ParkTaeNaw
Seoul, Korea
Just another makjang out there
Amidst the buzz surrounding this show, touted as the highest-rated TvN series of all time, I couldn't help but wonder what all the fuss was about. Yet, as is often the case, the reality fell far short of the hype. It seems these days that any production flaunting an attractive cast and lavish production values is promptly lauded, regardless of its glaring flaws in storytelling and reliance on tired clichés.
Initially, the premise held promise. Rarely do K-dramas dive into a story with the leads already married. However, the trope of the cold CEO female lead paired with the cheerful male lead has been beaten to death (cue memories of "My Demon"). The acclaim seems to stem largely from praise for the actors, cinematography, and OST, all crucial components of any successful show. But amidst all the glitz, does anyone even care about the story?
No one seemed to bat an eye when Haein miraculously emerged from brain surgery looking as glamorous as ever. Was I supposed to suspend disbelief entirely? And don't get me started on Park Sung Hoon's character, a disappointingly one-dimensional villain devoid of any real depth or nuance. The family dynamics, meanwhile, followed the tired chaebol archetype, culminating in a contrived unity against a common enemy. The lack of character progression and depth in Haein's reconciliation with her mother was glaring.
The writing, helmed by Park Ji-Eun, leaves much to be desired. The pacing is all over the place, with the initial episodes serving little purpose before a rush to shoehorn in crucial plot points towards the end. The shock tactics employed, notably the accident, felt contrived and did little to enhance the narrative. It's as if the showrunners were simply ticking boxes to fill the 16-episode quota.
Despite its shortcomings, I begrudgingly acknowledge the stellar performances of the cast and the visually stunning cinematography. However, these elements alone cannot salvage what is ultimately a hollow and superficial endeavor. If you value your time, steer clear of this overhyped disappointment.
Despite its flaws, QOT does manage to harken back to the standards of makjang dramas and those from 2016. In comparison to the K-dramas released in the past 4 or 5 years, it's passable. While it may not reach the heights of recent hits, it does provide a nostalgic nod to earlier drama conventions.
Initially, the premise held promise. Rarely do K-dramas dive into a story with the leads already married. However, the trope of the cold CEO female lead paired with the cheerful male lead has been beaten to death (cue memories of "My Demon"). The acclaim seems to stem largely from praise for the actors, cinematography, and OST, all crucial components of any successful show. But amidst all the glitz, does anyone even care about the story?
No one seemed to bat an eye when Haein miraculously emerged from brain surgery looking as glamorous as ever. Was I supposed to suspend disbelief entirely? And don't get me started on Park Sung Hoon's character, a disappointingly one-dimensional villain devoid of any real depth or nuance. The family dynamics, meanwhile, followed the tired chaebol archetype, culminating in a contrived unity against a common enemy. The lack of character progression and depth in Haein's reconciliation with her mother was glaring.
The writing, helmed by Park Ji-Eun, leaves much to be desired. The pacing is all over the place, with the initial episodes serving little purpose before a rush to shoehorn in crucial plot points towards the end. The shock tactics employed, notably the accident, felt contrived and did little to enhance the narrative. It's as if the showrunners were simply ticking boxes to fill the 16-episode quota.
Despite its shortcomings, I begrudgingly acknowledge the stellar performances of the cast and the visually stunning cinematography. However, these elements alone cannot salvage what is ultimately a hollow and superficial endeavor. If you value your time, steer clear of this overhyped disappointment.
Despite its flaws, QOT does manage to harken back to the standards of makjang dramas and those from 2016. In comparison to the K-dramas released in the past 4 or 5 years, it's passable. While it may not reach the heights of recent hits, it does provide a nostalgic nod to earlier drama conventions.
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