Will ‘ Dr Park’s Clinic’ Treat Your Expectations?

TVING originals have long been held in regard by critics and viewers alike for slick cinematography and shots. However, ‘ Dr Park’s Clinic’ was an odd anomaly. The series’ shaky camera shots and editing presented the series as surprisingly mediocre for a TVNING original; a low-budget sitcom which whilst heartwarming in necessary parts, often struggled to truly deliver the last laugh.

Adapted from former doctor Jang Bong-Soo’s popular webcomic, the series revolved around Doctor Park Won Jang ( Lee Seo-jin); a seemingly third-rate doctor who has just opened his first medical clinic.

Despite constantly worrying about his recent onset of alopecia and his wife Sa Mo-Rim’s ( Ra Mi-Ran) overspending , Doctor Park’s dreams of becoming an affluent doctor are soon scuppered when his patient numbers begin to dwindle. Determined to turn things around, Doctor Park decides to do his utmost to save his clinic, even if it means unintentionally making things worse along the way…

Perhaps one notable thing to comment about the series is that ‘ Dr Park’s Clinic’ is a fairly lighthearted series for the most part. Whilst the series does delve into some darker and angst-ridden subject areas at times ( especially by the latter-half), screenwriter and director Seo Joon Bin was able to uplift the mood of the series with regards to one of the drama’s most questionable presences; the comic relief.

Admittedly it isn’t out of the question for a comedy series to experiment and diversify between different formats. This can often allow a series to reiterate satire, offer angst-free respite or even play around with wry comedy.

However one of the most apparent faults with screenwriter Joon Bin’s style is attempting miserably to strike a balance between being a jovial sitcom (fourth wall-breaking and comical setups ) and a more bittersweet , satirical brand of comedy ( particularly with its jokes surrounding capitalism, brands, medical condition and South-Korean work and social culture) but ended up doing both formats a disservice.

Admittedly ‘ Dr Park’s Clinic’ did attempt to offer viewers some emotional punches- a revelation from Dr.Park’s “tragic” past, several angst-ridden moments as well as a surprisingly uplifting and crisp ending along the way were specifically placed to evoke a twinge of sympathy and pity for viewers. Nevertheless, heartfelt moments were admittedly less impactful in the the long-term memory of viewers who will likely forget these moments after completing the series.

Lee Seo-jin ( ‘ Damo’, ‘ Yi San’ and ‘ Marriage Contract’) starred as main lead Park Won Jang, whilst costar Ra Mi-Ran ( ‘ The Himalayas’ ’, ‘ The Avengers Social Club’ and Black Dog ‘ ) played Won Jang’s wife and main female lead Sa Mo-Rim. Respectfully whilst both main leads’ performances could across as somewhat corny in parts, Ra and Lee offered solid performances throughout, with Ra Mi-Ran notably adding a surprisingly endearing charm to her onscreen persona.

The supporting cast offered decent performances. Whilst there were admittedly some strained deliverances of dialogue and acting, the supporting cast were able to offer some surprising charm during other moments in the drama.

In particular, the supporting cast included Cha Chung Hwa ( ‘ Harmony’, ‘ Black’ and ‘ Pawn’) as witty head nurse Choi Mi Young, Shin Eun Jung ( ‘East of Eden’, ‘ Faith’ and ‘ Navillera’) starring as angelic-faced yet acerbic- tongued Dr. Sun Woo Soo Jin , Kim Kwang Gyu ( ‘ Friend’, ‘ Scent Of A Woman’ and ‘ I Can Hear Your Voice’) playing mixed coffee-enthusiast , obstetrician and gynecologist Ji Min-Ji, Jung Hyung-Suk ( ‘ A Mystery Of The Cube’, ‘ The Banker’ and screenwriter and director for ‘ The Land of Seonghye’) as director of the urology department, whilst Seo Bum Jun ( ‘ Nevertheless’, ‘ Rookie Cops’) played the head nurse’s son and Joo Woo Yeon as well as child actor Kim Kang Hoon ( ‘ Mr Sunshine’, ‘ When The Camellia Blooms’ and ‘ Racket Boys’) took on the roles as Park’s two sons.
Due to the short length of the series, ‘ Dr Park’s Clinic’ is able to maintain a pacy speed throughout its duration. Naturally, the expedited narrative pacing did create a double-edged sword; fast-pacing helping to deescalate potentially tedious setups and scenarios, whilst sadly rarely giving opportunities and time to explore its odd array of characters and potentially tour de force moments either.

The cinematography of the series is notably a mixture of amateurish and surprisingly basic shots, as well as some insightful glimpses into the lives of our main characters. Whilst simplicity isn’t always necessarily bad per say, it could sometimes reduce opportunities in order to explore the intuitive shots or boast slick and unobstructed editing and cutting. The OST is also notably faintly memorable for viewers; helpful for promoting emotive moments and tones, but rarely delivering an impactful presence either.

Uplifting, lighthearted and melodramatic in parts, ‘ Dr Park’s Clinic’ is specifically what it says on the tin: a social comedy about a mediocre clinic with an array of eccentric characters being introduced onto the scene. The acting performances are decent enough but the deliverance of comic relief is admittedly variable. Perhaps the comical exchanges will generate a few laughs for audiences, whilst others may be dissatisfied by the generic setups and comical elements along the way. Overall, ‘ Dr Park’s Clinic’ is a decent binge-watch; watchable but lacking a certain memorable edge also.

Leia Mais

A Laughable and a Hare-Brained Makjang...

“A Man in a veil” is the epitome of the infamously coined “ Makjang” by South-Koreans ( used to describe plot concepts which are equivalent to the reputation of telenovelas - so ridiculous, cliche and unrealistic that they often fall into the “ so bad, it’s good” category). From ‘ pseudoscience’, ‘ revenge’ to ‘ lost family’ cliches, “ A Man in a veil” throws in all the towels to be a ridiculous hundred and five-episode extravaganza of wooden acting , fairly one-dimensional characters and tropes.

“ A Man in a Veil ” takes on the typical revenge cliche of a man with an intellectual disability called Tae Poong ( Kang Eun Tak) whose destiny is gradually torn apart by two sisters; the intrinsically “selfish” Yu Ra ( Lee Chae Young) who begins to manipulate and blackmail him throughout the series, and the “ kind-hearted” sister Yu Jung ( Uhm Hyun Kyung) who holds strong feelings towards him. His life changes forever, however, when a tragedy causes a second chance for Tae Poong to extract his revenge on everyone who has wronged him.

Whilst the revenge cliche was possibly the most intriguing of the show, “ A Man in a Veil” didn’t truly use this to either flesh-out nor deepen the characters, with Tae Poong often feeling more like a “ stock male lead” with little interest for viewers or emotional depth behind his actions. ( Apart from Eun Tak’s random screaming matches and “pained “ facial expressions when it was necessary for the “ plot”). Arguably, Yu Jung did have a little more depth than Tae Poong, due to her complicated feelings for both him and the second male lead Seo Jun ( Lee Shi Kang), her later tragedy and motivation towards getting back at her sister and a family revelation as well. On the other hand, considering the emotional and traumatic depth in reality towards this tragic event which took place in the series, Yu Jung not mentioning this again after it was necessary for the “ story” felt both lacklustre and poorly- written in the grand scheme of character- writing.

Ironically , one of the worst-written characters in the show must go towards Yu Ra as both an individual and an antagonist . It was evident from the get-go that screenwriter Lee Jung Dae wasn’t attending to make Yu Ra a “ sympathetic villain”” - she’s inherently a selfish and despicable character who later becomes deluded by her own abilities to outwit others. On the other hand, it’s hard to really understand what makes Yu Ra actually tick or the actual motives behind her thoughts, apart from not wanting to “ be in poverty” and “ survive”. To make matters worse, we very rarely got to see Yu Ra as an actual human being. The several moments which could have offered genuine intrigue into Yu Ra as a character ( such as her past and later events) were entirely written-off to make Yu Ra’s schemes more and more unbelievably ridiculous by each episode. ( Counterpart to the other antagonistic character played by Kim Hee Jung as Joo Hwa Yeon.)

This certainly leads the storyline to take on a dragging and lacklustre focus between the three primary storylines; Tae Poong and his revenge, Yu Ra’s attempt to climb-up the social ladder and the dirty secrets of their associates ( including Yu Jung and Yu Ra’s parents as well as Seo Jun’s mother and father). Whilst arguably each storyline did have some attraction in how they played out, before even the halfway point, the show began to draw itself too much away from the main protagonist’s own ventures into other characters’ lacklustre storylines, which took away many of the twists which were supposed to be “ emotional” and “ shocking” for viewers with little delivering impact for viewers .

Consequently the plot inconsistencies of the show were beyond incoherent - CCTV cameras, criminal investigations and actual forensics are nonexistent , the characters are ridiculously dumb enough to make the same mistakes over and over in favour of “ plot motivation” and later “relevant twists” completely contradict earlier statements made in the show.

Perhaps it is due to the fact that the show is so detached from coherent plot line , or, the fact that the stylist’s choices are so outdated ( including product placement) helps the show to seem older , but, “A Man In A Veil” is a perfect example of a show more than a decade behind recent trends - the characters have no depth or actual intrigue for viewers , the storyline is filled to the brim with more and more ridiculous cliches, and even the ending felt a little lacklustre. ( In particular after building more than 80 episodes of Tae Poong seeking revenge only to be “ miraculously solved” with little sense of conflict or poetic justice for our main lead . )It’s fair to say that “ A Man in a veil” is a typical makjang- certainly not worth watching if you’re looking for something deep, but so laughable, it keeps you watching to see what hare-brained scheme the scriptwriter tried to come up with next.

Leia Mais

One Of The Best Korean Dramas In Years....

There has been a noticeable recent wave of South-Korean horror shows in recent years, and there’s no denying that OCN’s The Guest (2018) is not a byproduct of this recent trend.

Yet despite this label as a contemporary drama, The Guest truly plays upon something timelessly classic within its universal horror theme of primeval and the unknown through suspense and dread.

The story premise revolves around our main Male lead, psychic Hwa Pyung ( Kim Dong Wook) chasing after a malevolent demon called Sohn who disturbingly drives people insane. Under the non-conspicuous job occupation as a taxi driver, Hwa- Pyung’s journey to finding Sohn seemingly becomes closer when he is invariably connected with the mysterious Catholic priest Choi Yoon ( Kim Jae Wook) and cynical detective Kang Gil Young ( Jung Eun Chae) ; all of whom have mysterious links to Sohn through their pasts.

As our main lead,Kim Dong Wook seems an unlikely choice to play our main hero,however, his sense of genuine sincerity and anguish in his performance truly captured the essence of Hwa Pyung as a sincere and scarred individual. Alongside Dong Wook costar Kim Jae Wook’s role as the aloof and taciturn Catholic Priest Choi Yoon, truly captured the intrinsic and deeper questioning of a man shaped by traumas. Although less in the limelight than her fellows costars, Eun Chae channelled also the genuine cynicism and doubt of one of the few female officers in her department as well as an individual led by logic.

Yet beyond some more questionable acting performances by some members of the cast, The Guest’s beauty lay within its characterisation; Choi Yoon initially distrusts Hwa Pyung just as much as Eun Chae is doubtful of the “ mumbo jumbo” beliefs of the “ superstitious” duo on their first initial meeting. It is only when the entire trio are forced to rely heavily upon one another, that they begin to develop genuine friendships and bonds, trialed and tested repeatedly throughout the drama’s later revelations.

Adding to theme of horror , The Guest refreshingly did not rely upon cheap jump scares to generate the genuine bloodcurdling moments when demons transcended beyond the realms of nightmares to reality.

In one scene in particular when Hwa- Pyung is walking through a hospital, the specific usage of lucid lighting and an eery blue glow in the background will truly send shivers down your spine before the climax of the scene. In another scene in the show, Yoon’s quick walk down a district street in Seoul becomes contorted with distorted streetlights, a clear and purposefully ironic homage to The Exorcist (1973).

Although not flawless from several moments of lacklustre acting and undeniably slow pacing in earlier episodes, The Guest was undeniably a brilliant show filled with intriguing storyline, characters and true spine tingling moments as well. Certainly one of the best Korean Dramas in a long time.

Leia Mais

Destined With You; An Interesting Premise, Just Lacking In Charming Writing…

Let’s be honest. Very few Korean dramas are original. Yes, they can explore different concepts and themes, but many are inspired or borrowed from other shows or movies across years, cultures and genres. Of course, there’s nothing wrong with that. Writers and directors are influenced by other works, and Destined With You is no exception.

The series was written by Noh Ji Sul and directed by Nam Ki Hoon. It follows Lee Hong Jo ( Jo Bo Ah), a bright underdog civil servant, who works hard despite being overshadowed by others. When Hong Jo comes into possession of a mysterious object, she becomes intertwined with cold and stoic lawyer Jang Shin Yu ( Rowoon). Shin Yu has been cursed to live with an incurable disease, yet, Hong Jo may just hold the cure in more ways than one..


Off the bat, I will give it to Destined With You: it is an interesting premise. The cursed setup had been seen and done before, but the sense of the horror element being so spooky early on was quite well done. Some Korean dramas are fairly mild when it comes to horror or jumpscares( especially over censorship concerns), but Destined With You was surprisingly chilling in its opening episode . ( Moments such as the infamous “ bloodied-hand scene” , felt as though they were taken from shows like OCN’s The Guest and CW’s Angel .)


Yet as much as the horror element thrived, the show struggled with attempting to balance the horror and romance element to work well together. It is not necessarily that horror and romance cannot work well. In fact shows like The Master’s Sun and Arang and the Magistrate were able to use this formula fairly well in execution.

The problem is that while both predecessors were aware of creating and broadening characters and balance , Destined With You really struggles to do the same. As the series progressed the horror element was pretty non-existent and turned more into a cutesy rom-com. As a result, it was really hard to work out what this show was going for in thematic setup and messaging, even early on. The early episodes would suddenly go from menial moments of Hong Jo being stuck in a rom-com moment in front of a cute guy, to law procedurals and bickering, to full out body horror with Sin Yu. The constant flip between cutesy romance moments, courtroom drama and disturbing violence and horror , rubbed against one another in the wrong way because the show was never really settled to balance it out . Simply put, it felt like watching three very different shows at times, without a lot of opportunity to fuse them together.


Another major problem lay with character writing. The acting was decent enough. Rowoon is okay here too. He is certainly a good actor, and the idol has proven it in shows like Extraordinary You and Tomorrow. The problem is that Rowoon is not given an opportunity to really shine. His character is the trope-inducing “ cold male lead”.

Admittedly this is not entirely the fault of Rowoon as it is the writing. The cold male lead trope is a preference in romance dramas. It is not bad per say and can be used well in romances to explore characters’ backgrounds and fears. The problem with Shin Yu is that he is a bit of a paper-thin character. Yes, the audience gets he lacks social etiquette, a few “ sob” moments in his backstory and is stoic, but what else is there to say about him?


He is seemingly self-assured and confident in public , and suffering from his curse in private, but his composure rarely breaks beyond this even early on. We see some loose plot threads into Shin Yu’s mysterious family and their weird connection to shamans, but aside from being a necessary plot device, we are never shown the full effect on Shin Yu and how this has influenced any form of backstory or careful character development. In some later episodes we do see a “ softer” side to the male lead by playing into the romantic element and some angsty plot backstory , but aside from this, it’s hard to really see any pivotal or particularly poignant development, apart from going from being churlish then jealous to lovey-dovey with the female lead. This is the a little disappointing considering the fact that he could have been a really interesting character, especially from his written role and introduction with the female lead.


Hong-Jo is unsurprisingly Shin-Yu’s polar opposite. Jo Bo Ah is a good actress and does have some good moments of the show. However similar to Rowoon, her talents are never really given an opportunity to be explored further as a consequence of the writing.

It seemed like a really good writing point to have Hong Jo as the “ underdog heroine”. In theory, she has so many parallelisms that could have been explored to parallel metaphorically with the male lead’s literal “ cursed” predicament. She is outcasted at work, has an abject love life and often feels lonely. She is by all accounts, a “relatable” underdog heroine.


Before I go into the problems, I will say a few good aspects of Hong Jo as a character. She is fairly headstrong, both getting the job done such as the demolition case, confessing to her crush ( even if she was a little childish ) and remaining resilient against the toxic culture of her workplace. They were good attributes in the female lead, and did show off some of her strengths.


However, the problem is Hong Jo is never really fleshed out to the extent for the audience to truly connect with her. Sure, there were moments of pity for this character when it was needed in the plot, but on a deeper level, it was hard to really feel as strongly as the show wanted us to do so for her. For example, one major driving point early on is that she is very bullied and isolated from her work colleagues. She is not invited out after work for drinks, and spends most of her time alone. Yes, this shows she is alone, but why is it so significant for Hong Jo? We do learn a bit of history of being bullied, but, why is she so determined to be friends with people who have hated her? These may seem nuanced, but the show seemed to have multiple opportunities to really go into character’s backstories or growth early on, yet rarely did so even in later episodes.


Then there’s Yoon Na Yeon ( Yura), an interior designer with a bad history with Lee Hong Jo. There’s definitely a lot of mixed things about Na Yeon as a character.



On one hand, she is fairly complicated in the fact that she she puts on a lot of different sides as well as being a bully , and is more than the meets the eye, especially when Hong Jo renters the picture. On the other hand, while it feels like Yura has been typecast once again, the character feeds into a bit of a tiresome cliche of the cruel second female lead.


This isn’t to say that there can’t be animosity between a bully or victim, or alternatively see the character’s pettiness come to light, but rather than using this as an opportunity for Na Yeon to either be explored further in a more subtle manner,this storyline still seems to perpetuate a lot of archaic stereotypes . ( Particularly the oldest cliche in the book of two women at odds with one another being pitted against one another further for a man .)

Adding to this, there’s also the actual fact Shin Yu, probably one of the most misanthropic and seemingly “ isolated” characters in the drama, is in a dating relationship with Na Yeon. Understandably, relationships are not always straightforward and people can meet in a lot of different circumstances. Shin Yu never seems truly happy with Na Yeon, often trying to break up things with her or sitting in sullenness, while Na Yeon fawns over him and becomes more obsessive when she sees Hong Jo as a threat and love rival. Shin Yu does attempt to put their relationship on hold, but Na Yeon is obsessed and does not back down. The relationship displayed a good aspect of difficulties between dating partners, but, aside from just adding fuel to the fire on plot devices and drama, it did seem a little questionable as to why Shin Yu would even agree to date someone like Na Yeon, ( knowing about her past or not) .


The potential romantic pairing between Hong Jo and Shin Yu is fairly good, even if the screenwriting does not always justify it. One of the major parts that came to play here was the romantic sparks flying between Rowoon and Jo Bo Ah’s onscreen characters. They have surprisingly good chemistry as actors. For the characters, it’s a bit of a mixed bag. There is certainly romantic development ( in typical romance fashion) early on, but it was admittedly a little hard to root for the characters when Shin-Yu was often just plain rude to Hong Jo from gossip he overheard as well as his attitude. To make matters worse, even later on, he never really apologised for his actions. Later episodes improve this a little, but then there’s also the elements of Shin Yu’s obsession and later actions ( though there is a suggested cause), as well as feeding into some overused cliches.

On the pacing side, Destined With You is very slow to begin with. It’s understandable even in the first episode alone, there’s a lot to get through, but the first few episodes were fairly slow with pacing . Later episodes did pick up the pace more briskly, but there were later moments, which struggled to really get off the ground, even by the ending. Speaking of which, the ending was a little anticlimactic. Sure we saw a few loose threads tied, but it felt as though some characters and plot was left greatly unresolved.


The cinematography is definitely one of the show’s major highlights. It’s fairly stylish and sleek, with a glossy element of different palette schemes to reflect the mood and tone of the scenes. There are later episodes which feel a little insipid on the staging side, but scenes with the cursed hand, definitely helped capture the more horror and fearful element, with careful attention to detail.



Destined With You is a very odd show. It has a good cast, an intriguing premise and beautiful cinematography, but in execution, it has some very noticeable inconsistencies. The themes were so imbalanced that it was hard to work out what the show was going for in its general setup. While there’s nothing wrong with using classic tropes with a new spin or using them to address a message, Destined With You took them with a fairly copy and paste manner and nothing more . At times, it often made the show feel like it would have been less out of place in 2013 than 2023.


Writing and pacing is another major issue. There were some potentially brilliant characters in the show ( particularly the main leads) , but rather than fleshing them out to their full potential, they were rarely allowed to change and grow ( a key stage in any character’s development). Overall, Destined With You is an average show which is probably best to watch during a forgettable binge-watching session to pass the time .

Leia Mais

A “ Lesson” For Itaewon Class...

Most people will probably tell you that this show is the “ most original Korean drama, they’ve ever seen” or “ the best one ever”, however, there was something about this drama which took me awhile to work out where my problem lay from a critical manner. Of course, there’s no doubt that Itaewon Class has some selling points which were tackled for the appeal of the “ young generation” and “international” viewers. This is particularly seen through; casting choices ( note fairly newcomer actors Da- Mi and American Chris Lyon) , themes tackled( attitudes to racism, LGBT rights and of course released prisoners) , fairly unique plot premise and characters as well . So, where did a show with such brimming potential go wrong? Well, its biggest problem was for once not entirely upon the acting ( this is something which I must give the show some praise for , especially from Da-Mi ‘s emotionally vibrant role as her role character Yi Seo, against lead actor Park Seo Joon’s sometimes lacklustre moments) , but, upon the characters and plot itself. The show ( based upon the titular Korean webtoon) centres around Park Sae-royi ( Park Seo Joon) who during his teen years, was wrongfully imprisoned around the same time of his father’s accident, when he is angered by bully and legitimate heir to Jangga Group, Jang Geun-won ( Ahn Bo Hyun). After being released, Sae- royi claims revenge against Jaanga Group by establishing his own restaurant in Itaewon with the help of fellow misfits , intelligent and tech savvy Jo Yi- Seo as his manager ( Kim Da- Mi), Yi- Seo’s classmate and illegitimate son of the head of Jaanga , Jang Geun-soo ( Kim Dong hee), fellow inmate Choi Seung-kwon ( Ryu Kyung-soo) transgender woman and head cook Ma Hyeon-yi( Lee Joo - Young) and Guinean- Korean part-timer Kim To- Ni ( Chris Lyon). As a premise, the show has a unique flair to it, but, I think it’s quick to become apparent that a show which focused upon the characters as plot devices rather than human beings at times, certainly has lacking emphasis upon characterisation . This cliche grew apparent when the show trickled into the tropes of revenge dramas from illnesses, illegitimate heirs to the stereotypical cliche of love scenarios between the “ older” Male lead Park Sae- royi, the “ young prodigy ,and not so innocent” Yi- Seo , the “ tangled between love and duty” Oh Soo-ah ( Kwon Nara) and the “ puppy -dog outcast” Geun- Soo. Whilst there was nothing entirely wrong with having romance in a drama about misfits, Itaewon Class made the classic mistake of centralising too much focus upon the romance of these characters rather than as individuals with personalities, pasts and lives outside of their relationships . For me, this was particularly seen with Sae- royi. Considering the amount of psychological and emotional damage he’s been through as a character since episode one, you’d expect such a character to be a realistic, cautious and likeable Male lead who is able to relate to viewers through their own painful experiences. Instead, Sae-royi is a perfect example of a “ stock Male lead” who has little emotional outburst, awareness to feelings, manipulation or any moments of weakness which truly make us reflect as viewers upon his journey. Arguably , there’s his “ romance” with Yi- Seo to make him more ‘ human’ ; so lacklustre that it’s a question why it exists in the show at all . Sae-royi seems to constantly mislead this girl with “ obliviousness” only to suddenly be falling in love with her next moment, with little explanation or reasons behind his feelings. Whilst I find it hard to fault Da- Mi, Yi- Seo was a female lead who I absolutely loathed upon so many grounds. I can understand where drama viewers are coming from to an extent by the argument that Yi- Seo is a “ strong and independent female lead”. The show made that evident from nearly episode one when she is able to “make or break “ an establishment’s reputation through her social media account and hold herself in a fight against people using her wit as well. This is also what irked me about Yi- Seo as well. She was a strong character , but she had little emotional depth as an individual. Whilst she did have some scenes which exposed more “ vulnerable moments” , these scenes didn’t truly add up with her “ sassy” characteristics at times or were truly built to expose this side of Yi- Seo without seeming somewhat “ random” and poor writing . Note the scene with the confrontation with her mother early on in the show about chasing an ‘older man’ ( Sae- Royi) rather than following her mother’s hopes for her to become a successful and independent woman. Whilst to an extent the scene explains some of the psychological reasons behind Yi- Seo’s desire to fall in love in order to escape from the planned- out intentions of her mother, there was little emotional bonding or vulnerability both with Yi- Seo and the mother who raised her, or anything truly emotional to expose Yi- Seo as a human being in this scene . Whilst I guess there is the argument of Yi- Seo being a sociopath suggested by several fans by her ability to grow on emotional attachments through her manipulative intelligence, there are scenes later on ( such as Yi- Seo bursting into tears in front of Geun- Won) which question whether this is simply bad character writing , or simply a confusing interpretation for us as watchers . I don’t usually bring in comparisons to my reviews, but, looking at dramas with similar “ strong female leads “ like Jang Man- Wol ( IU) from Hotel Del Luna or Ko Moon Yeong ( Seo Ye- Ji) from Its Okay, Not To Be Okay , brings a stark contrast between “ strong” and “weak “story writing. Love or loathe both dramas, there is the undeniable strength within both shows of a female lead who has emotional emotional depth; exposing these characters not just as “ plot devices for romance”, but, human beings as well with feelings, scarred pasts and flaws as well . Overall Itaewon Class isn’t necessarily a terrible drama, but it the epitome of recent romantic “ fad” shows - mediocre storywriting, poorly-written characters and easily forgettable the minute the watcher starts a new drama. If you’re bored and looking for something to pass the time, I’m certainly not saying that you shouldn’t give it a go , however, this isn’t a drama to watch if your looking for something to genuinely commit time towards.

Leia Mais

A “ Journey” Into The Unknown Depths Of The Human Psyche...

It remains apparent in recent years, Chinese productions are trying to offer a more liberal expression ( despite the enforced censorship laws) over their own culture. It is undeniable that director Ju Xing Mao ‘s contemporary psychological drama “ Journey Across The Night”, attempts to do this by portraying the “ grittier” issue of mental health in its urban setting of bustling Hong Kong.

The show was intriguing with its overarching episodes feeding into different topical issues and cases of psychological horror ( paranoia, schizophrenia, psychosis, repressed trauma and depression to name just several) and fairly original, yet nonetheless, the show didn’t truly seem to live up to what should have been a “ brilliant” psychological drama either. By default, “ Journey Across The Night” had all the right elements of being a good drama; a wonderful cast, captivating cinematography, an intriguing premise and characters, but, as the show progressed, it was soon apparent that the drama became its very own worst enemy from a pacing and story - development perspective.

Joseph Zeng stars as psychology student Li Jia , a new arriver in Hong Kong, hoping to finally study at University and find a way to escape his family’s dark and ill-fated history of schizophrenia . Enlisting the help of his professor and trained psychologist Cheng Ming Xuan ( Laurence Ng), Li Jia’s hopes to find some form of normality in Hong Kong, are dashed when he ends up getting involved with Zhang Cha Cha ( Cherry Ngan) and Shi Cheng ( Zhou Cheng Ao) , two individuals who are revealed to have their own onslaught of problems which will gradually push and test Li Jia to all of his limits.

For a show which built itself upon a seemingly unexpected and fast-paced ride into the unknown, the drama’s biggest dilemma was that it was incredibly slow-paced at times. Arguably, this is sometimes necessary for story development , and did allow for some characters such as Cha Cha to shift from being the “ annoying” -sister type for our male lead to more of a complicated love interest. On the other hand, numerous characters in the drama were often cast-aside in favour of either a new “ horror” tale or the slightly lacklustre “ romance” factor present , yet, none so was this more apparent than with our own male lead Li Jia.

Thanks to the talents of Joseph Zheng, Li Jia was arguably one of the most intriguing characters of the show ; a mysterious new arrival in Hong Kong with a prominent desire for normality and to “ save” himself from his family’s ill-fate, a traumatic past and a unique ability to attract new friends and people into his life. Nevertheless Li Jia’s biggest flaw was that he lacked a lot of actual character depth. Whilst it is evident that the show wanted to keep us in the dark about certain elements of Li Jia as a character, it’s hard to truly assess or come to terms with what we see with Li Jia’s “ growth” or “ traumas” being switched-off and on in favour of being used as a plot device, rather than actual characterisation or growth by the ending of the drama .

Whilst Journey Across The Night had an intriguing premise and a fairly decent cast , the show intrinsically lacked a driving factor ( sans Li Jia’s reasons for travelling to Hong Kong) which often made overarching storylines feel disjointed as well as many characters ( including our main protagonist) introduced in the show, one-dimensional.

As past reviews have mentioned, the ending of The Journey Across The Night is a matter of personal opinion more than anything else . An appropriate, yet unexpected twist for a psychological drama , the actual delivered finale just felt too abrupt, sudden and lacking in actual depth to wrap off the many encountered loose ties of the series , than to be counted as a delivered ending. Overall, a decent show if you’re looking for something to binge-watch, but there are certainly better psychological dramas out there than this one.

Leia Mais

Is This A ‘Hellbound’ Experience?

With director and screenwriter Yeon Sang-ho (Train to Busan) and co-writer Choi Kyu-Seok basing the series upon their own webcomic and original production, this does leave viewers with one ultimate question; “ is ‘ Hellbound’ actually worth watching ?”

For jaded and cynical detective Jin Kyeong-hoon (Yang Ik-june) humanity has offered him nothing but pain and sorrow. Still trying to come to grips with his wife’s brutal murder and having a fractious relationship with teenage daughter Hee-jeong (Lee Re), Jin’s research into the cases leads him face to face with leader of the mysterious cult ‘ New Truth’, Chairman Jeong Jin- Soo ( Yoo Ah-in). The cult has pledged salvation for “ sinners” by spreading gospels of the angels and encourage them to “ repent”. However as episodes progress it soon becomes slowly apparent towards Jin-Soo’s true nature and the brutal goals of the group, with attorney Min Hye-jin (Kim Hyun-joo) pledging representation for the alleged “ sinners”.

The biggest thing to address about ‘ Hellbound’ is that it isn’t a show for the lighthearted. Whilst devoted fans of the webcomic may notice some subtle storyline changes ,the show is violent and not afraid to present brutal murders alongside people being combusted like human torches throughout the series.

Intertwined amongst the shoddy CGI monsters of ‘ Hellbound’ as well as alongside the spine-tingling OST by Kim Dong-wook, ‘ Hellbound ‘ expertly paces its descent into chaos, knowing when to slow down on abominable killings and when to present its moral deadlocks . From the rising corruption of religion and the cultural phenomenon in South Korea of hysterical puritanism, hypocrisy as well as the rise of extreme conservative views paradoxical to the insatiable appetite of society for violence through popular culture, ‘ Hellbound’ addresses a lot of issues without shame or embarrassment and with the entire purpose to expose current issues and realities in South-Korean society. However this is also where the series began to hit a rut after the midway point; it never really carried through these messages with regards to the medium of the series . Whilst some characters are used with a purpose, some seemingly quintessential main characters have rushed arcs or suddenly disappear without rhyme or reason, whilst the climax and rising tension of the drama often went on a downwards slope after the halfway point.

The acting front is admittedly a mixed-bag ( especially with some line deliverances by the supporting characters.) Of course whilst the main cast shone throughout, one of the most dynamic performances throughout the show was surprisingly Yoo Ah-In’s performance as fanatic cult leader Chairman Jin Soo .

Whilst main lead Jin Kyeong-hoon is admittedly a complex character type as the “ cynical cop” and female lead Hye-Jin as the “ attorney”, they often felt tightly crammed into their roles as stock characters tropes . This isn’t necessarily a bad approach per say and did give director and screenwriter Sang-Ho opportunities to reimburse old character tropes for his own gain, but it did little to really diverge these main leads from their expected decisions and actions, often leading them to be shoehorned into the plot ( as well as lacking more profound depth) rather than allowing the characters to move coherently within the contents of the storyline. For example a major subplot surrounding the series for Kyeong-Hoon is the murder of his wife. Whilst later revelations play briefly upon this subplot, the profound details surrounding Hoon’s reactions as well as his relationship with daughter as a consequence were left underexposed, and therefore lacked more sound emotional-depth also.

Of course getting back to our mysterious chairman it isn’t necessarily the case that he was executed as an entirely “ original villain” as after all Sang-Ho does enjoy playing upon Jin Soo as the “ calm and quiet” archetype. However where Sang-Ho creates mystery surrounding Jin-Soo is that he isn’t a “ redeemable antagonist with a painful past” or “twirling his moustache planning world domination”, but just a regular person with a megalomaniacal desire to deliver his warped sense of “ justice”. However whilst Jin Soo helped us to bring together our main characters and kept the storyline moving, his anticlimactic character arc and exit from the series raided more questions than answers afterwards.

This was often a major problem with ‘ Hellbound’- plot points which could’ve been meticulously executed onscreen or poignant for audiences to reflect upon, felt missed out completely by Sang-Ho’s imbalance of subtext against plot. For example even through the cinematography and as the director Sang-Ho never seemed entirely sure how he wanted to capture the world of the characters. Seemingly ordinary or gritty early episode scenes hinting at the unexpected, turned into moody and drab aesthetic shots of Seoul straight out of a noir crime series. This isn’t necessarily unheard of a director playing with mood or lighting to convey messages or by transcending genres. However , directors or cinematographers usually have a vision in mind when invoking these scenes for viewers. Sang-Ho seemed often uncertain even through the objective lens of the director with how this truly captured or presented the emotional mind-frame of his characters . . Adding to this Yeon and Choi weigh down each dramatic scene straight out of a jump-scare movie; the monsters’ attacks feel animalistic and playfully sadistic, but never truly added a more profound and impactful tone for audiences.

The ending of the series attempt to crank up the shock value to the maximum with the delivered revelations of the finale. However whilst the series does leave a more open ending through a cliffhanger major characters arcs, subplots and storyline moments were rarely tied together or felt more complete as a consequence.

So what is left to take from ‘ Hellbound’? ‘ Hellbound’ is a pacy supernatural thriller with an intriguing plot wrapped into six episodes. Aside from some dodgy acting by our side characters, the main cast were decent enough and the standalone performance by Yoo Ah-In did give the drama some undeniably charisma. However one of the major problems with the Netflix series is that it becomes lost in a maze of its own doing; subtext themes and plot were often lacking in depth and more profound deliverance, whilst even some of our main characters lost their gravitation to audiences by abrupt exploration and coverage alongside an incomplete ending. The series attempts to deliver a “ terrifying” experience through the CGI “ monsters” of the series whose design and presence onscreen felt insipid. Overall ‘ Hellbound’ is not a bad per say during a binge-watch session with an intriguing enough plot to keep you engaged, but certainly lacking within delivering a more sound impact for viewers also.

Leia Mais

Sweet Enough To Give You A Tooth Cavity…

If there’s one thing South-Korean mini dramas absolutely love with romantic-setups it is the “reverse-harem” trope. Unsurprisingly ‘ Peng’( 팽) is no exception and offers viewers the typical cutesy sweet “ potential love interests” for the seemingly “ average” and “ older noona” ( who in reality is only supposed to be thirty) female lead.

Of course it is wrong to entirely critique ‘ Peng’ as “ unwatchable”. Go Sa Ri ( Yoon So Hee) is a 30 year old woman who finds herself rethinking her life decisions after she parted ways with her former boyfriend.Soon she finds herself in a sticky situation as she finds several potential love interests entering her life with complicated feelings evidently growing for them.

The acting is a mixed-bag admittedly. It is hardly Oscar-winning and there are certainly moments where you might question certain line deliverances, but it is certainly passable to watch . Main actress Yoon So Hee has starred in many guest roles over the years but likely is more recognised by K-pop fans for her starring roles in music videos for boyband EXO, an uncredited role in a music video for SHINEE and in one of Super Junior’s concert tours. The actress certainly was decent enough as our female lead and did add her own sweet charm to her role. However the biggest problem with the casting choice for So Hee as Go Sa Ri was that it was hard to truly believe she was the authentic age of her character.

Of course this isn’t to critique the actress or her character Sa Ri entirely. She’s a fairly hardworking heroine. However to explain this point about age further it is important to establish that a younger actor/ actress being cast to play an older (or even vid verse ) isn’t always necessarily a bad move by the casting crew. Often it can work to a drama/ storyline’s advantage by interpolating both with the necessity of their character’s looks, personality or context within the storyline . On the other hand what makes us feel as though a character is truly the age that the writer has mind doesn’t just come down to physical appearance but very subtle touches such as emotions, maturity, popular culture references, generation gaps or social interactions. In ‘Peng ‘ whilst we did see Sa Ri mope about her age at times and show a more mature side also, these key plot touches rarely had more of a quintessential role within shaping Sa Ri’s identity or authenticity as our female lead .

In fact when it boils down to it Sa Ri rarely felt as though she had a more of a realistic edge. She rarely felt flawed or would be allowed to repent for her actions, by often taking central state as the “ victim” or “ pitiful” and even when we did get glances into her life sans romantic relationships, her “ friends” would rarely interact upon a basis which didn’t involve relationships or romance. Even more in-depth glances into her past as well as her familial environment we’re fairly in- existent throughout the drama rarely giving Sa Ri to feel like a well-written female lead.

Naturally the major driving factor of the cutesy pastel-infused romantic setup of ‘ Peng’ boils down to Sa Ri’s “ potential love interests”. ( Unsubtly hinted by one of Sa Ri’s male colleagues that Sa Ri should get married as “she’s getting older”.)Typical of this genre the male leads are mostly used as the “ shiny boy toy” trope with being either fairly good looking, fashionable or a trope archetype in themselves but are mainly used as plot devices to keep the plot moving rather than to have more evident character depth and growth.

Sa Ri’s first “ potential love interest” is Pi Jung Won ( Choi Won Myung). Pi Jung Won is the classic “ childhood friend” trope. Knowing Sa Ri the longest , Jung Won arguably knew the most about Sa Ri out of all the other suitors. The biggest problem with Jung Won as the “ childhood friend” is that whilst he unsurprisingly has “ liked Sa Ri since forever” he never really addresses what initially attracted him to her, his own complicated feelings with Sa Ri viewing him as a fraternal figure as well as meekly remaining in the corner with his hidden feelings until “ necessary plot” drives him out.

Sa Ri’s next potential romantic partner is Yeon Ha Rim ( Kim Hyun Jin). The biggest thing to address about actor Kim Hyun Jin is that in real life he is closer in age to So Hee than his younger onscreen counterpart. His onscreen persona being the embodiment of the “ younger guy”, there’s undeniably mixed feelings for viewers towards this onscreen potential chemistry between their characters ( especially as he does begin to dominate a lot of screen time by the halfway mark). Whilst undeniably Sa Ri does not hide her initial awkward feelings and there are some evident “age appearance” issue addressed , it may raise more questions for viewers by the more sugarcoated approach to realistic factors such as cultural norms, controversy and perceptions towards age gap relationships in South Korea.

Then there’s Sa Ri’s potential suitor through Ki Sun Jae ( Joo Woo Jae)- . Sun Jae embodies the classic “ he’s my boss” and the “ CEO” trope. His potential chemistry with Sa Ri has its strengths and weaknesses. On one side he’s arguably the most mature, decisive and affluent out of the other love interests. On the other hand Sa Ri’s evident discomfort towards pursuing a romantic relationship with her boss does put some strain on their relationship as employer and employee.

Then finally there’s Jeon Woo Sang ( Lee Seung II). Sa Ri’s ex, Jeon Woo spends his time pining over Sa Ri. Whilst some viewers may see this as “sweet”, others will likely see Jeon Woo’s actions as verging upon being a stalker and megalomaniacal from wanting to know about Sa Ri’s love life following her and waiting outside of her house on several occasions.

The final decision by Sa Ri was beyond anti climatic. It was not necessarily bad per say that Sa Ri made this choice as it was upon her own grounds, however, rather than providing this choice with more explanation or build-up, Sa Ri’s decision truly gave the series a poorly-inserted deus ex machina ending; added for the “ unexpected”, yet lacking in more coherent character direction or growth in the process.

So what is left to say about ‘ Peng’? As a miniseries ‘ Peng’ is pretty much what it said it would be on the tin; a romantic show reverse- harem about an older woman choosing her potential romantic love interests. Whilst the show was lighthearted, it often seemed to struggle with conveying more depth to the characters, plot drive ( aside from romantic misunderstandings and lacklustre tropes) and a decisive ending with many profound themes often feeling sugarcoated. Whilst not unwatchable per say ‘ Peng’ lacked that specific zest of being an engaging , memorable or well-written storyline with an ending that will make even the most patient of viewers towards what on earth you just wasted your time upon.

Leia Mais

Surreal Food For Thought, Though Some Storylines Were More Striking Than Others...

Netflix’s Persona is a collection of four South Korean short films, all starring Lee Ji-Eun ( IU). Directed by acclaimed Korean filmmakers Lee Kyoung Mi, Yim Pil Sung, Jeon Go Woon and Kim Jong Kwan and partially produced by record- producer Yoon Jong Shin, each episode was inspired from elements of IU’s own personal life and career.

Although there is the initial thought of a vanity project for IU being the main star in each episode, there’s no denying that IU is a talented and versatile actress. Even in storylines which may deliver impactful plot revelations for viewers, IU seemed to add a necessary fair and uniqueness to stepping into the roles of her varied and different ‘’personas’’ in each storyline. Yet due to each episode being vividly different with a new director, story and theme, it is probably easier to assess each episode as a standalone piece before moving on to the overall interpretations of the ensemble.

‘’ Love Set”- Starting off the collection begins with director Lee Kyoung Mi’s strange and surreal storyline on a tennis court. In this fictionalised world, actress Bae Doona is ready to marry IU’s father. Naturally, IU is contemptuous about the matrimony and decides to issue a tennis battle with Bae Doona on the tennis court.
Using minimal dialogue, filmmaker Lee Kyoung Mi turns 19 minutes, into an eccentric , humorous and over-the-top battle of grunts and tennis balls being smacked back and forth in an odd competition of love, rivalry and hormones with a strangely sexual undertone . It is one of the most peculiar shorts in the series with an oddly anticlimactic and abrupt ending. Rather than viewers understanding the reason behind IU’s disagreement, passion and drive to stopping this rivalry, the undeniable relief of not having watch IU’s and Bae Doona’s unexplained and peculiar tennis match instead overcomes the watcher’s mind with just one thought. “ That was weird.”

“ Collector” - Yim Pil Sung‘s film and the second piece of the “ Persona” collection transitions into notably darker territory, with its focus upon an older man named Baek Jeong-u on a date with a notably younger woman, played by IU. As the date goes on, Baek becomes increasingly irked as the younger woman teases him and appears disconnected from their conversion. Pil Sung’s scenes then present the evident discomfort of Baek in a lonely, empty room as he attempts to prepare himself either to relax or to literally be killed by a woman’s subtle emotional jabs. Notably having a more prominent overarching storyline than “ Love Set”, “ Collector” initialises the reminiscent traits of the promiscuous Kumiho ( a nine- tailed fox in Korean mythology) as well as an intriguing critique upon stereotypes of women in South-Korean society. ( Which naturally IU herself has also been subject to in the wider media.) IU’s character is undeniably playful and manipulative with Baek, however, she never goes out of her way to seduce him as Baek practically throws himself at her feet. This subversion reversal of gender dynamics offered both the literal and metaphorical stereotype of the coquette’s ways of playing with a man’s heart. Still oddly surreal and taking time to interpret , the storyline was certainly subversive in this short piece .

“ Kiss Burn”-A clear critique to the oppressive natural of youths in rural Korea, the third entry of “ Persona” brings Jeon Go Woon’s focus on arguably the most ‘’lighthearted’’ short of the ensemble. IU plays a conniving schoolgirl named Han-na, who visits the rural house of her friend Hye-bok. Hye-bok’s father, a forest fire lookout, is strict with Hye-bok and greatly dislikes Han-na under the impression she’s a bad influence. Out of anger and revenge, Han-na helps Hye-bok pull various pranks, but naively ignites other unintended consequences. Go Woon’s filming- style is notably the most basic and simplistic out of his counterpart directors, yet the usage of screenwriting through approachable storytelling, pacing and jokes makes the story easier to follow than the last two predecessors of the collection. The one flaw of this piece is that whilst the storyline was easier to follow behind the reasoning of Ha-na and Hye-Bok’s vengeance, it is harder to truly define what made their characters original or intriguing.

“ Walking at Night”- Persona concludes with Kim Jong Kwan’s monochrome-filmed short tackling the most poignant segment of the entire ensemble. IU plays a deceased woman who appears in her former boyfriend’s dream. In that dream, the couple takes a walk at night, reminiscing about bygones and musing about the nature of love, life, and death.The scenery is kept simplistic with a simple interaction of walking and a succinct soundtrack . The only true uncertainty which may strike viewers as harrowing can be seen through the mysterious figure as the two characters walk into the night- something symbolising the unknown just behind them. Out of all the shorts, this final piece tackle arguably the most heartfelt and profound themes of the series with focuses upon existentialism as well as the social issue of suicide in South-Korean society, giving the piece a sense of deeper meaning and reflection for viewers.

Ultimately, IU is the main star of each storyline and plays each one of her roles with diverse brilliance and talent. Whilst each episode has its own flair, there’s no doubt that some shorts were a lot better than others. “Walking At Night” offered arguably the most touching, harrowing and profound themes of the shorts in literal black and white , closely followed by the surreal, yet social critique of women’s roles in ‘ Collector’. ‘ Kiss Burn’ pointed out an undeniably ironic and twisted ending, but lacked intrinsic character depth, whilst arguably the weakest of the series was ‘ Love Set’. Attempting to weave in too many sociocultural metaphors and messages into one short, the storyline was weakened by its lacking sense of purpose, context and ending.

Overall, the ‘ Persona’ collection was fairly entertaining- IU is a talented actress and the artistic licensing by different directors gave us a fresh feel to each episode. On the other hand, as a collection, the weaker storylines of the piece ultimately complicated episodes and character depth - ultimately not a bad show to binge watch out of boredom, but probably not worth committing time towards if you’re expecting to watch an ensemble of well-written and profound collection of shorts.

Leia Mais

An After-School Passion For Crime...

The message of the Extracurricular becomes clearly evident for viewers over the course of the show ; South-Korean society can become a “ dog-eat-dog” world if individuals are impoverished, or if they do not match-up to the expectations of being “ successful ”( succeeding in school, being rich , going to university and getting a good job), and none so are these pressures more apparent than for our main protagonist, Ji Soo.

Kim Dong Hee ( Itaewon Class , SKY Castle) ventures once again into another South-Korean social critique as the high schooler Ji Soo; a model-student who soon falls from grace when he becomes involved in illicit after - school activities in order to attend and pay for his fees to go to University .

Directed by Kim Min Jin ( Time Between Dog and Wolf, Lawless Lawyer) and written by screenwriter Jin Han Sae ( Irish Uppercut) , Extracurricular undeniably addresses many realistic issues typically glossed over by mainstream South-Korean high school dramas; delinquency, prostitution, violence, the poverty gap, crime and academic stereotypes, are refreshingly neither “played down” nor ignored over the course of the series.

Nevertheless, despite its realistic topicalities and issues, Extracurricular was severely flawed by its characters, plot inconsistencies and overarching storyline as well.

Whilst it is hard to really fault any of our main cast within their performances, the character progression around many of our main protagonists was fairly lacklustre to say the least. By default, Ji Soo should have been an intriguing protagonist; hardworking, impoverished, a tragic past and who becomes a victim of the forced social pressures in order to “ succeed” by partaking in numerous shady crimes. However, in reality, there were few prominent or truly captivating traits or elements present within Ji Soo as a character. Although he arguably had some form of strength within wanting to survive in a cruel world, his impassivity at key moments often made him hard to feel any strong sentiments towards as an individual.

Arguably our female main lead Gyu Ri ( Park Joo Hyun) had some elements such as coming from a well-to-do family , holding a nasty grudge against them and her mysterious reasons for getting close to Ji Soo which made her a more intriguing character than our male lead. On the other hand similar to Ji Soo, Gyu Ri lacked a lot of character depth during key moments, making it hard to hard understand both her initial enmity towards her parents as well as exactly how she became so interested in Ji Soo in the first place. Similarly, the second leads of the series, school bullies Min Hee ( Jung Da Bin) and Ki Tae ( Nam Yoon Su) were undeniably intriguing characters, however, their lack of emotional depth and backstory often made them feel more like “ stock” leads simply used as plot devices, rather than actually intriguing individuals.

To summarise, it’s fair to say that the series Extracurricular, isn’t your run-of-the-mill high school drama; it isn’t afraid from offering a deeper insight into tricky issues, themes and topics, as well as having an intriguing plot, however, a fairly inconsistent ending , several badly-written characters with poor depth and backstories and lacking realism at times, often made this series feel a little lacklustre in comparison to other psychological high school dramas out there. Worth a watch if you’re looking for something to pass the time, but certainly not worth actually investing time towards.

Leia Mais

How Song Kang and Park Min Young’s Latest Drama Failed To Break The Ice…

‘
Unsurprisingly from the suggestions given by its title-name, ‘ Forecasting Love and Weather’ is one of the few K-dramas in recent memory to cover this subject field  of meteorology. With the additional talents of rising star  Song Kang ( Navillera’, ‘ Sweet Home’ and ‘ Love Alarm’) as well as  A-lister actress Park Min Young (  -‘Healer’, ‘ Her Private Life’ and ‘ What’s Wrong With Secretary Kim?’), the sixteen-episode JTBC and Netflix series has gained popular attention for its intriguing plot premise and subject area.

Nevertheless aside from an interesting premise and an impressive cast line-up, it is hard to ignore that ‘Forecasting Love and Weather’ has gained an onslaught of mixed-criticism due to its execution, lukewarm chemistry between potential love interests as well as certain screenwriting inconsistencies also.

The narrative is focused upon two polar opposite main leads; Lee Si-Woo (Song Kang) and Jin Ha-Kyung( Park Min Young). Lee Si Woo is a laidback yet prodigal meteorologist obsessed with weather patterns such as the consistency of air flow and sea fog. However, despite Lee Si-Woo’s dedication to his career, the same cannot be said about his relationship with his disengaged girlfriend Chae Yoo-jin (Girl’s Day’s Yura- ‘Secret Angel’, ‘ To The Beautiful You’ and  ‘ Radio Romance’).

Meanwhile at Seoul’s headquarters for Korean Meteorological Association, prudent and uptight deputy manager Jin Ha-Kyung, finds herself being caught in a maelstrom of anxiety and stress. An oncoming weather front has proven to be just as unpredictable as her approaching wedding day.

After Ha-Kyung discovers that her fiancé Han Ki-jun (Yoon Park- ‘ Introverted Boss’, ‘ Search’ and ‘ You Are My Spring’) has been having an affair behind her back, she is forced to call off the wedding.
Similarly Si-Woo is heartbroken when Yoo-Jin finally breaks up with him after becoming disinterested with their dates.

Yet after the storm, there is always a glimpse of sunshine and hope. As Ha-Kyung and Si-Woo attempt to juggle between their newfound situations and their careers, they soon find themselves growing closer to one another along the way.

The screenwriting for ‘Forecasting Love and Weather’ was arguably one of the most unexpected collaborations in recent years. Kang Eun-kyung  (probably best known for her screenplays for productions such as as ‘ Bread, Love and Dreams’, ‘ Dr. Romantic’  and ‘ Where Stars Land’) worked together alongside lesser-known screenwriter Sun Young(    ‘Drama Special Season 3: Like a Miracle’) in order to write the screenplay for  ‘ Forecasting Love and Weather’; a work which for all intents and purposes felt heavily domineered in style and creativity by Eun-Kyung.

Of course, it isn’t out of the question that a collaborated work can often reflect the style and characteristics of screenwriters. In particular due to the fact that Sun Young’s screenplays are respectfully limited ( and as a consequence it becomes harder to notice specific patterns), it does arguably stand to reason that Eun-Kyung’s writing quirks and traits were more noticeable than Sun Young’s.

On the other hand for those fairly familiar with Eun-Kyung’s style , then it is likely that most will notice that ‘ Forecasting Love and Weather’ possessed similar flaws and strengths of the screenwriter’s previous projects; light-hearted angst filled with romantic bravado and bubbly setups, but heavily reliant upon screenwriting tropes and bombastic character archetypes. Similar to some of her aforementioned works, ‘Forecasting Love and Weather’ felt as though it would often struggle to achieve a successfully consistent and lively tone, often disengaging viewers as a consequence.
 
This was particularly apparent with the narrative’s constantly changing focal points, especially during early episodes of the series. Rather than
focusing on a few concise points and keeping a level of consistency with the established tone and narrative, ‘Forecasting Love and Weather’ often felt uncertain with its main topics.

For example, a drama seemingly established as a heartfelt romance between two mismatched individuals, would suddenly be subverted into a topic-heavy drama surrounding mapping and warning systems, before shifting again in a different scene in order to become a melodrama surrounding heartache, infidelity, breakups and heinous exes.
 
Despite some respectfully mixed responses surrounding the casting choices of Song Kang and Park Min-Young initially, both main leads offered fairly decent performances throughout.

On the other hand , it is hard to ignore that despite the talents of both main leads, Kang and Park’s onscreen chemistry was often lukewarm.

Admittedly this isn’t entirely the fault of the actors per say. As characters, Si-Woo and Ha-Kyung were often resorted to the equivalent of carte blanches; excuses by the screenwriters in order to be shoehorned into romantic setups, misunderstandings and seemingly allow the audience to root for them from beginning to end.


In particular, main female lead Ha-Kyung has often come under scrutiny by viewers for her impassivity. This is mainly due to the fact that despite being a character who is meticulous and flawed by her uptight nature, there were few opportunities to explore Ha-Kyung as an individual in her own right . Ha-Kyung had a lot of potential to grow or at least mature through her experiences. ( Such as her breakup or her tumultuous experiences with her ex-fiancé. )However rather than giving screen time for Ha-Kyung to be explored as a character and learning self-acceptance , Ha-Kyung was resorted to the equivalent of a plot asset; necessary for driving forwards the contrived love story at the heart of the show, but rarely being presented as a sentient heroine in between.

 Admittedly these writing problems were not just applicable to Ha-Kyung. Main male lead Si-Woo was often restricted into a similar role as the “ forlorn male lead”.

Despite Si-Woo being an intelligent individual who struggles to understand empathy at times, the narrative rarely offered opportunities for Si Woo to reflect upon his breakup or actions in the past, or at least attempt to reconciliate and display an element of maturity by trying to understand his ex-girlfriend’s perspectives. ( Even if Chae Yoo-Jin’s motives were often villainous, this would’ve easily presented and allowed opportunities for viewers to comprehend Si-Woo’s struggles and journey as a character.)

Instead although some of Si-Woo’s situations could arguably be justified as being “ caught in the moment”, it seemed out of character and unjustified in a lot of situations for Si Woo to behave in this way or become actively involved in these scenarios without a greater motive. ( Aside from the case of for the “ sake of plot”.)

However this problem was not just limited to our main characters.Park and Yura’s acting was respectfully credible but the same cannot be said about their screen personas.

Indeed one of the main areas of debate with Park and Yura’s onscreen characters came through their “ villainous” roles throughout the duration of the series.

Of course it isn’t always necessarily out of the question to create despicable villains, nor is it always necessary to allow moments of moral redemption either.

However where ‘ Forecasting Love and Weather’ often fell short was how the narrative truly wanted to portray these characters. At times, the series could often lean into presenting Ki-Jun and Yoo-Jin as intrinsically hollow individuals with egocentric goals and motives. ( In particular with Ki-Jun’s megalomaniacal tendencies and Yoo-Jin’s manipulative attempts to climb up the social ladder in the workplace.) However. , the series often seemed to lean into some moments of potential “ sentience ” for these characters which while having the potential to be dynamic and meticulously written, often felt conceited. ( For example Ki-Jun’s “ ambivalent” feelings as well as Yoo-Jin’s workplace drama.)

Of course this isn’t to say that as an audience we didn’t see some moments of error or weaknesses for the characters in this series, this was rarely given more reasoning. When Si-Woo or Ha-Kyung were at fault the series would often find excuses to justify this as “ morally right” without necessarily highlighting the faults or flaws at the heart of their issues. Similarly Ki-Jun and Yoo-Jin’s actions and misdeeds were often labelled as purely diabolical or a cause of disgust and shame, without always necessarily digging deeper into the causes or allowing viewers to see a full-side of the picture .

Nevertheless a shoutout must be given to supporting actor Kwon Hae-Hyo’s  ( ‘ Revenge and Passion’, ‘ Radiant Office’ and ‘ Undercover’) performance as head of the bureau, Ko Bong-Chan. Arguably one of the most underrated performances in the series, Kwon perfectly embodied an oddly authentic cynical charm to his cantankerous onscreen character.
 
 Due to the previously mentioned flaws of ‘Forecasting Love and Weather’, the knock-on effect of these problems evidently dragged down the narrative’s execution and pacing. Admittedly it is inaccurate to claim that the entire trajectory was calamitous. The series often attempted to create a balance between downplaying key events in order to build-up these obstacles for the main leads, as well as offering pacy climatic moments in order to keep viewers intrigued with forlorn hope.

However due to the extent of misunderstandings and conflicts presented with this method of execution, it could often make ‘Forecasting Love and Weather’ feel as though it was tediously slow in parts and tiresomely repetitive as a consequence. This was mainly due also to the format of each episode following a similar pattern; a dilemma would become apparent to the audience (though evidently not to the characters at first), the problem would emerge and then a misunderstanding or conflict would occur before being dragged out, resolved and then repeat.
 
Perhaps this wouldn’t have been so bad if there had been variation or by the latter-half, viewers had seen opportunities for the characters to gradually overcome their misunderstandings from the first-half. Instead, the predominant focus upon dragging out tense conflicts and misunderstandings had a severe impact upon the seemingly main relationship between Ha-Kyung and Si-Woo; lacking screentime together in addition to ironically spending more time interacting with their exes onscreen, rarely allowing opportunities for viewers to see this relationship reach a concise or healthy resolution.
 
Under the directing reigns of Cha Young Hoon ( ‘ When The Camellia Blooms’, ‘ Uncontrollably Fond’ and ‘ Gaksital’), it is undeniable that despite some limited camera angles and pan shots at times,  ‘ Forecasting Love and Weather’ was filled with some sleek and aesthetic shots.

In particular due to the main subject area of the series being upon the field of meteorology and weather, Young Hoon captured some mesmeric moments of weather changes from the rolling tide, to descending fog, dew on the ground and rain.
 
However, this was also used as an effective narrative device also; pathetic fallacy. (For those unfamiliar with the term, pathetic fallacy refers to the usage of weather in order to display the mood, tone or feelings of a narrative and its characters. )

For ‘Forecasting Love and Weather’ this became apparent with the brief yet effective usage of these scenes in order to highlight the emotional conflicts of the characters as well as the main leads’ relationship in different stages over the course of the narrative. (Enforced by particular episode titles helping to hint   such as “Signal” , “Localized Heavy Rain”, “Tropical Night” in order to hint at the literal and metaphorical problems of each episode.)
 
In addition to the filming stylistics of ‘ Forecasting Love and Weather’, there is also the important discussion surrounding the drama’s comprised OST of schmaltzy pop songs and love ballads. There is no beating around the bush that some of these tracks weren’t particularly memorable. However renowned singer CHEEZE’s upbeat track  ‘Melting (사르르쿵)’, and earnest love ballad ‘ Promise You’ performed by  Kyuhyun were arguably some of the best songs found on the soundtrack which remained noteworthy .
 
Overall impressions of ‘Forecasting Love and Weather’ are entirely dependent on expectations. There is a certain unusual attraction to the series’ topic area of meteorology and its visual aesthetics. On the other hand, ‘ Forecasting Love and Weather’ could often be caught up in a storm of its own making; inconsistent tonal shifts,  character-writing and questionable pacing did little to bring out the best sides of ‘ Forecasting Love and Weather’.

Leia Mais

A Heartwarming Love Story In Tokyo...

30sai made Dotei dato Mahotsukai ni Narerurashii is one of those dramas which will probably be avoided by most mainstream drama watchers from its surreal , seemingly unrealistic and “ sexual “ concept of a 30 year-old businessman, Adachi Kiyoshi ( Akaso Eiji)who can suddenly hear other people’s thoughts simply because he has never lost his virginity.

Yet against all odds of its bizarre premise, 30sai made Dotei dato Mahotsukai ni Narerurashii’s greatest strength was representing the relationship of our two main characters- not simply because they are a part of a “ same-sex pairing ”, but as flawed and independent individuals in their own right (something which only a minority of recent and contemporary romance dramas have been able to portray in the same manner of depth) .

Akaso Eiji was undeniably brilliant within channeling the meek- mannered Adachi, who is naturally perturbed after receiving his new abilities by being able to read the thoughts of anyone he makes contact with . To make the scenario worse for Adachi , he is surprised to discover that his popular male colleague Kurosawa Yuichi ( Machida Keita) has been harbouring complicated romantic feelings towards him for a long time.

Initially Adachi is hesitant to help out Kurosawa at work or grow close to him. Yet as Adachi reads more about Kurosawa’s thoughts and feelings both towards him and as an individual , viewers actually get to see in the process Adachi making sense of his own feelings towards Kurosawa as well. In one particular scene, viewers learn that a lot of Adachi’s problems with wanting to start a relationship with Kurosawa aren’t entirely homophobic, but a consequence of self-esteem and confidence from his past. It is only when Adachi is actually able to start respecting himself ( an important stage in any relationship) that he is able to start falling in love with Kurosawa also.

On the other hand, this also moves us on to one of the biggest flaws of the drama ; its inability to capture actual attitudes and thoughts of Japanese society towards the LGBT community in Japan. Whilst it can be said that not every drama should always be a political and radical message towards society, there’s no lies within saying that Japan has always had a complicated relationship with LGBT rights. Although undeniably a lot more progressive and liberal than some countries in the world and a lot more than the past, there’s no sugarcoating that open- homosexuality or being in a same sex relationship is still sometimes a cause of shame and prejudice amongst some members of Japanese society.

For a drama which specifically tackles these difficulties, it felt a bit out of place not to openly cover some of these pressures and expectations such as in Adachi and Kurosawa’s workplace upon their sexuality and the forced image of “ manliness” often imposed upon men of all cultures as a consequence. This is a flaw which could have easily been shown in the drama and therefore meant that 30sai made Dotei dato Mahotsukai ni Narerurashii was lacking in some genuine and realistic approaches to homosexual relationships in Japan.

On the other hand, my biggest praise must be given to the scriptwriters Yoshida Erika and Okazaki Satoko within the manner in which Adachi’s feelings and attitudes are portrayed. Although he comes to grow accustomed to his own feelings being more than platonic for Kurosawa , it was finally refreshing to see a case where Adachi as a romantic lead is not suddenly head over heels for Kurosawa either. Adachi is finally shown as a protagonist who learns to develop his relationship with Kurosawa over the whole course of the series as a slow and gradual process, rather than a sudden rush for them to suddenly hook up at the ending of the drama.

In a similar manner, Machida Keita was equally brilliant as Akaso’s costar within his role as Kurosawa. Although initially portrayed as overly extroverted and a little too optimistic at times within the drama, there’s no denying that Kurosawa’s reasons for liking Adachi do follow some typical romantic cliches. On the other hand, Adachi’s abilities reveal that Kurosawa is very thoughtful and respectful of some boundaries within their relationship as well as his own feelings towards Adachi not getting too out- of -line. As opposites within their progressive and complicated relationship, Kurosawa and Adachi’s connection isn’t overly presented with beyond salvation cliches nor is it an easy ride; it is more a case that both characters learn to walk through their differences as individuals.

Our side couple, partial- hikikomori ( shut-in ) Tsuge Masato ( portrayed unrecognisably by Asaka Kodai ) and cheerful delivery boy Wataya Minato (played by Goto Yutaro ) was a complicated portrayal for viewers to say the least.

Undeniably both Kodai and Yutaro were just as brilliant as our main actors within their roles, but both their characters respectfully in the beginning of the drama felt a little too much like our main characters within their roles of the “ less confident” and “ socially awkward” guy and the “ popular social butterfly”. Yet perhaps my one note of praise for their relationship comes later in the show , where a sincere revelation by Minato, opens up Masato’s tightly-closed shell and his own feelings as well. On the other hand at this point in the drama, there is sadly also little time to actually focus upon the same depth of their relationship as our main leads, making their progression seem a little too rushed and consequently lacking in the same emotional investment.

Overall there is no denying that although there are several flaws with some characters , cliches and avoiding certain area topics (such as some general attitudes by Japan towards homosexuality), 30sai made Dotei dato Mahotsukai ni Narerurashii is a surprisingly progressive and heartwarming Tokyo romance, portrayed by a brilliant cast, as well as the focus upon the two leading characters as individuals, rather than mere plot devices as well. Definitely a drama watching.

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A Tale Which Tries To Warm Your Soul…

‘ Coffee Ikaga Deshou’ ( alternatively translated as ‘ How About A Coffee?’) is one of those dramas which will likely remain under the radar for most drama watchers. Based upon the manga of the same name and Adapted to the small screen by screenwriter and director Ogigami Naoko alongside co-director Mori Yoshitaka, ‘ Coffee Ikaga Deshou’ ‘s plot isn’t complex.

Admittedly ‘ Coffee Ikaga Denshou’ isn’t an overly original concept. Main lead and arcane barista and coffee van owner Hajime Aoyama ( played brilliantly by Tomoya Nakamura) comes across in a similar suave and mysterious manner as the “ mysterious flaneur figure” Izakaya owner from ‘ Midnight Diner’.

However on a virtuous note Coffee Ikaga Denshou’ ‘s plot was fairly driven by its prominent messages during most of the series. From dealing with issues such as struggling to fit in the status quo, disillusionment, popularity and grief, most episodes had something fairly
poignant to address about Japanese society and everyday life.

Yet unlike the reoccurring characters of ‘ Midnight Diner’ who were left only to piece together parts of the owner’s past, Aoyama’s link to his backstory as well as his reasons for becoming a coffee connoisseur, played a more “ pivotal role” within the events of the series. The main driving force behind the " tension" of the plot evidently occurred within the interwoven backdrop of each episode focusing upon surrounding the reoccurring onscreen appearance of the mysterious gangster ( Isomura Hayato) who was hunting down Aoyama for unknown reasons .

There’s a lot to discuss about how the series dealt with Aoyama’s character arc. On a positive note playing upon the storyline of Aoyama’s " secrecy being hidden in plain sight" made him an enticing character to learn more about and when his past was revealed it did present a lot of surprising revelations about our main lead. However Aoyama’s transition between his past persona and his current-self rarely felt more subtle or blurred, whilst his journey and struggles to kick past habits ( unless it was necessary for " dramatic tension") often felt disengaged from the storyline.

Due to the change and swap-up of characters during episodes it’s hard to pick out a multitude of characters to analyse in more depth. However due to their reoccurring appearances it is important to discuss ( without spoilers) about how the series dealt with the mysterious gangster Pei and his character arc alongside Shima Kakine ( Kaho)-the first customer to be shown to be served by Aoyama onscreen- and our " final major antagonist”.

Speaking about the latter character Pei’s initial raison d’être is acting as an antagonistic force within the drama by hunting down Aoyama for unspecified goals. However whilst it was undeniably sweet to see Pei have his moment of redemption through his later actions and decisions, the build-up of Pei’s actual character redemption arc often felt sporadic. Of course whilst the drama did drop hints towards Pei’s own personal connections, this rarely felt more built up or more widely interwoven with with Aoyama’s own character arc also.

Then of course there’s Kakine. Kakine is an odd character to discuss as
after her initial appearance in the first episode, her character doesn’t appear again until the last few episodes when the final storyline kicks in. Whilst Kakine is undeniably kindhearted by acting as the stereotypical " moral cheerleader" figure during the later storyline, she’s a character who felt the most paradoxical due to how the series approached her character. To explain this further it is important to point out that Pei initially commented during one of his first interactions with Kakine that she was annoying as she was " boring and dull". However during the first episode one of her major problems throughout the storyline of this episode was her inability to truly fit in at work. It seems an evidently nuanced point and whilst it is correct to assume perhaps from Pei’s perspective, Kakine is boring as she isn’t cut from the same cloth, it seemed an odd point not to expand upon Kakine’s own feelings and thoughts after this initial interaction. Whilst it is evident that perhaps the series didn’t have enough time to focus upon Kakine’s expanded feelings during this episode, it felt a wasted opportunity not to have used more the to have explored Kakine’s feelings, her previous struggled as well as her desire to make a good cup of coffee after her initial meeting with Aoyama.

Last but not least is evidently our " major antagonist" of the series. Now without giving too much away about the plot, our antagonist has their own personal reasons for standing in Aoyama’s way as well as their own screen time to explore their moments of humanity also. On the other hand their character introduction and build-up felt rushed and lacklustre . Whilst it is understandable that the series wanted to keep us in the dark for as long as possible about their identity, it felt slightly odd that the series didn’t try to foreshadow their character introduction or at least their presence in the series as opposed to a quick " climatic turn of events". As a consequence whilst the first half of the series thrived with strong plot messages and mystery, the second- half( whilst presenting more revelations) did seem to struggle with conveying the same ambience of charisma and strong screenwriting .

So is ‘ Coffee Ikaga Denshou’ actually worth watching? Whilst the acting front is fairly decent ( sans from a few awkward line deliverances) and the drama offers an interesting array of characters, main lead Aoyama undeniably has his own peculiar charm over audiences to keep them watching. Each episode offers the formulaic tale of a new issue or message during the first-half of the series and a melodramatic plot climax and revelation during the final part. The end result of eight episodes stringing out a lacklustre climatic buildup will undeniably leave viewers with mixed feelings.

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' Scripting Your Destiny'; A ''Copycat'' of ' Goblin', Or A Masterpiece?

Written by novice screenwriter Eun Seon Woo ( with executive producer of the series being Kim Eun Sook who previously created Guardian: The Lonely and Great God) , ' Scripting Your Destiny' accounts the unrequited love story of Deity of Destiny Shin Ho Yoon ( Ki Do Hoon) acting as a matchmaker between the maverick screenwriter Go Chae Kyung ( Jeon So Nee) and the practically impeccable television producer Jung Ba Reum (Kim Woo Suk). However, fate seems to upturn destiny, as Shin Ho Yoon soon finds himself developing taboo feelings for Chae Kyung. Whilst undeniably a bittersweet romance tale with an intriguing plot premise, ' Scripting Your Destiny' does succumb to its own shortcomings from plot development, unoriginality and characterisation over the course of the series.

First of all, it is important to probably address the biggest elephant in the room with the controversial comparisons by watchers of ' Scripting Your Destiny' to the renowned series ' Goblin' ( otherwise known as ' Guardian: The Lonely And Great God'). Respectfully, it is no surprise that both shows share a similar mythical tone due to Kim Eun Sook working behind the scenes, however, both series have notably different premises. The successful TV drama ' Goblin' crafts a vivid narrative with a sixteen episode story-arc, intertwining the destinies and fates of its characters as individuals alongside its main protagonist. On the other hand, ' Scripting Your Destiny' recounts primarily the feelings and events of Ho Yoon and Chae Kyung, with the side characters being used to keep the storyline motivated.

However, it is important to not turn a blind eye towards the evident parallelisms between the series; an urban fantasy setting, similar Korean-mythological deities and cinematography.( Not least the infamous scene copied in ' Scripting Your Destiny' with the usage of '' slow-motion rain'' and the ''tunnel scene'' from its famous predecessor.) Although there are notable similarities shared between the two dramas, it is wrong per say to propose that ' Scripting Your Destiny' is a ''rip-off'' from the well-known drama entirely, however, the lacking originality of certain scenes (whilst arguably ironic) is prominently highlighted within Eun Sook's touch to the series .

On a more positive note, the main cast did help to animate the personae of Eun Seon Woo's story with intrigue for audiences. Ki Do Hoon was fairly good as our mysterious male lead Shin Ho Yoon ( similar to Kim Woo Suk), whilst his costar Jeon So Nee refreshingly helped her character Chae Kyung to break out of the typical mainstream naive, innocent stereotypes of female heroines in fantasy dramas with a down-to-earth personality. Whilst Gal So Won did show evident signs of being of awkward pauses with her delivered performance, she was surprisingly brilliant as her onscreen persona, the immortal deity Sam Shin .
( Parallel to Park Sang Nam's performance as Shin Ho Yoon's mentor Myung.)

In terms of characterisation, the show was a slightly mixed-bag. It is important to take into account that the drama was a ''web-series'' with 10 episodes overall, with a rough duration of 20 minutes per episode. Consequently, the series was limited in itself with being able to tackle the entire life stories of every character, however, poor pacing towards the focal point of the series, often took away from the more intriguing elements of characters being portrayed as individuals, rather than merely plot mechanisms.

The main lead of the series Shin Ho Yoon followed the archetype of the '' otherworld entity''; oblivious to human interaction and emotions by living as the '' landlord'' of the female lead ( an intended pun from its predecessor ' Goblin' with the shared rough translation of '' heavenly being'') and her mother Yang Mi Soon ( So Hee Jung), the owner of a nearby cafe which Ho Yoon has become a regular patron alongside Myung to watch over Chae Kyung. Whilst Ho Yoon arguably was a sentient character through his developed feelings for Chae Kyung, the exposed revelations by the storyline through Myung's actions and Chae Kyung felt lacklustre from a genuine emotional reaction. Similarly, the storyline did expose an initially intriguing aspect towards the creation of the deities and their restricted existence, however, ultimately the greater existence of Ho Yoon left more questions than answers, especially as none of the characters ( including the deities) seemed to wonder if a higher being was involved in Ho Yoon's love story with Chae Kyung ( as well as the notable morality).

As mentioned previously, Chae Kyung was a fairly likeable female lead ( thanks to the portrayal of Jeon So Nee). As a screenwriter in the storyline, it was invigorating to see Chae Kyung realising the meta-fictional dramatic irony of her circumstances ( as well as parodies to mainstream and successful dramas). However, Chae Kyung felt limited as an individual ( similar to Ho Yoon ) within her initial emotional outlooks upon scenarios ( not least the near ending of the series in an attempt to '' write in''an ending with an abridged ambience). In addition to this, the drama seemed to throw away the respectfully intriguing aspects of Chae Kyung's later career and her work on the latest production for the preferred focus of her '' romantic yearning'' for Ho Yoon.

The other side characters of the series did serve their primary purpose over the course of the web-series, however, they did feel severely underdeveloped such as Sam Shin ( who was an intriguing take on the deity, however, her romantic pairing and presence in the drama felt incipient) as well as Ba Reum ( who served little purpose despite being the ''second male lead'' ). Arguably, however, the most half-baked character in the series occurred within the presence of Myung. Despite being an intriguing and light-hearted presence against the more angst-ridden moments of the show, Myung's presence as one of the oldest- shown deities in the series was never truly explored to expose his individuality. In addition to this whilst Myung's friendship and intimacy with Ho Yoon served its definite cause in the storyline, his involvement and lacking surprise against certain involvements with Ho Yoon, seemed to suggest that Myung should have had a more prominent part within the mystery of the story.

The ending of the series was bittersweet; admittedly a little rushed in the grand scheme of the attempted story arch, however,certainly appropriate for its genre.

Consequently, ' Scripting Your Destiny' was a fairly binge- worthy drama with an intriguing premise, a fairly good cast, beautiful cinematography and a bittersweet romance. However, admittedly this series did feel slightly overrated from top comments that it was '' flawless'' ; characters felt adequately-written, the pacing was questionable in parts and whilst the in jokes to other dramas such as producer Eun Sook's hit series ' Goblin' were entertaining for drama viewers, the lacking originality for an otherwise intriguing storyline to its predecessor became predominant.

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Psychopath Diary; Where A Loser Can Mistake Himself For A Psychopath...

It’s fair to say that Psychopath Diary is perhaps one of the few Korean dramas out there which actually dares to tackle a genre not often seen in South-Korea called “ Dark Comedy”. Naturally this isn’t a theme which interests everyone out there, however, Psychopath Diary is outrageously funny and equally morbid within its tackling of our Male lead Yook Dong-Sik ( Yoon Shi Yoon ) believing he is a psychopath over the course of the drama.


When viewers are first introduced to Dong- Sik, he is an unlikely male lead. Although respectfully Shi Yoon has taken on some quite suave roles as the “leading”man in dramas such as Hit The Top and My Cute Guys, his drab outfits and curly perm help him to blend into the role as the “ everyday” and “ meek” office worker by appearing in his role as Yook Dong-Sik.

To put it into simple words, Dong- Sik is the embodiment of a “ scapegoat” and a “ loser” ( at least in the beginning of the series); a “ nuisance” to his colleagues and family ( particularly his austere father), depressed and someone who certainly wouldn’t even say boo to a ghost. Ironically his fate changes when a failed suicide attempt leads to him developing retrograde amnesia in the same sight when a serial killer ( Park Sung hoon) left behind his own diary after a murder around the same time . By being given the diary which is mistakingly believed to “ belong” to Dong- Sik, he is ironically led into believing he is a ruthless psychopath.

As you can imagine, this leads to a series of many misunderstandings and dark humour within scenes from Dong- Sik trying to “ remember” his talents by watching a bunch of serial killer movies ( such as American Psycho) to miserably failing at remembering how to lie out some coverings to cover up blood when he attempts to carry out one of his plans. However, as the series progresses, there’s also an added level of surprising progression around some of our characters in particular with our female lead and Police Officer Shim Bo- Kung ( Jung In- Sun) not as a romantic interest, but an intelligent cop in her own right with quite a heartbreaking revelation about her family life , as well of course , Dong- Sik revealing his intelligence when he begins to pursue a cat and mouse game with our charming killer Seo In- Woo ( Park Sung-Hoo).

Yet there’s no denying that whilst Psychopath Diary was a morbidly enjoyable watch, it isn’t a flawless show. The pacing of episodes in addition to the progression of storyline sometimes felt disjointed and a little dragging in addition to the comedic element ( sometimes pushed a little too far in scenes ). In addition to this the cinematography could have been more progressive and intriguing ( specifically lighting) as well as perhaps some more depth into our brushed antagonist Seo In- Woo and what made him actually tick as well.

On the other hand, Psychopath Diary was an undeniably satirical, witty and a social commentary upon many elements of Korean society ( e.g. work , drama cliches and lifestyle). Although not flawless, it is certainly enjoyable for those who are looking for something with edgy comedy, an intriguing plot and of course characters as well.

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