unkempt lawyer with an air of rugged charm. Yet admittedly whilst there were intriguing elements to Seung Won as a written-character, the deuteragonist could often lack some greater and definitive focus on his backstory. Of course this isn’t to say that Shin Joong Han is a poorly-written character by any stretch of the imagination; the male lead is far from being a perceived as an impeccable guardian angel and instead nearly plays devil’s advocate in the courtroom - he has his own demons to deal with, personal motives for taking on his clientele for and is widely dismissed by the inner-circle of judges and prosecutor as being “ third-rate”. However the storyline could’ve admittedly been smoothed down more if the drama had given opportunities to understand more about his past.

Combined together with the vivid cinematographer of Lee Myung-Woo of vivid neon night shots against the mundanity of the court room , ‘ One Ordinary Day’ becomes a suspenseful reverse-psychology series where versatile themes surrounding corruption, drugs and abuse were played carefully with the murky lightning of flashbacks presented a moody and unsettling atmosphere against the lucid mundanity of tension. Inter played when necessary with the spine-tingling OST, ‘ One Ordinary Day’ was surprisingly masterful when it came to delivering some of its impactful scenes for viewers.

Naturally this brings us onto one of the greatest downfalls for ‘ One Ordinary Day’; the ending. Naturally the ending wasn’t inherently rushed with a notably slow-paced speed weighing down a major proportion of the final episodes in order to build-up towards the finale. On the other hand whilst the ending is certainly surprising for viewers and did seem to present a powerful statement message towards the unstable corruption of the judicial system in South-Korea, it did admittedly feel slightly anticlimactic for viewers with certain original links and questions remaining unanswered even by the final episode.

Nevertheless whilst the series could sometimes struggle with attaining constant and steady pacing as well as shaping out certain subplots, ‘ One Ordinary Day’ was a fairly thrilling and gripping series which offered brilliant performances by our cast and especially Kim Soo-Hyun as well as Cha Seung Won. The ending was admittedly slightly unexpected and failed to wrap up some more quintessential loose ends for viewers, but did undeniably deliver the reminder for audiences that ‘ One Ordinary Day’ was harrowing within its portrayal of the judicial system.

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An Easily Forgettable Show...

A collection of short series revolving around the mysterious and unexplained, the show had undeniable potential to be an original and chilling ensemble of horror tales. Instead, we got Goedam. A show filled with repetitive storylines, gore horror cliches and lacking characterisation. To put in more simple words, Goedam is the sort of show which you can watch in a short space of time, and easily forget about anything in the show, the day afterwards.

Yes, I’m not forgetting that the episodes did average upon less than 10 mins in length. As a consequence ,it was clear from the -get go that the episodes weren’t going to be in -depth stories about the traumas of the human soul . There is still a lot a story writer can do , however, in a short drama regardless of genre ( whilst not a personal favourite , note Bing Goo, as an example of a “short drama” with a creative and controlled flare)
without falling short upon generic cliches and story archetypes as shown as Goedam.

For a horror drama, there was nothing which delivered a particularly spine-tingling aftermath for viewers. It became apparent that the show relied lethargically upon the gore and body horror trope for virtually every ending resulting in a death or a blood bath for the character/ victim of the episode. Besides only a couple of episodes scratching the surface of Asian horror, it would have been more entertaining as a viewer, to have seen a more episodes focusing upon elements of traditional Korean horror or at least varied tales, urban legends and creatures for a reflection of a more sinister and memorable Horror show.

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Where To Begin With One Of The Most Mixed-Reception Dramas Of 2021…

First of all before critiquing " Doom At Your Service"( " DAYS") , let’s address the biggest controversy surrounding the mixed-criticism by viewers . There is the vocal contingency of devoted watchers who loved the series , and then the critics who argue that the storyline was a complete " waste of time”. However, this leaves newcomers on one hanging question; is the show actually worth watching?

Let’s start on an issue which both defenders and critics of the show seem to agree upon ; the casting. Let’s be honest. If you’re a diehard K-drama fan, it’s likely that your immediate attraction to this drama happened to be A-listers Park-Bo Young, Seo In Guk and Lee-So Hyuk staring back at you through the screen. It’s undeniable that these big names don’t disappoint ; Bo Young flourished as our female lead Do In- Kyung, Seo In Guk offered a dynamic performance away from his typical boyish charm roles as Myul Mang, and Lee Soo Hyuk’s baritone-style voice was perfectly suited for delivering Cha Joo-Ik’s one-liners.( Even our supporting cast consisting of Kang Tae Oh [Lee Hyun Gyu],Shin Do Hyun [Na Ji Na],and Woo Hee Jin [Kang Soo Ja ] helped to add their own beguiling charms in the drama.)

So, why has an intriguing drama with a fairly star-studded cast, sparked so much mixed reception from watchers?Well, this problem ultimately boiled down to the screenwriting.

On an arguably positive note , ” Doom At Your Service” does certainly cast its net far by employing the common trope of " misfortunes" to present Dong-Kyung as an “appealing female lead”;an orphan with a fractious younger brother , despising her job and casting ill-fortune upon the world when she finally gives up all hope with her terminal-illness. This leads her to her fated meeting ( literally) with “Doom" ( aka. Myul Mang) and soon peculiar romantic sparks flare from here.

However, it soon becomes apparent in the drama that screenwriter Im Me Ah Ri fell victim to using cliches as a pillar of support for the storyline, rather than an asset. Ultimately this stunted the plot and character growth due to the screenwriter’s lackadaisical investment in these key areas of the drama. (For example, Dong Kyung’s illness was only used as a necessity for "tension" rather than to solidify her sentience as an individual. The series could have explored so much here with her impending fate, but instead brushed this over in order to invest more time upon the “ puppy dog eyes” between Dong Kyung and Myul Mang.)

Similarly this is case and point with our male lead Myul Mang. In between his tedious monologues with "So Nyeo Shin" ( Jeong Ji So), our male lead undeniably was intriguing; a a powerful deity-like being who struggles to comprehend human emotions, however , this is where we hit the biggest rut with his character also; his sudden change of heart in regards to his involvement with Dong Kyung.

Some devoted watchers of the drama argued this was " "beautiful" by the reversal of the male lead’s personality, whilst others just saw this as lazy screenwriting.For those unfamiliar with the plot ( and without decisive spoilers), Do-Kyung wants to make Myul Mang fall in love with her, Myul Mang toys with her affections by manipulating elements of her reality ( but soon comes round to ‘ feeling bad for her ’ after Nyeo Shin lends a hand), then Do-Kyung decides she is no longer interested in him, leading to a whole reversal of chasing after one another and repeat.

This isn’t to condemn the main pairing entirely. Park Bo Young and Seo In Guk had brilliant chemistry onscreen and there were certainly some fairly sweet moments between their characters .However their characters did sadly suffer as a consequence of this lacklustre character development which was particularly certified by the existence of the "contract".

Now, without decisive spoilers , it is pivotal to say that this " contract" played an important role in the exposition of the storyline . Yet whilst it was an intriguing premise, the " rules" surrounding this contract were often ineffably upturned by the actions of Myul Mang. Whilst a later storyline revelation did offer an adequate explanation , this reduced the " contract" to being nothing more than a plot MacGuffin; thrown in to add tension, but ultimately useless towards defining the lore of DAYS’ fictionalised world .

Of course, a storyline does not always have to contain a big battle with the " big bad" or an internal conflict for the hero, however, this is also where dramatic irony became prominent with ” DAYS”. The evident ending goal of " DAYS" ( without spoilers) surrounds the female lead making her final wish. Of course whilst this does become a major plot line throughout the drama, the series often dismissed this problem to play upon the separate idea of the ‘’ paring" of our main leads. ( Rather than interlinking the two more concisely.)

This isn’t to drag the entirety of the series down. There were certainly some enjoyable moments with Dong-Kyung’s brother Tak Seon Kyung ( Dawon), Dong Kyung’s doctor and client Jung Seung Jun ( Lee Seung Jun), the haughty teen writer '' Young Prince" ( Nam Da Reum), and the terminally-ill writer ‘’Dalgona’’ ( Oh Yeon Ah).

Even our second leads had some oddly sweet moments with tight-lipped Cha Joo Ik chasing the affections of our bubbly writer Na Ji Na. Until the love triangle with Ji Na’s former schoolmate Lee Hyun Gyu ( Kang Tae Oh)was introduced into the subplot .

This isn’t to say that their scenes were unwatchable . For the most part, these side characters had the potential to be very interesting. However, at times this made viewers fell as though they were watching very different storylines; a potentially intriguing modern fantasy drama, and then a cutesy slice of life romance show with a ” love triangle". These two plot lines rarely collided and when this did occur, lacking screen-time undeniably made the subplot feel sporadic and disconnected from the main storyline .

However, it’s impossible not to talk about subplot characters without bringing up the problem of "So Nyeo Shin". This character could have easily been one of the most intriguing elements to the drama . However, there were a couple of factors which let us down on this front; lacking character development and then the actress Jeong Ji So. Now, this isn’t to hate upon the actress. Respectfully, she has had a well-established career as a child actress and certainly does have charisma. On the other hand for this performance, Ji So was nearly literally reading her lines in monotone rather than adding something to her tone. Viewers should have felt as though they were watching a godlike being in a human guise , not just Ji So regurgitating her lines onscreen.

The finale of the drama could have admittedly gone down several routes ( and there was evident uncertainty over what would be the chosen ending) , however, the chosen ending wasn’t entirely bad per say, just lacklustre by failing to explain and wrap up some key story points.

So, is " Doom At Your Service" actually worth watching? This entirely depends on what you’re looking for . If you’re a fond fan of a drama with cliche romances , aesthetic cinematography and arbitrary philosophy , then you’ll absolutely appreciate this drama . However, those looking for a well-rounded and profoundly plot-driven drama with intriguing characters , then " Doom At Your Service" will certainly not fit the bill.

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Is There A “Trace” Of Hope With Actually Trying To Watch ‘ Tracer’?

Procedural dramas, particularly ones revolving around mundane subject areas such as tax evasion or bureaucracy, can be a bore for viewers. However whilst ‘ Tracer’ is still not unable to evade its more tedious moments, under the directing reigns of Lee Seung Young ( ‘ Voice 2’, ‘ Missing Noir M’) and the writing tutorage of Kim Hyun Jung ( ‘ Who Are You: School 2015’), MBC’s ‘ Tracer’ possessed a surprisingly rigid plot motive from beginning to end.

The drama focused primarily upon male lead Hwang Dong-Joo ( Im Shi-wan). Formerly a disreputable accountant with his own personal vendetta , Dong-Joo ends up working as an investigator for the National Tax Service (NTS). However instead of ending up in a reputable and prestigious department of the NTS, Dong-Joo ends up being sent to division five; a dumping ground for undesirable and difficult cases by other departments.

Alongside the help of team investigator Seo Hye Young ( Go Ah-Sung), Chief Oh Young (Park Yong-woo) and his extensive knowledge into the field from his past , Dong-Joo is determined to stop at nothing in order to enact his own personal justice.

Kim Hyun Jung’s screenplay is notably dark in parts as well as primarily fixed upon the objective of the storyline. Whilst there are admittedly moments where certain overblown dialogue exchanges , Hyun Jung’s personal touch towards the series’ notably heartfelt plot moments and subject areas was surprisingly subtle, yet effective.

Arguably one of the star attractions of ‘ Tracer’ came through the casting choices. Im Si-Wan ( ‘ Misaeng: Incomplete Life’, ‘ Hell Is Other People’, ‘ Run On’) is particularly brilliant onscreen as main lead Hwang Dong-Joo;adding a surprising touch of charisma towards his role as the antiheroic main lead.

Costarring alongside Si-Wan was Go Ah-Sung ( ‘ The Host’, ‘ Snowpiercer’ and ‘ Samjin Company English Class’ ); a hesitant yet virtuous individual in the NTS, Park Young Woo (‘ Ditto’, ‘ My Scary Girl’ , ‘ Hwayi: A Monster Boy’ and ‘ Late Spring’) took on the part as the ridiculed yet talented Chief Oh Young, whilst Son Hyun-joo ( ‘ Tazza’, ‘ Secretly, Greatly’ and ‘ Empire Of Gold’) played antagonist and director of the Central Regional Tax Office, In Tae-Joon. All of the main cast were brilliant as our main leads; helping to flesh out and add a dynamic charm towards their onscreen personas.

However within the execution of ‘ Tracer’, the pacing could notably present a pitfall also. The drama’s attempt to stimulate the storyline’s narrative could often leads to the motives of characters, or the roles of key players rarely feeling elucidated. Perhaps this was also a consequence of a nonlinear narrative; rarely allowing certain moments for viewers to sit back and take in in the events of the storyline.

However perhaps one of the saving graces for ‘Tracer’ came through screenwriter Kim Hyun-jung’s ability to intertwine niche and predictable setups against moments which allowed opportunities to explore the wider scope of Dong-Joo. Whilst Hyun Jung could sometimes fall into a slightly cyclical pattern of a “ new dilemma” forcing Hyun Joo to keep on his toes, this did highlight diverging writing niches of characters being merely plot devices. Instead Hyun Joo and the supporting characters of the series were involved and attached towards the events and processes of the storyline; allowing opportunities in order to explore certain elements of character depth.

The dialogue is admittedly overblown in parts. However Hyun Jung did include some surprisingly witty and sardonic responses for Dong Joo, helping to personify his unpredictable nature to audiences throughout the series. The comic relief present in ‘ Tracer’ is notably an odd mixture between ferocious insults and name calling, as well as lighthearted and somewhat benign exchanges also.

‘ Tracer’ isn’t a series that will suit everyone’s personal tastes. However whilst ‘ Tracer’ focuses upon a notably mundane and simplistic formula, the execution of the narrative is surprisingly tactful. The acting performances are brilliant and solid throughout and whilst the finale helped to setup events for season two, ‘ Tracer’ is notably not without its more evident writing flaws here and there. Overall the first part of ‘ Tracer’ is notably a dynamic mixture of revenge, angst and wit in order to create a surprisingly entertaining drama along the way.

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A Drama Which Certainly Doesn’t Have A “ Shining” Charm…

‘ Shining Like You’ is one of those dramas which upon paper sounds brilliant. It isn’t particularly original concept of “female lead goes to art school behind her parents’ back” and the “potentially handsome love interests” but there was still a lot of unlimited ground to explore messages, character growth and social themes. However the end result of ‘ Shining Like You’ is a mixed bag of wasted screenwriting and character writing potential with poor-editing and a discordant buildup.

On a positive note the acting is decent enough ( aside from a few questionable line deliverances) and the drama is a fairly lighthearted watch. The premise isn’t overly complex and follows typically obsequious lead Lu Qi Yi ( Wang Xi Xuan) rebelling against the wishes of her parents to attend a course in foreign languages at university by instead enrolling in arts school. However due to her more timid nature Qi Yi soon finds herself an outcast by struggling to fit in amongst the more expressive and extroverted personalities on campus. After an initial awkward meeting Qi Yi soon attracts the attention of outgoing and popular art student Fang Yan ( Simon Gong).

So if the concept and the acting aren’t the drama’s major problems then what exactly lets down ‘ Shining Like You’? Ultimately the downfall for the show can be found through two main factors; character writing (one of the drama’s major cataclysmic letdowns) and of course plot coherency. To address the former issue it is important to establish that plot coherency is crucial within dramas for viewers to make sense often of a storyline or setup . Of course sometimes screenwriters can purposefully make plot coherency more enigmatic for viewers with the intention of reflecting themes or messages ( dependent on the plot or storyline ). However , in “ typical” romance dramas such as ‘ Shining Like You’’s plot coherency is nearly always quintessential to helping viewers root for certain characters, understand developments of relationships and keep us intrigued with events that are soon to follow .

Naturally ‘ Shining Like You’ isn’t devoid of a basic plot but its descent can be found as a consequence of a mismatched narrative and timeline as a consequence of sporadic subplots , arbitrary jump scenes and disjointed patchy editing. As a consequence a quintessential moment could suddenly be skipped by a sketch scene or an arbitrary moment, which became confusing for casual and devoted watchers alike to keep up.

This brings us onto the second dilemma of ‘ Shining Like You’; the characters. One of the biggest elephants in the room is evidently our female lead Qi Yi. Our main female lead is the epitome of a carte blanche female lead. She’s used by the screenwriter to move the plot along when necessary but she rarely has more definitive characteristics or traits to make her feel sentient. For example considering that it was one of the major focal points of the entire drama, there’s little explanation or depth given to her her goals or raison d’être for applying to the arts school in the first place . Arguably she does make a quick passing comment towards “chasing her dreams” yet it’s hard to really understand or relate to Qi Yi’s drive or exact motives for hiding her attendance from her parents, when the drama has rarely delved beyond the surface of her goals, past or exact motivations.

There’s naturally a big dilemma with the female lead’s “ personality” also. Qi Yi is intentionally supposed to be an “ introvert” but it often felt as though the series was never sure how to present her entire character persona. Introverted main characters can often be tackled in versatile ways by screenwriters from being simply “reserved” to “antisocial”, but opportunities for characters to grow, develop (or at least be explored in more depth) are often key to shaping out an introverted main character as an individual.

To some extent ‘ Shining Like You’ desperately tried to do this with Qi Yi and her “ difficultly to fit in” and “ reserved nature”. She’s supposed to be “shy and sweet” but it was hard to truly feel as though our female lead was seemingly struggling or suffering as a consequence of her personality. Qi Yi was often surrounded by allies or at least close acquaintances and therefore never really felt on the “ edge” of social exclusion ( as the series was desperately trying to make out in the beginning ), she was never really singled-out or excluded particularly by a greater majority of her peers( sans the cliche “ bully group” who picked upon more than just Qi Yi) and when she did exhibit “ antisocial” moments during the series her attitude was often petulant and childlike rather than moody or aggressive. Whilst the drama does try to offer a turn around by Qi Yi suddenly becoming “ prettier and more outgoing” , this was often ineffably unexplained.

Perhaps it wouldn’t be too bad if the series had offered that Qi Yi’s immaturity at times was a byproduct of the way her parents have treated her or her upbringing . However instead of at least giving Qi Yi time to mature or explore her feelings, the female lead was treated in a similar manner to a rag doll ; an object of affection for the male leads , whilst happily obliging to having her emotions torn apart by not just her potential love interests, but not putting her foot down against a fake friend in plain sight also.

This also brings us naturally onto the discussion of side characters in the drama. On one note the show does really shine through at times with how more unlikely characters have difficult pasts or can prove themselves to be true friends in time of need. However like a lot of cliche romance dramas ‘ Shine Like You’ and the dreaded “ best friends formula” is torn apart from “ friends to enemies” with the creme de la creme of cliches; “the dreaded love triangle”.

This brings us onto one of the biggest flaws of the drama between the actual lacklustre romantic series between Qi Yi and Fang Yan. Respectfully the chemistry between Wang Xi Xuan and Simon Gong is hardly passionate, but it is not where the major flaw of the series lies .

Whilst trope-worthy, screenwriters and directors can often strike gold by using time and scenes to allow characters to know one another or feel conflicted with their feelings. In ‘ Shining Like You’ it’s hard to really define one particular moment where these two characters really develop their relationship beyond being classmates or having early impressions of one another. There’s the evident side argument about their gradual feelings and helping one another out when it was necessary for the exposition, but this rarely allowed for more definitive writing opportunities.

Consequently it was bitterly ironic that it is was easier to root for who we were supposed to “ dislike” (as viewers), second male lead Du Ang ( Zhou Cheng Ao) , as he had more initial interactions and chemistry with the female lead. Of course rather than using this as an opportunity for the series to allow the male lead to come to terms with his own feelings or develop interactions between the main love interests, the drama enjoys using this time to make Fang Yan the typical “ moody, short-tempered and jealous potential love interest”. The ending consequently felt disappointing by failing to wrap up some major plot points.

So what is the ultimate takeaway from ‘ Shining Like You’ and is it actually worth watching? ‘ Shining Like You’ tries hard to create a “ lovely and cutesy love story” between our main leads. To an extent the series flourishes with satisfactory performances by our main cast and some more insightful side characters having their own backgrounds and pasts. On the other hand the series has a patchwork approach to storytelling and narrative with a feeling of discordant coherency between characters and the actual storyline. Slow pacing and sporadic plot jumps lead to poor and lacklustre character building and interactions between our main leads. Ultimately whilst ‘ Shining Like You’ might not make a bad binge-watch drama, there are certainly more entertaining, well-written, engaging and classic love stories in dramas to watch than this one.

Leia Mais

Uncanny Counter 2; A Disappointing Follow-Up To A Brilliant Series…

When Uncanny Counter hit our small screens back in late November 2020, viewers were in for a great treat under the writing of Yeo Ji Na . The series was filled with intriguing characters, lore and high stakes to keep the plot engaging and well-written. What was delivered to our screens in 2023 left a lot to be desired, not just straying from the original webcomic, but being poorly written.

The basic plot premise of the second season returns to our ragtag group of heroes, The Counters. Now slightly older, Mun ( Cho Byeong Kyu) has begun helping to train the other counters. Ga Mo Tak ( Yoon Joon Sang) has doubled up as a cop and Counter to help the team, while Do Ha Na ( Kim Se Jeong) and Chu Mae Ok ( Yeom Hye Ran) are left to harness their powers.

However, trouble is soon on the horizon when a trio of evil spirits Hwang Pil-Gwang ( Kang Ki Young), Gelly Choi ( Kim Hieora) and Wong ( Kim Hyun Wook) become an increasing threat to the counters. With the help of new Counter Na Jeok-Bong ( Yoo In Soo), the heroes find themselves running into more problems than one, especially for Mun and his friend Ma Ju-Seok’s (Jin Sun-Kyu)‘s journey down a dark path…


To understand where one of the major issues of the show lies, I think it is essential for us to address the writing change. Yeo Ji Na’s talents as a writer really shone through in season one. Her ability to address complex issues and themes, as well as facilitate them to shape our characters made the series engagingly dark, comical yet also filled with mystery and adrenaline. The story had stakes because the main villain was threatening and similar to Mun, viewers were new to the world of Counters and learnt about the lore and world of spirits along the way. It made the story engaging and proved Ji Na to be a talented writer.


After season one and for various conflicting and directional reasons, Kim Sae Bom took over from Yeo Ji Na as the main writer for season two in production. Kim Sae Bom, most likely standing out for his involvement as a screenwriter for Bad and Crazy, has a very different approach to writing than Ji Na even from the offset. Is this a crime in itself? No. In fact, the initial premise of season two did seem quite interesting alongside theme shifts, especially with new characters introduced onto the field. So where did things go wrong with Sae Bom’s writing? The big issue lay with the plot and character changes feeling jagged and convoluted , as well as the evident decline of writing between seasons.


Season one was well-balanced between themes of action, angst, friendship, supernatural and aspects of tragedy. It was far from a flawless masterpiece ( and did struggle a little with balance in places), but it was self-aware of its themes and characters. Season two tries to mimic a “ similar balance” in the mould of a mystery comedy setup. The fights are still there , but while the action is present, the emotional deliverance leaves a lot to be desired, even from the balance of themes. This resulted in a notable struggle with the writer attempting to imitate Ji Na in his own style while falling short of being a decent copy. As a consequence, witty jokes from season one turning into toilet jokes ( repeatedly) and yelling random English phrases to enact as the comic relief of the series.

When the series attempted to take a darker turn in parts, it struggled a lot to be poignantly reflective as the previous season. A mixture of sloppily rushed writing ( particularly out of character choices) as well as questionable connection with the audience, did often make these scenes feel more arduous than moving. ( One of the best examples being early on when we see the guardians first reunite with their Counters. Considering the emotional impact of their challenges throughout the first season, the cheesy happy family moments between the characters was somewhat out of place. It gave little opportunity to reflect on the actual development in the relationship between the Counters and their guardians from the previous season.)

The acting of the series was admittedly a little mixed. Although the series has a good cast and some brilliant names introduced into the lineup , a mixture of overreacting and wooden dialogue did have a big part to play with some more cringe-inducing scenes . Some noteworthy performances did come through Seo Byeok-joon as Park Do-hwi, Ha Na’s first love, and Hong Ji Hee as Lee Min Ji, the tragic wife of Ju Seok, in particular. Both actors delivered good performances as their respected characters, even if the writing did not give their onscreen personas full justice.


Character writing is another mixed bag. Main lead Mun stands out in particular as the epitome of the show’s changed writing quality between seasons. In season one, Mun was very much the tragic bullied teen, who goes through a lot of character growth from naivety to teen angst ( mixed with powerful abilities) and then to genuine acceptance of his circumstances . He stood out as a fairly good protagonist because he changed and grew a lot from beginning to end, while still remaining true to himself. In season two, Mun is noticeably different from his earlier counterpart.

Of course, he is meant to be older and thus a little different from his teen self, but the more noticeable traits of Mun being somewhat anxious at times and fairly defiant, is changed for him playing the role of the comic man in the first- half . It isn’t necessarily bad seeing Mun grow out of his shell, but it felt odd considering how much Mun’s noteworthy personality traits were not carried over more in season two, especially by replacing a key aspect of Mun’s personality as a fairly reserved individual. In particular, season one featured heavily on Mun’s deep bonds with only a few people in his life. He needed deep connections with people such as his two best friends and grandparents ( and eventually the Counters) to form genuine relationships. These were important parts of Mun’s life and helped him to carry on. In season two, while these characters do feature in some background scenes, it was beyond out of character to see Mun having such a “deep” bond a practical stranger. It did not reflect Mun as an individual, and even more disappointingly, did not convey the character we had come to love through his gradual growth.Episode eight and nine attempted to offer a “ twist” to Mun’s circumstances, but having already repeated the same concept from season one, it felt a little overused . Perhaps the only good aspect we saw through this “ twist” came through an opportunity to see some more traumatic sides to Mun’s inner-self, as well as his strong bond with Ha Na coming to light. However, the resolution to this convoluted “ development” episode was both rushed and incredibly sappy, giving little opportunity to actually explore Mun’s darker and more difficult issues at heart and growth.


Then there’s the other counters. Mo-Tak was beloved in season one for being the sarcastic “cool guy”, who helps out Mun. The fact that Mo Tak was going to play a bigger role in season two gave so much potential for this character, yet, rather than giving him an opportunity to be developed further , the show rendered him as the show’s jester; often spending most of his time making unfunny jokes and being the butt of someone’s jokes. To add insult to injury, there was also the attempt to weaken the previously strong fighting abilities of Do Ha Na and Chu Mae Ok. Considering their poignant backstories and strength, it was sad to see them being put on the back burner for most of the show . The series did attempt to offer some “ intriguing” aspects with Ha Na’s first love ( one of the few good aspects of this second season) and she did feature in some later episodes, as well as Mae Ok with her son, but aside from that, they were rarely given as much exposure as within the previous season. Choi Jang-Mul ( Ahn Suk Hwan) features again in the series, though while in season one he was the comical rich man (with a not-so secret crush on Mae-Ok), in season two he plays more of the role as a clown in some of his featured scenes.


Then there’s the new counter Na Jeok Bong ( Yoo In Soo), arguably one of the show’s greatest letdowns. Yoo In Soo is a good actor, but even he cannot entirely save his character from failing. Jeok Bong is meant to be the definition of the “ fool with a hero’s heart”. He is beyond awkward and useless at fighting, but he is seemingly a “good person”. The problem with Jeok Bong is that the writing confuses creating the unlikely and foolish hero with being likeable as playing the useless fool all the time. Rather than seeing Jeok Bong gradually grow or develop into a better person ( even through nuanced scenes like comforting others, or be given a more difficult issue to face ) he is still played out to be the fool for most of the series. Instead, a never -ending cycle of toilet jokes and failing fights pretty much encapsulates this character’s screen time time and time again . Whether the writers didn’t want Jeok Bong to grow from out of Mun’s shadow or be the “comic relief”, it is hard to say, but the writing direction this character was taken in was a sad reflection of wasted potential, questioning why another counter was even introduced in the first place . ( Aside from plot fodder.)


The villains of the series were unintentionally a little mixed. Their initial introduction did hold a lot of potential; a trio of nefarious evil spirits who gain Counter powers and are not afraid to kill others in their wake. The problem is that while they are played by very good actors, their characters struggle to be well-developed threats . In season one, the big bad of the series was just that; evil to the core and driven to complete his goals of bringing destruction and ruining the Counters . In season two, it’s hard to really work out what the trio actually wants aside from some measly power grabs here and duped powers . Sure, they want to stop the Counters from getting in their way, but where are the true stakes? Why are they so fixated on them to the point of going as far as they have done? What are their true goals aside from just being plot devices? As antagonists, they are fairly “evil”, just not particularly with a sense of impending threat or being a true foil for the Counters. The stakes could have been there, but season two does little to make them an imminent antagonistic force beyond obvious “ plot drive”. This is sad considering the fact that especially Hwang Pil-Gwang, as the leader of the trio, could have been a really interesting character if he had been developed properly as early hints suggested. Gelly Choi did get her moments later in the spotlight by proving that she is quite devious, but considering her featured screen time, Gelly and Wong were certainly underdeveloped and underused .


Last but not least with characters, it is hard not to mention Ma Ju-Seok, one of the show’s most divided characters for viewers. On paper, Ju Seok had a really interesting role; a “ nice guy” driven to the edge and Mun trying to help him. On the other hand, Ju Seok was simply a cause for plot rather than well-developed. One of his major flaws came through his “ deep bond” with Mun. The show constantly forces the message that Ju-Seok is a “good “guy, but the series forgets a key point in writing: show don’t tell. Rather than showing us these acts ( aside from helping Mun’s grandmother in some scenes ) we constantly hear the same narrative in dialogue that Ju Seok is a “nice person”, but not through very sincere actions or scenes in particular. To make it stranger, Mun is established to be intimate with a small circle of his family and friends, and takes time ( as shown with the Counters) to really develop intimate bonds. It makes little sense for Mun to suddenly trust Ju Seok on such a level ( helping his grandmother or not), without actually getting a sense of what has really drawn them to form such a friendship. For example, had Ju Seok played a role in scenes as an older brother/ uncle figure by encouraging Mun in other respects , then maybe this relationship would have been more poignant, or at least viewers could understand some of Mun’s trust in such a character . Instead, it rarely delivered the full intimacy it was suggesting, making it an odd spectacle to see Ju Seok try and go dark-side and for Mun to be so set on helping a near stranger . Ju Seok’s “ character arc” did have somewhat of a resolution, though it was rushed.


Perhaps the few strengths of this second season came through showing Mun’s darker issues ( though not in resolution), as well as the return of Mun’s friends Kim Woong-min ( Kim Eun Soo) and Im Ju Yeon ( Lee Ji Won). Although very much background characters, their teasing potential romance between the two characters: as well as their long-standing friendship with Mun, did provide quite fun and heartwarming in most of their featured scenes. Another minor character, Park Do-hwi ( Seo Byeok-joon), Ha Na’s first love, was also quite a delight. ( The series did seriously go about a very cliche way of his resolution , but his featured screen time was certainly engaging .)



The other issue at hand comes through execution. To put it simply, Uncanny Counter 2 struggles with pacing a lot. The major part of the series nearly drags along at a snail’s pace, trying to place some action in training montages and some villain scenes to lead up to the “ big showdown” . Later episodes did bit up the pace slightly and were slightly more engaging with the plot and some themes , but most episodes, especially the first-half, felt underdeveloped and quite repetitive. The ending was probably one of the show’s greatest letdowns. It certainly brought a bittersweet note for the show, but last minute plot points, which could have easily have flourished and been developed earlier on, were rushed and thrown in for quick angst. This lead the resolution to feel a little unresolved.


The directing of the series under director Yoo Soo Deong follows a fair sleek and basic cinematography. The CGI is decent enough, though compared to some of the more sleek palettes in season one, there is a little left to be desired for the eyes. The OST was okay; there were some good songs such as CRAVITY “Ready, Set Go” which helped set the mood in some scenes, and was quite catchy too.


Overall, Uncanny Counter 2 is not quite on the same level as its previous season both across the writing range and execution. It is understandable the show wanting to go in a different direction. Mun is no longer the naive kid we saw in season one, and has begun to grow beyond playing “ the heroic role” all the time. However, the way the show tried going about this with poor writing decisions made Uncanny Counter 2 feel a little rushed and convoluted in parts. There are definitely a few good aspects to the season , including accessibility to viewers who have not watched the previous part as well as some interesting characters and general setups . However, poor pacing did make this season feel out of place across thematic and writing styles. Overall, okay for a quick binge watch but that is about it.

Leia Mais

Poorly Executed Or Well-Written?; What’s Left To Say About ‘ A Beauty Of Revenge’ …

With a very short air time ( only five episodes), and an evidently cut duration length and budget by the producers of the fairly mixed-reception miniseries ‘ Multi Personality Girl’ ( the drama’s “ sister story”) , ‘ A Beauty Of Revenge’ was fairly predestined from the start towards having some evident flaws . However with its own take upon the “ revenge” cliche and incoherent plot twists in between, this does leave newcomers with one ultimate question; “is ‘ A Beauty Of Revenge’ actually worth watching? “

The drama’s initial premise was certainly interesting; a bullied girl Min Sun ( Park Min Sun) seems to change her appearance and identity to become Yeo Bin ( Jang Yeo Bin) and expose the sociopathic delinquent leader Ho Tae ( Son Ho Tae) as part of her revenge ploy.

The acting front of the drama was fairly good . Whilst admittedly certain line deliverances could be better than others, our main cast did add their own dynamic charm during key moments throughout the series. Yeo Bin’s darker secrets coming to light and her unreliability as a main character added a value of surprise for audiences by Jang Yeo Bin’s mannerisms captivating a sense of trust and believability within the female lead. Similarly Ho Tae’s sociopathic and megalomaniacal actions onscreen were captivated well by Son Ho Tae’s piercing gaze and sardonic expressions .

On the other hand ‘ A Beauty Of Revenge’ seemed to try too hard (even from the get-go )to brand itself as a “ shocking revenge tale” without always taking the time for the audience (and even the characters) to digest or understand the plot twists . For example there’s a major plot twist ( without spoilers) which occurs in the drama which whilst surprising , felt poorly-executed and lacked more drive and coherent plot reasoning .

In fact this was a major problem in the miniseries. Whilst it’s short duration length is arguably a pitfall for not having opportunities to expand out on these storylines in more depth, it’s undeniable that it doesn’t take a lot of time to interweave good writing techniques. ( One of the most evident throughout being foreshadowing. )As a consequence whilst the ending was certainly unforeseen, it lacked as much shock value due to feeling poorly-paced.

Ultimately with its short duration length episodes ‘ A Beauty of Revenge’ is easy enough to watch in one binge-watch sitting. Whilst the concept and of course the cast were undeniably the miniseries’ major fortes, the execution of storyline and plot twists lacked more finesse.

Leia Mais

18 Again , A Surprisingly Heartwarming Drama...

For those who don’t know, “18 Again” regurgitates the same fundamental premise of the American movie“ 17 again” (2009’). Yet rather than having Matthew Perry in a rugged business suit moping around for most of the opening of the movie, we are instead introduced to Yoon Sang Hyun ( Secret Garden, I Can Hear Your Voice) playing our very different protagonist, Hong Dae- Young.

In a slightly similar manner to his American character counterpart, Dae- Young isn’t living a happy life- his job as a practical handyman brings in only enough for him to survive, he is in the process of a divorce with his former teen sweetheart, Jung Da-jung ( Kim Ha Neul) and to make matters worse, he has totally lost touch with trying to connect with his two children Hong Shi-ah ( Roh Jeong Eui) and Hong Shi-woo( Ryeoun) since they have entered their teen years . A surprising miracle , however, allows Dae- Young to return back to his 18 year-old self ( Lee Do Hyun) as he attempts to relive his glory days back at high-school.

On the other hand, whilst comical misunderstandings from generation gaps to Dae Young’s best friend, Go Deok-jin ( Kim Kang Hyun) having to pose as his father are undeniably taken from the movie for comical effect ,
where the drama divulges in plot from the original movie is by adding a more bittersweet and crisp level of characterisation and backstory to our characters for viewers .

Whilst Sang- Hyun felt a strange and respectfully mismatched choice as the older counterpart of Lee Do Hyun, it soon became apparent how both actors were able to perfectly mimic the other in a fairly complicated manner. Do Hyun had to juggle between portraying his version of Dae-Young and Dae-Young’s new alias, Go Woo- Young in a mature lighting , whereas evidently Sang-Hyun had to channel the elements of being a high schooler again when the camera reverts Do Hyun back to his “ true-self”.

Respectfully this is also thanks to fairly good characterisation as well- rather than merely writing off Do Hyun as a love struck clown like in the movie ready to win back his wife . The reasons behind Do Hyun’s estranged relationship with Da- Jung and his children are far more complicated as a consequence of his biggest challenge in the drama , being to overcome his personal struggle by attaining an altruistic perspective for others, rather than allowing his past problems to consume his sense of identity .

In addition to this one of the most surprising examples of characterisation in the show had to be with Shi-ah ( Roh Jeong Eui), the teenage daughter of Do Hyun. Although Shi- ah appears in the first few episodes of the drama as a stereotypical teen through milking her father for cash , obsessed with her looks and a rebel at school , Shi-ah’s reasons for doing so are actually a lot more complicated than they first appear. Perhaps my only slightly annoyance with Shi-ah’s character portrayal was the desire to pair her off with the cliche of the dreaded stereotype of the “ goody two shoes” childhood friend ( Choi Bo Min) as well as disturbingly the bully of her brother ( Hwang In Yeop). It wasn’t that Shi- ah shouldn’t have had a romantic pairing in the show, however, it took away a lot of focus away from Shi-ah’s own story and familial relationships as an individual more than anything else.

On one note of appraisal, however, In Yeop’s character, Goo Ja- sung wasn’t written off like his American counterpart as merely just the “ superficial bully” of the story. Similar to a lot of real-life scenarios, Ja- Sung is a product of his own unhappy environment and thus only begins to learn from his mistakes as a consequence of others like Shi- ah and Dae- Young showing empathy towards him. This is perfectly shown is a tragicomic scene in one later episode of the series where after a certain incident, Dae- Young is able to bond with Ja-Sung (despite his initial anger over bullying his son ) over a similar incident also happening to him . Whilst a fairly sad and heartwarming scene, a great misunderstanding by Ja- Sung over Deok-Jin ( pretending to be Dae-Young’s father) leads him to comically claiming that Deok- Jin doesn’t “ seem the type” to do so.


This naturally moves us onto Ha- Neul as Da- Jung. Initially Ha- Neul’s portrayal as Da- Jung came off a bit too headstrong in the first several scenes of her character introduction, however, as the drama progresses Ha- neul peels back another layer to her character as rather than just a comical plot device through her portrayal of Da- Jung as an individual. Da- Jung’s past with Do Hyun from teen lovers to on the brink of a divorce offers Da- Jung new opportunities as a working news reporter and rekindled connections with her children, yet it also faces her with conflicting over rekindling the past by holding onto memories of Do Hyun as well as her friendship with Choo Ae- Rin ( Lee Mi do) or a new interest in baseball player Ye Ji- hoon ( Wi Ha Joon). Initially whilst Da-Jung’s character was fairly strong, a problem which clearly manifests near the ending of the show is the anticlimactic finale- it isn’t necessarily that the actual ending itself needed to be changed, however, the quality of logic by the end of the show or climaxes seemed to fizzle into nothingness at the end of episode 16.

Obviously not entirely touching new ground with the concept, 18 Again was rough around the edges in parts due to anticlimactic storylines, cliches and again an indulgence of product placement later on in the show ( without rhyme or reason in some cases). On the other hand, there’s no denying that overall 18 Again was one of the few decent dramas overall of 2020 with good acting , casting as well as fairly good characterisation amongst a bittersweet storyline . Although not flawless, 18 Again is a perfect drama to watch if you want something which will touch your heart.

Leia Mais

The Hong Sisters Have Finally Returned To Wonderland..

For most watchers first looking over the drama, Yeo Jin Goo ( Hwayi; A Monster Boy and Moon Embracing The Sun) would seem to be one to steal the show from his legendary roles in numerous dramas and movies , yet, instead, it is IU ( My Mister and The Producers) ‘s role as the angel-faced yet foul-mouthed owner of the hotel, Jang Man- Wol who instead quickly steals the show from Jin Goo in her glamorous frocks.

From inspired attires straight out of Daphne Du Maurier’s gothic modern romance tale , Rebecca ( 1938), to Katherine Hepburn’s little black dress in a favourite film of the Hong Sisters, Breakfast At Tiffany’s ( 1961), IU
truly embodies the mature and complex core of a cynical female lead who is shaped by her own experiences and choices rather than merely love itself.

Yet whilst the casting of the show is fairly diverse with fellow Kpop costar P.O being cast as the giddy hotel receptionist and Bae Hae- Sun as the strict housekeeper of the hotel, some of the roles within the show (especially the storywriting ) felt slightly lacklustre in comparison. ( Particularly P.O and Kang Mi- Na’s romance as their respected characters, which did have some bittersweet moments in particular to P.O’s character, but Mi Na’s character Soo- Jung had little relatability despite her tragic circumstances).

Admittedly this isn’t entirely the fault of the actors as one noticeable flaw which arose in the drama was how the Hong Sisters had added little complexity or emotional value in regards to the respected storylines of some of the other characters (excluding Man Wol of course). The biggest example of this arose with Jin Goo’s character, Gu Chan-Sung.

Man Wol was supposed to be the fiery ‘Yang’ to Chan Sung’s level- headed ‘ Ying’ personality within their relationship, there was little to actually express or delve into Gu Chan- Sung apart from the evident plot roles. His father dies several years presumably after his first scene in a flashback in the show , yet Chan- Sung neither really expresses anguish nor heartbreak at this fact. Whilst there is the arguable emphasis that Chan-Sung is too rational to break down over these matters, this is greatly contradicted within the scene when Chan- Sung simply loses his composure at a bus stop over thoughts of Man- Wol. Undeniably a heartbreaking scene and a moment of brilliant acting from Goo, this scene just doesn’t entirely add with the intended composure of Chan Sung who in several episodes prior, who didn’t bat an eyelid to the return of his mother as a ghost.

This also moves us onto the other problem of Hotel Del Luna; how the storyline played out. Ironically, Hotel Del Luna’s biggest problem wasn’t trying to adhere to the typical cliches, but instead trying to overcome them at the last minute. Obviously, there is nothing wrong with a drama doing this, however, where the evident flaw lies for Hotel Del Luna is that rather than only doing this a couple of times to mark a red herring by diverting the audience’s attention ( and then deliver an actual plot-twist by moving onto the expected becoming the unexpected), the Hong Sisters tried to do this at every given opportunity during the storyline. Without spoiling anything, I will say this. The novelty of the storytelling becomes less effective when you did this too often, and so whilst Hotel Del Luna was certainly interesting within certain character plot-lines ( particularly Jang Wol’s past), some of the show for a major part felt anticlimactic and disjointed in the long run.

On a more positive note, however, Hotel Del Luna’s magic is greatly brought to life through fairly good CGI and storytelling upon this element. Whilst not entirely touching new ground in the face of predecessor shows like Goblin , Hotel Del Luna still brings its own element of dark fantasy through traditional Korean mythology being brought into modern Seoul. From disturbing evil spirits, bartender ghosts like Kim Seon Bi ( Shin Jung- Geum) to deities such as the mysterious Mago ( Seo Yi- seok) with unpredictable plans of fate for our main characters.

Additionally, whilst the finale of Hotel Del Luna has caused a lot of debate amongst drama fans, the bittersweet ending was surprisingly appropriate for the drama . Overall Hotel Del Luna was an enjoyable watch (although perhaps flawed by some elements of the storyline and certain characters’ contributions to the show )-the elements of dark fantasy, traditional mythology and IU’s stellar performance as the twisted and cynical Man- Wol will keep you captivated. Although not flawless, definitely worth a watch.

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The Sageuk Returns With Bloodshed, Tragedy And Sociopolitical Themes...

Screenwriter Kim Eun-Hee first introduced us to the webtoon-based“Kingdom” ( the intriguing, bloodthirsty political cutthroat sageuk) back in 2019 , with its zombie-survival storyline and characters in order to keep audiences hooked at the edge of their seats.

Yet similar to all the best offerings in the zombie genre, Kingdom is about much more than mindlessly fighting hordes of the ravening undead. Its initial creator Kim Eun-hee has said her webcomic (as well as the series) Drama) have been inspired by chronicles in “ the Annals of the Joseon Dynasty”—accounting the medieval dynasty that lasted some 500 years (1392-1897), where hundreds of thousands of enigmatic deaths occurred possibly through mismanagement of the authorities.

Consequently, whilst Kingdom’s zombie attack in Season 1 notably highlighted some political suggestions whilst focusing on bloodthirsty scenarios , Season 2 uses the outbreak as a means of exploring broader sociopolitical themes. The general populace suffers from starvation and pestilence as their ignorant or oblivious leaders strive for political power. It is only fitting, then, that the starving commoners become the zombie horde, while the hunger for power of certain leaders results in rash decisions that could mark the end of the Joseon Dynasty.

Of course, this is nothing entirely groundbreaking for South Korean storytelling in general. However, it is refreshingly original and within its universal allegory. Regardless of culture , time or nationality, corruption exists and may (quite literally in the case of Kingdom ) turns the rivers red.

In the opening of Kingdom Season 2 is a fast-paced one but what follows is an intrinsically observant look at a struggle behind the scenes of a kingdom and country torn by bloodthirsty wars and politics. Yet with a notable heavy focus upon the political intrigue or the show, it would seem apparent that viewers can easily become a little bogged down by the heavy subject areas. Strangely, Kingdom Season 2 hits the balance just right between grappling action and driven politics behind a country. Although the subject matter of politics still weighs heavily in some scenes, it is brilliantly counteracted by its coordinated camera angles narrowing onto the swift and brilliant fight scenes of the show, whilst not losing its core to mindless violence as well.

Fortunately, there are just as many (if not more) people able to find the better angels of their nature and rise to the occasion. Whilst Prince Chang ( Ju Ji Hoon) ‘s often felt a little lacklustre in season 1, season 2 helps to solve this issue by deepening his role as the protagonist through his notable interactions and experiences with other characters and memories from the past, with a notably stronger and more intricate moral compass. Similarly, Seo-bi ( Bae Doo-Na)’s character’s transition from a plot device in season 1, becomes notably apparent within her role as an altruistic heroine in Season 2, where the character becomes a driving force within learning more about the disease. Even Yeong-shin’s characterisation since season 1 from a seemingly disdainful character to a complicated hero, is marked by helping Prince Chang complete missions including at risk of his own life in this season.

However, Season 2 also marks notant motivations and transitions from moustache twirling villains, to well-rounded antagonists such as Queen Cho ( Kim Hye Joon). Whilst nonetheless some of her actions cannot be defended by being horrifyingly ruthless , they did help to add intrinsic depth towards Cho’s motives. In addition to this, one particular character that made a strong impression is the traitor among Prince Chang's most trusted allies hinted back in Season 1 . Without any spoilers towards the identity of the turncoat , it is surprising to say that there was a notably empathic reason behind their actions.

Pacing -wise, the drama zips across the actions in double-quick time (though its zombies are definitely way too fast). This makes it perfect for binge-watching which was certainly what we ended up doing. It was nearly impossible to stop watching once you’ve started, with each episode ending on a cliff hanger that’ll make you immediately switch to the next episode for more. Each episode is over an an hour but with how action-packed each episode is, it hardly feels like any time has passed before you find the credits rolling.

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Your Lighthearted Manga-Adapted Setup…

As a premise ‘ Komi-San Can’t Communicate’ ( alternatively known as Komi-San Wa, Komuyoshu Desu’ or ‘ 古見さんは、コミュ症です。’ ) is a fairly heartwarming setup. Based upon the manga of the same name, having spawned an anime also and adapted to the small screen by screenwriter Mizuhashi Fumie, ‘ Komi-San Can’t Communicate’ tells the tale of a high school student who aims to be “ average” , Tadono Hitohito ( played in the drama by Masuda Takahisa), who ends up unusually befriending popular girl Komi Shouko ( Ikeda Elaiza). Despite appearances, Komi struggles with verbal communication and therefore due to having select mutism, has to write down everything she wants to say on a notepad. She enlists the help of Tadono to help her make her goal of having 100 friends ( due to having none) a reality.

However with a sweet and heartwarming premise and more than 23 volumes of manga to execute into a space of eight episodes, it was evident that Mizuhashi would be very restricted towards which storyline elements to follow and cut out. On the other hand even with its short duration length, ‘ Komi-San Can’t Communicate’ often felt as though it missed out on more nuanced opportunities to explore characters, relationships and also plot without having to lean heavily upon certain tropes and comedy in between.

As far as the acting is concerned ‘ Komi-San Can’t Communicate’ is admittedly a mixed-bag. Of course this isn’t to downgrade the actors themselves as individuals, but their performances and line deliverances could admittedly come across as slightly over-the-top and exaggerated rather than feeling comically-timed or dynamic. ( Naturally this is also down to the problem of the script’s dialogue also.)

The characters are specifically there to serve a purpose throughout the show and this does come off with differing results. As the main lead Tadono Hitohito is arguably a slight anomaly; whilst the drama ( similar to previous counterparts) uses his surname for comical motives ( I.e. Hitohito being taken from the Japanese expression;” tada no hito (ただの人)”, meaning “just some guy”) , he is undeniably an intriguing character ( against his own motives). Tadono embodied a trait which is often overlooked in male leads and that is empathy. The male lead can
read people like a book giving him a sweeter note and pick up on Komi- San’s feelings easily.. However instead of presenting the “ inner Tadono” for comical scenes to voice his inner-thoughts and feelings, Tadono lacked a lot more character drive than his previous counterparts. Whilst it was played off for a comical reason it felt odd that the drama didn’t touch upon the reasons behind his choice to become “ normal” as well as his family. Even touching upon these motives and characters briefly would’ve given Hitohito a sense of being more than just a plot device to keep the storyline moving alongside his “ potential chemistry” with Komi.

The romantic factor between both characters is admittedly more “ hinted at” throughout the show than prominent.

Then of course there’s Komi Shouko. Shouko is a really sweet female lead and stands out against the typical two tropes of being “ aloof and cold” as well as “ loud and vivacious” by her introverted nature and social embarrassment. Her ability to make unlikely friendships with Hitohito alongside kindhearted and lonely gyaru Manbagi Rumiko( Yoshikawa Ai) did seem to prove that her intentions were good. However similar to Tadono, Komi often struggled with having more subtle character background. For example there’s the issue with Shouko being perceived as “popular”. Whilst it may have come across as Shouko being “ unapproachable” and “ pretty”, this also raises questions as to how Shouko did not isolate herself socially, or became a victim of bullying by standing out. Naturally whilst it is based upon a manga and more exaggerated tropes are executed into reality, it felt odd we weren’t given opportunities to explore more about how she’s perceived as being popular, Shouko’s reasons for not talking as well as any possible links to her childhood or family interactions to provide clues.

The comedy in the show is admittedly over-the-top. Whilst this isn’t entirely bad per say and the drama does odd a surprisingly lighthearted and sweet moment between Hitohito and Katai Makoto ( Mizobata Junpei- who is cut out of the show after his initial use) ‘s friendship, as well as the attempted “ cool” persona put on by his replacement Naruse Shisuto ( Shirota Yu), it’s easy to understand how this may not appeal to everyone, as more subtle and intertwined comedy is often less common to find throughout the drama.

The ending admittedly has its flaws and strengths also; whilst it did add a sweeter note and help to clarify something important for Komi, it left off with more questions than answers. Of course cliffhangers aren’t necessarily bad per say in dramas, but the abruptness of this ending without wrapping up our other side characters felt a little odd and lacking within character direction.

So is ‘ Komi-Sam Can’t Communicate’ actually worth watching or should you just skip it? The acting front admittedly isn’t the strongest and whilst respectfully members of the cast have had better performances, it doesn’t necessarily take away from the fact that the drama is sweet and lighthearted. The basic trope executed of “ high school friendship tale” isn’t necessarily original, however, characters do surprisingly grow on you throughout the show. Admittedly a lot of these characters alongside the comedy and due to air time often felt a little bland with those expecting a dynamic love story between Komi and Tadono possibly being disappointed. On the other hand for those just wanting a drama in order to cheer-up or looking for something to quickly binge-watch, then ‘ Komi-San Can’t Communicate’ is worth watching.

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