A Política Coreana & Conexões

Esse foi um drama político muito bom. A cada episódio, era uma guerra de cão e gato entre Dong Ho e Soo Jin; às vezes, ele vencia, e em outras, era ela. Fiquei impactado com a forma como ele decidiu resolver tudo, sacrificando sua vida pela verdade. Como ele mesmo disse, a verdade tem que vencer a mentira, pelo menos uma vez. A relação entre os dois foi autodestrutiva e recheada de rancor e ódio desde o início. Foi interessante ver Dong Ho testando os limites da inescrupulosa ex-militante estudantil que se tornou uma mulher com sede de poder e com a intenção de proteger a própria biografia, seja a dela ou da sua família.

Merecem elogios a atuação da veterana atriz Yeon Suk, como a chefe de gabinete, e, logicamente, os dois protagonistas, que mais uma vez se mostraram acima da média e do comum. O drama tem uma premissa simples e tramas bem emaranhadas e construídas. É incrível como, na Coreia, ter conexões é muitas vezes mais importante do que ter dinheiro.

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BEST WAY TO FINISH...

I don't know the history of the BL in which this drama was based, however, although I criticized in previous posts that the drama should have followed the original story to the letter, now I understand and agree with the means and ends to reach this slightly exciting and simple ending. It would be very uncomfortable to have a middle-aged man have a romance with a teenager, even with the mitigating factor that he was in the body of another teenager.

That being said, it was a very low-budget drama, but it showed a well-written script and a premise built in detail. I found the last episode to be quite slow and lukewarm, but the closure was good, where the one who had the desire to live, will live and the one who was exhausted from this life, will rest. In conclusion, I commend the performance of Yoon Chan Young, an excellent protagonist.

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The stomach of Japanese politics.

The premise of the drama is very good and it is exactly how I think Japan and its politics and society are, where everything is appearance and the true war occurs behind the scenes in a fierce, discreet, and camouflaged way.

As for the performance, Min Tanaka was masterful and managed to convince us that the power of the "owl" lies more in meticulousness than in the imposition of forces. On the other hand, his co-star, Mackenyu, had little screen time throughout the drama, but his performance was quite mediocre. I have said several times that it seems like he feels uncomfortable acting and speaking in Japanese.

Now, we wait for a hypothetical second season. The Japanese have a habit of leaving open endings and simply forgetting about the drama.

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FINAL WORTHY, BUT DULL...

The last episode was out of sync with the others, it was a dull, slow episode with no great depth to the story. I think episodes 9 and 10 could have been combined, the makeup of the old and bedridden Anjin made me laugh, which is a shame because it was the only technical slip-up in this remarkable drama, and it didn't even impact the logical experience of the drama, but I thought it was worth mentioning.

The story, development, and pace were well done and detailed, we had competent art direction that accurately studied Japanese culture at the time. As for the story, I was a little frustrated because I thought we would have the war in the last episode, but instead, we had an excessive amount of dialogue and the closure of some character arcs. I still want to reflect on whether we had an open or semi-open ending because we now know that he managed to return to England and took memories with him, but Toranaga said he would never leave Japan, yet as we observed, he did leave.

The highlight of the acting and deserving of award nominations for best actress goes to Anna Sawai, who played the unforgettable and masterful Mariko.

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IN SEARCH OF THE WONDERFUL WORLD...

I think the best way to praise this drama is to say that it was a competent and well-built drama. None of the episodes were irrelevant or unimportant; all episodes were complementary to each other. In other words, we had an excellent execution here.

The conclusion was very conclusive and without loopholes. My last doubt was regarding the gate video and what an irony of fate, it was the controversial Soo Ho protecting his wife from the certainty that he had closed the gate. I found this explanation excellent and very consistent.

I will praise Cha EunWoo for accepting to play a character completely outside of his comfort zone and I confess that I saw positive acting points in the last episodes. I hope he continues on this path and challenges himself as an actor.

In a final analysis, the drama taught that the WONDERFUL WORLD is built daily and with small achievements. After all, life is not built only of victories and happiness.

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Uchikawa Reo was the biggest highlight.

It's necessary to say that Uchikawa Reo's acting level (Satoru - child) is much, but much higher and better than the performance of his adult version, which isn't exactly hammy, but falls quite short. Uchikawa managed to show us a protective Satoru, someone who seeks to fill others' voids without worrying about his own life and setbacks, someone who from the initial episode dominated the drama from start to finish. It was a pleasure to get to know this actor; it's a shame he hasn't acted for years, but he is fantastic. Also deserving of praise is the actress who played Kayo in the childhood phase, she managed to convey sensitivity in all her scenes and scenic care in her lines, it was another pleasant surprise. From the adult cast, although he had very little screen time, we have to praise the Kenya played by Shirasu Jin who did very well and in his few scenes gave an emotional and sincere tone to his character.

A well-rounded and flawless drama, I liked it a lot. I watched it because of a friend's recommendation and it was a beautiful suggestion.

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A FORGETTABLE DRAMA.

Before anything else, it is necessary to say and repeat a thousand times that Park Ji Hoon is a beast of acting. At just 24 years old, he dominates the scene and has a striking voice when he acts, unlike colleagues of the same age or similar, whose ham acting is totally evident. I only watched this drama because of him. After this brief preface, let's talk about the drama itself. It's very easy to talk about this drama because it has an excellent synopsis, but the execution was terrible, with quite lazy narrative resources, to say the least. The use of the memory loss trope by the protagonist was quite anything, and the screenwriters did not use creativity to create more innovative situations in Korean drama. Another fact that bothered me a lot and was quite exaggerated were the excessive screams and shouts of the protagonist. In episode 14, for example, it was 60 minutes of just him screaming and writhing. The villains were all well below criticism. Personally, I can't see Hwang Hee playing villains. His comic and charismatic character in "Tale of the Nine-Tailed" mentally marked me, but that's just me. What annoyed me the most was that in the initial episodes, the screenwriters treated us to a cunning, intelligent, witty, comic, and fighting Ak Hee. However, to maximise Sajo Hyun's protagonism, they turned Ak Hee into a greedy and childish idiot. Anyway, it's a drama I'll forget after typing this review.

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I WILL NO LONGER FEEL PAIN! NOTHING WILL TURN RED ANYMORE.

I thank MBN for showing that a drama with a modest budget, but with a good script, well-developed and implemented clichés, well-executed plot and direction, can indeed be successful and win over the audience. This drama has demonstrated that it is possible to achieve this feat. The ending of the drama, in my opinion, presents all loose ends properly tied up, with a clear and conclusive conclusion. The explanation for the characters' second chance in life was simple: "God wanted it, and it's all right."

Of course, this drama has become one of my favorites on MDL, being an incredible experience to follow these twelve episodes. I hope MBN produces more dramas with the same atmosphere.

Now that the drama is over, I can say that, in the webtoon, there are three characters who go back to the past (the protagonists and Kim Jae Won). I believe that not including this plot for Kim did not harm the development of the story. If MBN wanted to, they could have extended the plot to 16 to 20 episodes, but it's all right. It's good to end things at their peak, which helps preserve good memories.

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ESQUISITO E INCOMPLETO...

Ontem à noite decidi assistir a esse filme e o começo parece bem promissor, as bases iniciais do filme são bem apresentadas e o enredo se mostra bem interessante e inovador. Afinal, a Coreia do Sul é um dos países que mais se preocupa com a opinião pública e muitas vezes as grandes corporações e pessoas com poder decidem manipular as redes sociais e a mídia para controlar a dita opinião pública.

Entretanto, a reta final do filme nitidamente estava desconexa e confusa, além de que os cortes de edição foram mal feitos e horríveis. Quando finalmente há algum esclarecimento inteligível, nos é apresentado que o garoto era um mitomaníaco narcisista que manipulou um jornalista que já estava em desgraça com o público e a imprensa, motivo? Sei lá, para os roteiristas pouco importava na verdade. Uma pena porque o elenco era muito bom.

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Is innocence synonymous with freedom?

With the imminent premiere of the Netflix drama "Queen of Tears", I decided to watch Kim Soo Hyun's latest drama, which is "One Ordinary Day" from 2021. I confess that I was surprised that Soo Hyun had been on hiatus for almost 3 years and only returned now with the Netflix drama. That said, I deeply regret not having watched this drama when it was released. The technical and scenic quality is of a unique excellence, with everything very well developed. The Korean justice system is once again called into question, and here, as is routine, we see that vanity and ambition are put first in relation to the suffering of others.

They took Hyun Soo's life, and there is no way he can go back to the starting point where his life was abruptly changed. Everything is in the past, and there is no possible reparation. The designation of ex-convict will always be with him, and Korean conservative society will judge him every day, regardless of his innocence. Of course, Hyun Soo was guilty of omission of aid, and his selfishness led him to where we are, but the hell he lived is much more the responsibility of the justice hyenas than anything else.

Finally, Seung Won deserves praise, who plays this lawyer who lives in a state of full dermatitis. I confess that I felt disgusted at first, but as the dermatitis evolved, the case became denser and more complicated. When Hyun Soo was released, the lawyer's dermatitis eased. Kim Sung Gyu, playing Ji Tae, was above criticism. He knew how to be the escape valve for the psychological pressures that Hyun Soo suffered, although in a very twisted way, but he was a protector.

About the ending, I had two feelings: the first that he was going to commit suicide and the second that smoking that last pack of cigarettes would be like saying goodbye to all the hell he lived. I loved this drama so much, impeccable.

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How to be a badass and fucking awesome!

It's always interesting when a drama delivers quality in script, text, and acting, but this spin-off becomes one of those cases that go unnoticed by the public, and for a very prosaic reason: its limited distribution to the South Korean territory. The solution? Well, let's just say that many of us had to resort to "alternative means" to watch. How ironic, isn't it? A production that deserves visibility and yet seems to be content with obscurity.

Among the highlights, it is impossible not to mention Bong Shik, who turned prosecutor Cho Byeong Gun into an envious and delightfully over-the-top caricature. The actor delivered a performance that alone would be worth the episodes. In parallel, Baek SunHo, with his rookie prosecutor, had few scenes but was precise, offering a striking and objective presence. He wasn't the type of character to steal the spotlight, but his energy complemented the plot effectively.

As for the outcome, there is a certain subtlety that suggests a possible continuation. And honestly, why not? If the level of execution remains the same, it would be a pleasure to revisit this universe. Let's just hope that next time, the distribution barriers are smaller. After all, talent like this deserves to be seen — legally, preferably.

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THE DRAMA LIVED UP TO ITS NAME

There’s a bittersweet irony in how a title can so accurately encapsulate the fate of a story. This drama, which started with promises of intensity and twists, ended in a lukewarm sigh, as if exhausted by its own ambitions. It’s impossible to overlook the detail no one seems eager to talk about: the poison that killed Mei Li was given by Jinghe and had a one-year expiry. Yes, he regretted it, sought a cure, and perhaps even redeemed himself in the eyes of many. But the facts remain unchangeable — he killed her, full stop. There’s no softening that truth.

The pacing, on the other hand, completely unraveled after the crown prince’s death. It was as though the plot lost its emotional and narrative anchor. From that point on, every attempt to inject life into the story felt like a tired, sluggish effort, which, unsurprisingly, reflected in the lukewarm reception it received in China. Not even the chemistry between the leads could salvage what quickly turned into an exercise in monotony. It’s a shame because both actors are talented and delivered solid performances — but talent alone doesn’t make for a memorable story.

In the end, it’s the kind of production that fades from memory as easily as it entered. The aesthetics were beautiful, and the beginning held promise, but ultimately, it lacked substance. This is a drama I’m already starting to forget as I write this review.

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O Destino Além de Beili: Aventuras e Mistérios que Persistem

Confesso que comecei a assistir a este drama por acidente. Explico: estava à procura de um drama chinês com um nome parecido e, pensando que era esse, comecei a assistir. E bem, aqui estou após quarenta episódios vistos. Primeiramente, preciso elogiar o ritmo aventureiro da série, onde o romance fútil e fugaz é quase inexistente, talvez até imperceptível. Em segundo lugar, é impressionante como a trama conseguiu sustentar sua qualidade por 40 episódios sem perder o rumo ou se arrastar, tudo foi cuidadosamente conduzido até o ponto em que chegamos.

O final é fechado, mas deixa uma sensação de que a história poderia ter desdobramentos futuros. Afinal, além de Beili, há outros reinos, outros príncipes, e dilemas típicos desse tipo de drama. Como Chong conseguirá se manter como imperador, tendo um irmão mais poderoso e querido do que ele? Esse é apenas um dos conflitos intrigantes. E, claro, todos sabem que Xiao Se possui a lendária espada do imperador. Estou ansioso pela segunda temporada, que já foi confirmada.

Também quero destacar a excelência técnica da produção. A equipe de maquiagem, figurino e cabelo merece todos os elogios, algo que frequentemente me incomoda em dramas coreanos e japoneses, mas aqui foi tratado com excepcional cuidado.

Assisti ao episódio extra e lá há uma surpresa que eu esperava ver apenas na segunda temporada, mas que acabou sendo revelada. Sobre as atuações, destaco o ator que interpretou Lei Wu Jie. Senti falta dele em determinados momentos, não apenas por ser um bom ator, mas também por seu carisma. Quanto ao protagonista, confesso estar dividido. Tenho sentimentos mistos, com críticas e elogios ao seu desempenho, mas isso só aumenta minha curiosidade para a próxima fase da história.

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Branca de Neve vive e viverá!

Foi um drama tecnicamente perfeito e bem estruturado, onde o personagem Go Jeong U enfrenta traições das pessoas que ele mais amava. Tramar contra Jeong e fazê-lo pagar por assassinatos que ele não cometeu revela a inveja, obsessão e egoísmo que norteiam os seres humanos. Assim como no título, "Black Out" simboliza o apagamento da verdade e o caos que envolve a vida de Jeong. Ele é nossa "Branca de Neve", um personagem com uma aura de inocência e bondade, mas que precisa “morrer” – ou seja, ser destruído pelas forças escuras ao seu redor.

A escolha do nome sugere que os ideais de pureza e bondade associados a ele estão ameaçados e devem ser sacrificados. Essa interpretação se alinha perfeitamente com a narrativa, pois ao longo do drama, o protagonista lida com a ameaça contínua de ser derrotado pelas pessoas próximas, mas também pela própria sociedade que o condena. As atuações foram impecáveis, especialmente a de Lee Ga Sub, que interpretou gêmeos com sutileza e autenticidade, sem cair no estereótipo comum de personagens neurodivergentes em dramas coreanos.

No final, onde Jeong lança flores no lago para aqueles que perderam a vida nessa tragédia, vemos uma simbologia poderosa de redenção e aceitação. Assim como “Branca de Neve” em seu conto, Go Jeong U parece buscar um encerramento, mas de maneira muito mais trágica e sombria. Ele é uma figura que, mesmo em meio ao caos e destruição, escolhe simbolizar um tributo silencioso e precioso.

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VISUAL AMBITION AND A DISJOINTED SCRIPT: WHEN BEAUTY CAN'T SAVE THE CHAOS.

The ambiguity of this drama reflects a production that feels as though the writers weren't in sync. While the past is carefully crafted with well-written dialogues and stellar performances, the present stumbles in quality, offering a script that borders on mediocre and a storyline so absurd that even the most imaginative mind would struggle to accept it.

Nonetheless, the high level of investment is evident, with the beautiful cinematography standing out as one of the drama’s most redeeming qualities, enhancing its aesthetic appeal.

As for the performances, they truly shine. Go MinSi delivers an outstanding, award-worthy performance, and Park Chan Yeol complements the cast with his precise and solid acting. Together, they manage to elevate the overall production, even amid the script's inconsistencies.

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