The Beauty Of ‘Extraordinary Attorney Woo’…

“My name is Woo Young-woo, as in flower and luck. It means a lucky charm as pretty as flowers. But perhaps Young-woo as in clever and foolish would’ve been a better fit. Woo Young-woo, who remembers every single book she’s read since birth but can’t even go through a revolving door. Clever and foolish Woo Young-woo.” - Woo Young Woo ( Park Eun Bin).

Legal romance drama ‘ Extraordinary Attorney Woo’ attempted to make some big steps in the world of procedural dramas with a positive representation of autism and some complicated legal cases. However while the sixteen-episode series certainly soared far and high with its subject, plot and acting performances, it certainly had a few issues along the way also.

Extraordinary Attorney Woo’ is mainly focused upon upcoming law attorney Woo Young-woo (Park Eun-bin- ‘ Operation Proposal’, ‘ Do You Like Brahms?’ and ‘ The King’s Affection’) at Hanbada Law Firm. An intelligent and top-achieving law graduate from Seoul National University, Young Woo finds it hard to navigate her way through social and emotional situations due to being on the autism spectrum. Struggling with earning respect from those in the law profession as well as clients, Young Woo’s journey to make it to the top is far from easy or straightforward. However, with the surprising support and camaraderie of fellow coworker and young lawyer Lee Joon Ho ( Kang Tae-oh- ‘ My First First Love’, ‘ Doom At Your Service’ and ‘ Run On), Young-Woo is determined to continue persevering and to overcome social prejudices.

Probably best known for ‘ Innocent Witness’, screenwriter Moon Ji Won is likely not a familiar name for many K-drama watchers. Nevertheless, there is a lot to talk about when it comes to Ji Won’s writing decisions as well as subject matters. At heart, ‘ Extraordinary Attorney Woo’ is a fairly lighthearted watch. Of course, this isn’t to say the series isn’t afraid to delve into some deeper issues. (Screenwriter Ji Won was fairly open about addressing topics such as stigmatisation, assault and crime to name just a few.) However , it is important to acknowledge that ‘ Extraordinary Attorney Woo’ doesn’t expect or require viewers to have in-depth knowledge about everything addressed. Instead, ‘ Extraordinary Attorney Woo’ is a procedural drama with a big heart and attempted to remain fairly accessible to a wide audience .

It is infectiously feel good ( if not a little tiresomely at times),comical as well as surprisingly touching with its open address of real-life issues.Nevertheless, the show does admittedly run into trouble in a few moments with accurate depiction and has divided some viewers over its “factual” representation. ( Especially with regards to the portrayal of autism throughout the course of the series.)

Delving into ‘ Extraordinary Attorney Woo’ would not be complete without talking about the title namesake and main female lead, Woo Young-Woo. Played brilliantly by actress Park Eun Bin, Woo Young-Woo is a character who could’ve easily gone of one of two ways. Young-Woo is shown to be a quirky individual. She has a complete obsession and fascination with aquatic mammals ( especially whales) and has a meticulous routine with the order of things in her bedroom, as well as partaking in eating her father Woo Gwang-ho (Jeon Bae-su)’s carefully prepared kimbap on a fairly daily basis. However as the plot premise would suggest with Young Woo’s new profession, one of the female lead’s major growth points comes through having to acknowledge that real-life can rarely be so structured.

The motif of whales in the opening and ending credits, their symbolism on objects as well as passing dialogue at times by Young-Woo can often be said to wonderfully coincide with Young Woo’s character growth and journey. ( Whales are symbols of extraordinariness, strength as well as change; traits that perfectly epitomised Young-Woo’s personal journey .)

Additionally, there were moments in ‘ Extraordinary Young Woo’ which could feel a little frustrating with little frustrating to see Young Woo having taken one step forwards and one step back at times. Although in retrospect, it did help to add a touch of realism to Young Woo’s personal struggles. ( One of the most heart-wrenching moments of the series occurred when Ji-Woo openly spoke out about social stigmas held against those with autism; “ Even now, hundreds of people click the like button on a comment that says, ‘It is a national loss if a medical student dies, and an autistic person lives.’ That is the weight of this disability that we bear.” ) As mentioned previously, her autism is admittedly a topic of debate for a lot of viewers with regards to its accuracy but regardless of opinion, it seemed as though Moon Ji Won’s depiction of an autistic and successful female lead was well-intentioned.

Then of course there’s the discussion surrounding her surprising ally and coworker Lee Joon Ho, played fairly consistently by actor Kang Tae Oh. Lee Joon Ho is what many viewers would define as the “ nice guy” archetype; sweet and a good person to have in the female lead’s corner as well as a potential love interest for the writing of the show but a little staid at times also.Of course, this is certainly not a bad writing decision per say. He was fairly supportive, kindhearted, had his own struggles at times as well as remaining non-judgemental when it came to first meeting Young Woo and learning of her autism, instead valuing personhood rather than her disability. ( “I want to be on the same side as you, Attorney Woo. I want an attorney like you to be on my side.”)

However considering Joon Ho’s relevance in the storyline as well as the focus on empathy throughout the series , it felt odd that the narrative didn’t delve slightly deeper into some of these writing traits. Aside from that, his potential romantic relationship with Young Woo was admittedly a subject of debate for a lot of viewers. Although some saw this as a positive and healthy relationship as well as a good message put across for autistic characters to have love interests, others have noted that the potential relationship seemed a little enforced and took away somewhat from the initial camaraderie between the main leads.

In addition to the main leads, ‘ Extraordinary Attorney Woo’ boasts an eclectic group of side characters also. Woo Gwang-ho, played by Jeon Bae-su, was a surprisingly heartwarming side character as Young Woo’s single father, senior attorney at Hanbada, Jung Myung-seok ( Kang Ki Young) was Young Woo’s stern boss and mentor, Choi Su-yeon ( Ha Yoon-kyung), played the role as the female lead’s coworker and her former classmate at law school, Han Seon-young ( Baek Ji Won) was the CEO of Hanbada law firm and her father’s old friend from university, Kwon Min-soo ( Joo Jong-hyuk), Young Woo’s peer at work, and Dong Geu-ra-mi ( Joo Hyun-young), Woo Young’s close friend and associate.

The narrative of the series unsurprisingly takes an episodic format; a situation or dilemma case is presented to the characters and the audience, Young Woo’s approach or reaction to a situation is often seen as unconventional or comes under scrutiny by those around her, Young Woo is forced to work hard to prove her approach is okay, and then she is forced to confront or resolve the issue or dilemma of the episode, often resulting in a bittersweet outcome or a surprising turn of events.

Perhaps the one problem with the narrative structure came through feeling a little predictable and repetitive at times. Early episodes rarely fell into this trap but later episodes did noticeably begin to heavily rely on niche tropes which while having the possibility to be intriguing in the frame of ‘ Extraordinary Attorney Woo’, were often slightly niche. ( Cliches such as the “ traumatic backstory”, an “ envious antagonist” and the “ enemies to lovers” being noticeable in particular.)

Stylistically under the directing reigns of Yoo In Shik, ‘ Extraordinary Attorney Woo’ was a fairly slick and glossy production. The palette scheme was multifaceted; ranging and varying from scene to scene and heavily dependent on changing mood, tone and atmosphere. Although this was a fairly standard approach, it certainly did often help to animate scenes to life for viewers. (Standout examples include the ever-changing neutrals of the law firm feeling warm or harsh, the friendly and comforting tones of Young Woo’s family home and the use of rain, sunshine or nighttime background to reflect the feelings and emotions of the characters.)

The comprised OST for ‘ Extraordinary Attorney Woo’ was typically upbeat and lighthearted. A few of these tracks often bordered on being overly chirpy while others were bittersweet and serenading. Admittedly there were a few songs throughout the sounds track which did feel a little indistinguishable from one another but this was also dependent on personal taste. However, there were some songs such as Beyond My Dreams" (상상) by Sunwoojunga and “Tuning In To You" (기울이면) by Wonstein which did stand out.

‘ My Extraordinary Attorney Woo’ is a procedural series filled to the brim with heartfelt moments and empathy. Naturally the series did have its ups and downs ( especially in the latter part of the drama), but the main cast were fairly consistent throughout with their onscreen acting . (Especially actress Park Eun Bin). Overall, a fairly good watch though a little rough around the edges.

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Korea has always loved glorifying and immortalising into “ period dramas” from their gold age of history ( now commonly known as the “ Joseon Period” - 1392-1897). With more than six centuries of historical monarchal reigns, wars and rebellions, it is notable that South-Korean screenwriters again and again love to retell these events to viewers with expensive sets, hanboks ( traditional Korean dress) and idyllic scenery from a bygone age .

Whilst Joseon period drama have attempted to tackle crossovers of popular genres such as romance and action before with different results ( either for better or for worse), the more surreal take of horror/ fantasy in Joseon period dramas ( notably Scholar Who Walks The Night, Arang And The Magistrate and in flashbacks from the hit series Goblin), have very rarely depicted levels with historical realism or a grounded depiction ( I.e. in terms of cleanliness, monarchs or violence) of actual life during this period.

Screenwriter Kim Eun Hee ( Ghost, Signal) and director Kim Sung Hoon ( Tunnel-2016, Kidnapped- TBC) were paramount from the get-go to revolutionise this in their horror -period drama Kingdom . This creates a surprisingly brilliant fusion between the surrealism of violent zombies into a political and social critique of the bloodthirsty and ruthless Joseon period and hierarchy .( Although labelled as a “ zombie show”, realistically , the word “ zombie” isn’t used once by any of the characters, due to the concept itself coming from Haitian folklore and not even entering the English language until the 1800s.)

Set in the 1500s , Kingdom revolves around the estranged and traitorous Prince Lee Chang ( Ju Ji Hoon) , whose fate as the successor to the throne looks grim with the recent announcement of his stepmother and the young Queen Cho ( Kim Hye Joon) ‘s pregnancy. Chang, however, becomes suspicious when his father is suddenly ailing from a mysterious illness which nobody will elaborate about outside of the palace. After stumbling upon the truth that his father is a flesh -eating creature, he travels to the South in search of questions with his trusted guardsman Moo Young ( Kim Sang Ho). Naturally, however, they are not the first to stumble upon this truth as assistant physical Seo Bi ( Bae Doo Na) and the mysterious Young Shin ( Kim Sun Gyu) also come across this startling discovery, which will truly test alliances and friendships as a political bloodbath simultaneously corrupts even the heart of Hanyang ( now present- day Seoul)...

It is undeniable that the “ violent zombie” cliche isn’t anything new , nor exciting to television programmes . On the other hand, Kingdom’s strength lies in its focal point ( unlike many zombie programmes) not being on the undead, but the complexity and intricacy of humans.

From Lee Chang’s strong sense of morality towards his allies ( of all classes), Cho Beom-pal ( Jeon Seok- ho)’s gradual transition from one of the selfish members of the ruling-class to someone with a good heart , and the Queen’s ulterior motives against her father’s knowledge , it is notable that the majority of the characters in the show are fairly three-dimensional. Arguably, antagonist Cho Hak-Ju ( Ryu Seung Ryong) can often be written off as your typical moustache-twirling villain, however, there is still a notable level of depth to his character- a bereaving father who has lost his son and is out for revenge against Lee Chang , desperate to protect his family’s lineage and has many more secrets than first meet the eye.

Undeniably, the pacing of the show can be a little slow in the beginning, however, once the events of the show kick off, it is fair to say that time flies out of the window when watching Kingdom- the plot is engaging, the historical elements are surprisingly realistic, the characters are actually intriguing and the horror premises ( zombies, cannibalism and bloodshed etc.) are certainly not for the faint-hearted. Nevertheless, perhaps the one thing which should honestly be said about the show is that whilst the acting certainly wasn’t unwatchable and the actors undeniably had their moments of genuinely good performances , some acting in the show was often a little wooden and lacklustre.

Overall whilst Kingdom was undeniably slightly flawed by quality of acting and pacing at times, it was certainly a good show with an intriguing balance between history and horror as well as a deeper conceit towards a social critique contemporary of Korean society. Certainly worth a watch, if you’re looking for something to invest time and effort towards.

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The ‘ Melancholia’ Of Slow-Pacing…

Announcing ‘ Melancholia’ as " completely different" from his other works, rom-com director Kim Sang Hyub ( ‘ True Beauty’, ‘ Extraordinary You’, ‘ 7th Grade Civil Servant’) and screenwriter Kim Ji Woon (‘ Doctor John’, ‘ Hyde, Jekyll, Me’) collaborated project seemed to indicate a drama-narrative that would focus on mature and darker subject areas. However the mixed-reception amongst the audience towards the delivered result of ‘ Melancholia’ is admittedly understandable due to the drama’s delivered narrative and pacing.

The storyline is nearly concisely divided into a dual-narrative between the past and the present. The events of the past (2017) foregrounded some necessary backstory into the lives of optimistic and resilient mathematics teacher Ji Yoon Soo( Im Soo Jung) and stoic MIT dropout and prodigy Baek Seung Yoo( Lee Do Hyun). By following the events surrounding the false scandal setup by their school, viewers learn how “ melancholia” has now torn about their lives after a four-year time skip. The duo meet up again now with a rekindled objective to expose and bring down the corrupt system of the school once and for all.

Rom-com director Kim Sang Hyub ( ‘ True Beauty’, ‘ Extraordinary You’, ‘ 7th Grade Civil Servant’) is notoriously renowned in the industry (and even amongst fans) for his heavy reliance upon overused and generic soap-opera tropes . Therefore it should come as a surprise for those familiar with his past projects when Hyub announced his venture into ‘ Melancholia’ alongside his collaboration with screenwriter Kim Ji Woon (‘ Doctor John’, ‘ Hyde, Jekyll, Me’) as " completely different" from anything he had done before , there was certainly promising potential.

‘ Melancholia’ arguably delivered a presentation to viewers with Hyub clearly being out of his comfort zone . The drama maintained a lighter edge at times but clearly offered “ darker” explorations into realistic subject areas than some of Hyub’s previous projects. Naturally this presented many opportunities for ‘ Melancholia’ to tackle some realistic sociological themes from corruption by the rich, social hierarchies, the academic ranking-system in South-Korean education, peer pressure, bullying and public-shaming. ( To name just a few. )Yet it’s hard to deny that ‘ Melancholia’’s conveyed messages could sometimes be a difficult challenge for audiences to truly digest by the illusive and vivid palettes and schemes through cinematography often feeling like a presented decoy for audiences .

Of course uncertainty by directors unfamiliar to genres against time limits and deadlines given to them by the studios and production companies is to be expected with evident problems and flaws along the way. It was evident to see Hyub’s willingness throughout the drama to attempt something different. However in addition to Kim Ji Woon’s uncertainty towards interweaving genres with subtlety, ‘ Melancholia’ could often seem like the outcome of a balancing against vision and deliverance ;different genres crammed into a short duration length led to an evident and arising conflict between messages and pacing as episodes progressed.

The characters of the series were admittedly an intriguing range of individuals with a lot of potential to be more than meets the eye. Ji Yoon Soo and Seung Yoo had their own personal backstories and issues, whilst even the antagonistic forces of the series were far from being shoehorned into mere “ nefarious villainy” either. On the other hand Ji Yoon and Seung Yoo did have two notable flaws ( like many notable characters) in the series; they lacked deep-drive.

It’s important to establish that Ji Yoon and Seung Yoo’s own personal drives against plot-shaken drive are two different things. The two main leads certainly were useful assets to the storyline and helped to be “ subverted” by their experiences . However multilayered psyches which seeming intriguing characters were supposed to possessed were constantly submerged beneath the surface-lingering faintly, but rarely giving opportunities to breathing fresh air into shoehorned archetypes either.

Perhaps one of the few arguable exceptions to this fallacy was Noh Jung Ah( Jin Kyung); the antagonistic driving force of the series as the head director of Aseong High School who had some surprising moments of layered complexity against her role . Nevertheless Jung Ah was far from being flawlessly executed and many characters in the series seemed to suffer a similar fate.

The other quintessential point to note with consideration to ‘ Melancholia’ is that it isn’t a pining tale of love and woe. Whilst there are certainly elements of slow burn and gradual relationship development between Yoon Soo and Seung Yoo, their relationship is fairly platonic (for the most part) as they bond initially over their shared-goal and passion for mathematics. This naturally doesn’t diverge from watching the characters’ relationship grow but it admittedly does present focus ( romantic or not) upon the issue of healing. At times plot-drive did present focus upon this “ issue”. However there were few opportunities for both main leads to truly learn and develop from their experiences in a symbiotic manner; a process which is often key towards relationship developments ( platonic or romantic) in life and writing.

Sadly the main leads were not the only characters to suffer from the fate of writing. Side character Sung Ye Rin ( Woo Da Vi) had the potential to be one of the most intriguing characters of the series after her initial introduction and setup through her own personal fear of failure and disappointment. Nevertheless Ye Rin was rarely given her moments to be presented than anything more than a plot device; necessary to keep the storyline moving but rarely having her moments to shine in the series.

Of course it’s wrong to entirely critique ‘ Melancholia’ and pound the drama into the ground as " inadequate". For the most part the main cast were brilliant and aside from a few awkward line deliverances, powered through heavy dialogue and dragged-out scenes with ease. Actress Im Soo Jung was undeniably the perfect choice for Ji Yoon Soo, whilst costars Lee Do Hyun and Jin Kyung offered moments of dynamic charm and suaveness to important characters who viewers could’ve easily become disengaged with. The pacing arguably remained one of the drama’s greatest downfalls. Whilst the first-hand offered viewers with a slow but gradual revelations, the second-half began to cataclysmically descend into a dragged-out finale which whilst attempting to keep viewers on edge with "shocking" plot twists rarely carried through with an ending that whilst complete and pleasing, lacked greater impact.

Yet for a series which pledged itself as an ode and effectively a " love story" to a greatly complex subject such as mathematics being more than just numerical figures but a passion and tool for uncovering new depths, ‘ Melancholia’ could often find itself barren from passionate flare. Filming techniques used by Hyub were clean and slick but lacked a experimentation. Potentially vivid scenes which could’ve indicated more about the characters’ personalities and ideologies through the palettes used as well as how the world of mathematics is seen by our main protagonists was rarely brought to life onscreen.( Even the OST was a mere device for transcending certain emotions through vocals and instrumentals in scenes and endings when necessary but often could lack a lingering presence in the minds of viewers afterwards. )

Kim Sang Hyub’s ‘ Melancholia’ had an intriguing premise and certainly an impressive lineup. Nevertheless it was clear even to audiences that the drama marked uncharted territory into genres and styles not explored by director and screenwriter before. Whilst this did give opportunities for both Joon and Hyub to explore and play around with new forms and tones, it could often deliver a detrimental impact upon writing and pacing. Perhaps if the series had condensed its overstretched storyline into a shorter episode duration length or even given more golden opportunities to experimenting with styles, depth and character-writing, ‘ Melancholia’ could’ve escaped its mediocrity into an impressionable viewing experience for audiences.

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The Woe And Joys Of Adolescence …

Teen and high school storylines are not an unfamiliar subject in South-Korean popular culture , with myriads of teen films, productions and dramas being churned out every year en masse in South-Korea. However whilst many South-Korean film and drama enthusiasts find themselves drawn again and again to these setups , the typical depiction of “squeaky clean” high school life has left many enthusiasts torn about whether South-Korean directors and producers should try to push the boat out towards a more “ realistic” presentation of teens.

‘ Adult Trainee’ can be found somewhere between daring and eye-brow raising - belonging in one of the notably categories of South-Korean “ teen productions” which attempts to market itself at an older age demographic as well as being “ raw and truthful”.

This is certainly reflected within casting choices of rookie and lesser-known actors as our main lineup . However whilst this does create certain benefits for the storyline by respectfully a more mundane presence of the characters onscreen ( aside from the initially controversial casting decision of Miyeon), certain line deliverances and scenes admittedly could differ within quality and performance. Of course this isn’t to critique the cast or bring down their talents as actors. However it is crucial to point out to those expecting impeccable performances that you may be slightly disappointed by the final result.

The storyline itself is composed of three storylines ( and evidently three “main couples” ). Rising rookie actor Ryu Eui Hyun is the notable main character of the first few episodes as Seo Jae Min; a high-school boy addicted to sexual gratification and attempts abstinence in order to focus upon spending more time with his crush. Yet before we could even delve more into the highs and lows of Jae Min’s tale we are suddenly whisked away to another school and experience through notably conservative high schooler Yu Ra ( Jo Yoo Jung)’s exploration of casual relationships with a boy, as well as our final story through the problem of single high - schooler Na Eun( Kwon Young Eun)’s first experiences of love and feeling self-conscious about her body.

The seven-episode miniseries wasted no time within diving into each storyline and their problems, yet with a short time to cover these plot points and characters, it should come as no surprise that these executed plot points and characters could often feel incomplete.

Admittedly‘ Adult Trainee’ does interweave the subtext with some more “risky” issues of teen relationships. However it often felt as though the show wasn’t entirely sure which direction to go with these messages at times with more serious scenarios often being “ fixed” by feelings, romantic relationships or love, rather than taking the screen-time to focus upon character-building or growth.

In the miniseries we rarely saw these opportunities to understand more about our main characters’ social and emotional interactions.

Admittedly‘ Adult Trainee’ does interweave the subtext with some more “risky” issues of teen relationships. However whilst these “ problems” did touch upon some realistic issues for teens and helped to motivate plot-angst , ‘ Adult Trainee’ rarely took time to diverge from problems defining the characters. More realistic teen issues such as relationships with friends or family, likes, dislikes and searching for personal identity were rarely touched upon and even our main characters often felt shoehorned into particular tropes such as the “ infatuated teenage boy”, the “ goody-two shoes high-schooler” and the “ bullied girl” rather than well-defined or subversive approaches to the cliche archetypes.

In between the more “heavy” topics in ‘ Adult Trainee’, the miniseries does interweave the plot with notably more comical scenes. The comedy is fairly lighthearted- enough to generate perhaps a chuckle for audiences and necessary to take the weight entirely off certain issues , but admittedly variable in quality from scenes and context.

The ending of the series acted as a deadlock for ‘ Adult Trainee’ - enough to just briefly finish off some plot points of the final storyline, but admittedly lacking in an over-arching sense of fulfilment and satisfactory completion for audiences.

So this leaves the ultimate question; is ‘ Adult Trainee’ actually worth watching? ‘ Adult Trainee’ is a short miniseries which attempts to present itself as a more “ realistic” depiction of teenagers. ( Alongside comical scenes which may differ for audiences dependent on personal tastes.)Acting performances admittedly did vary from certain episodes and scenes but a possibly unfamiliar cast lineup for audiences will likely give the series some fresh appeal. The more “ daring” messages of the series whilst addressed, admittedly did feel slightly downgraded and lacked an impactful punch. As a consequence whilst the split narrative of the series for different episodes spiced up the storyline, characters often fell flat due to little time for audiences to digest their personalities and growth onscreen by instead often being shoehorned into romantic setups.

Overall ‘ Adult Trainee’ was the epitome of a “ binge-watch” drama to watch when you have nothing else to do; not unwatchable and certainly entertaining within its different plots, setups and heartwarming messages , but admittedly lacking in more subtle character growth, plot buildup and diverse as well as more relatable and realistic issues for teens.

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Does ‘Police Academy’ Need To Be Interrogated In Room 101?…

‘ Police Academy’ is a fairly lighthearted approach to the “detective and crime” genre- sweet and surprisingly heartfelt in parts, comical in other scenes and undeniably with more irritating flaws also . So this leaves the ultimate question; is ‘ Police Academy’ worth watching?

The acting front is solid enough here. There are a few slip-ups when long dialogue pauses or line deliverances felt a little mismatched against foregrounded scenes, but Jung Jin Young certainly exceeded expectations as main lead Sun Ho. The idol actor added a level of angsty-sweetness to his onscreen persona .

Sun Ho was a subverted example of the “ main lead with a tragic past”. He didn’t follow the stereotypical routes taken in fiction of being jaded, arrogant or the “ apathetic prodigy” but a fairly normal and confused teen. There were some surprisingly touching scenes ( never to be explored or seen again ) with surrogate father figure Yoon Taek II ( Oh Man Seok) as well as his fraternal-style relationship with best friend Yoon Seung Bum( Choi Woo Sung) helped to foreground some functionality within Sun Ho’s everyday life. However for our main character to befriend fairly positive influences such as Seung Beum and deal with a pretty austere paternal figure such as Yoon Taek this ultimately begs the question; “Why and how did Sun Ho learn to hack and get involved with the authorities ? “ There’s the argument by some viewers that " it is a take your brain out comedy" and “ Sun Ho did so because he was bored”", however, the show never really tied this major point concisely. Perhaps it wouldn’t be too bad if the drama hadn’t carried this over more as an important role in later episodes with sporadic and partially-inaccurate terminology and tech setups , only adding to the confusion as to Sun Ho’s involvement in this world .

This then leads us to talking about his “reasons” for training to become a police officer . A character doesn’t always necessarily have to go down the “ vengeance backstory” route, but it was an odd move that the drama didn’t interlink or at least explore more about Sun Ho’s backstory, his parents as well as some sense of relief and poetic justice for Sun Ho’s goal to become an officer . Aside from the prosaic reasoning in the show that “ the girl I like is pretty and can fight , I want to have a goal and follow her too.”

On this subject there’s evidently also the problem revolving around Kang Hee. Idol actress Krystal isn’t too bad here. This is admittedly not one of her most captivating performances, but not unwatchable either. Our female lead Kang Hee is a bit of a mixed-bag. Despite being Sun Ho’s "dream girl", Kang Hee does have a more evident character drive than Sun Ho in parts. Her mother is far from being a good citizen and Kang Hee has often put academic pressure on herself to succeed in order stray away from being labelled as her “mother’s daughter”. ( A relationship which was given a patchwork happy redemption arc later on without a lot of explanation)However here’s where we hit a major rut with Kang Hee; she isn’t a likeable character.

Of course we are supposed to like her in theory . She’s intelligent, a talented fighter and witty. However the problem with the female lead is that whilst she does have a ‘’complicated ‘’ past which helps to explain some of her motives, she never seems to learn to grow, accept or develop. Perhaps it wouldn’t be too bad if the show pointed this out or made Kang Hee mature by accepting her own mistakes or begrudgingly understanding the errors of her ways, but sadly Kang Hee rarely escaped her one-dimensional character depth throughout the drama.

Then there’s the potential ‘’ onscreen relationship’’ between Kang Hee and Sun Ho. The setup itself is simple enough; Kang Hee is Sun Ho’s crush and his raison d’être. The female lead has rarely noticed Sun Ho up until the storyline of the series, but this soon changes when events begin to unfold. It’s a straightforward enough concept and whilst Krystal and Jin Young’s onscreen chemistry was decent enough, the relationship often hit a rut due to a lack of definitive development as well as hitting an anticlimactic conclusion.

Meanwhile away from the problematic romance factor of the drama there’s then the topic to discuss about Yoo Dong Man ( Cha Tae Hyun) also. Aside from serious questions being raised about how Dong Man wasn’t picked up by any of his colleagues for his initial attitude to Sun Ho, Dong Man is your typical seemingly “ gruff and arrogant cop with a heart of gold”. It was evident that the drama would go down the route of exploring Dong Man’s gradual buddy friendship with the male lead and it was undeniably sweet. On the other hand there was lot left in the air about exploring more complicated depth with Dong Man’s character; his past, rivalry, rookie days and his own complicated feelings when the antagonist is revealed in their midst was often left as unexplored territory.

The antagonist(s) and “climatic tension” of the drama were fairly predictable- not bad per say, but simply existing for the sake of “ plot drive” rather than being given depth or more prominence. As a consequence the ending was quite anticlimactic. Sweet and on a happier note than possibly viewers were anticipating but nonetheless cliche and slightly disappointing.

Whilst ‘ Police Academy’ did offer some enjoyment through its impressive cast lineup and style, the drama’s ability to tackle character writing, depth and plot tension and climatic build seemed sporadically thrown together and lacklustre often resulting in anti climatic solutions or endings . Overall ‘ Police Academy’ was mediocrity at its best- okay if you’re watching just out of boredom and not bothered about writing during a binge-watching session but those looking for a drama with an enjoyable police buddy element and depth may want to look elsewhere.

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Is It A ‘Bad And Crazy’ Decision To Watch This Drama?

Crime and action dramas can often a tricky to tackle for screenwriters. Nevertheless screenwriter Kim Sae Bom ( ‘ Uncanny Counter’) and director Yoo Seon Dong ( ‘Uncanny Counter’, ‘ Vampire Prosecutor 2’ ) are able to turn a passé “ buddy cop” premise into an adrenal-kicking ride with Lee Dong Wook and Wi Ha Joon taking front seats.

The storyline focuses upon the titled ‘ Bad’ guy of the series Detective Su-yeol (Lee Dong-wook). Su-Yeol’s original passion and drive to deliver justice has been lost over the years as a consequence of trying to climb up the social ladder. However Su-Yeol is soon hit with some home-truths when he is incessantly haunted by the ‘ Crazy’ and self-proclaimed helmet-wielding " hero" K ( Wi Ha Joon). As the main lead begins to struggle with battling against the mysterious hero fanatic in his daily life, he soon becomes involved in uncovering a greater web of lies and corruption at the heart of justice. Reluctantly he enlists the help of quirky hero K, his ex-girlfriend and witty detective Lee Hee Kyum ( Han Ji Eun) as well as good-natured rookie cop Oh Kyung Tae ( N) in order to bring down a greater threat from the shadows.

It should be clarified that the initial plot setup of “ corrupt cop becomes good again” isn’t an inherently new or exciting concept to K-dramas. Nevertheless, Kim Sae Bom was willing to add a retro flare to the narrative through the action escapades of K and Su-Yeol facing against bumbling and brutish thugs, convicts and adversaries in weekly episodes.

There’s a fairly comical undertone during many early exchanges between K and Su-Yeol ( without spoilers). Lee Dong Wook and Wi Ha Joon’s onscreen bromance chemistry could admittedly come off as slightly strained under the weight of loose threads in the plot at times, but the jovial bickering between their onscreen counterparts will certainly generate a chuckle or two for audiences. However despite the drama’s coverage of some lighthearted comedy sequences and interactions , Kim Sae Bom was not afraid to delve into darker subject areas also.

Naturally this brings up the discussion of the cast lineup. Venerable actor Kim Dong Wook starred as one of the main star-attractions of the production as Su-Yeol. The veteran actor admittedly did feel slightly typecast to the role of the “stoic and mysterious” archetype once more. However whilst goofy initial charm seemed to define Dong Wook’s character, later complexity surrounding Su-Yeol, truly gave his onscreen persona a definitive edge .

Yet whilst later episodes did present some heartfelt moments to explore vulnerability within the tougher character-build of Su-Yeol, the main lead’s earlier interactions with his family rarely foreshadowed or hinted a buildup towards Su-Yeol’s feelings. Of course , it is important to establish that although screenwriter Sae Bom did slowly develop Su-Yeol from the outset, it could often feel as though elements of his character were rarely fleshed-out with more depth .

Then of course there’s the discussion surrounding “ K”. Played with a daring boyish charm by Wi Ha Joon, “ K” acts as the second mysterious main lead of the series.


Without definitive plot spoilers, it is important for viewers to note that “ K” seemingly embodies everything that Su-Yeol strives not to be ; anarchic, comical, unpredictable and possessing a great hero complex also. Understandably “ K”’s greatest character-drive comes through his developed bond with Su-Yeol. Yet whilst comical ( and often fractious ) interactions between the main leads could be entertaining and sometimes complicated , it often felt as though “K” was rarely given a more serious presence in the storyline . ( Until later events when Kim Sae Bom deemed his character as a necessary plot-device; mysterious but often being used merely to expedite plot.)

Costarring alongside the two main leads was Han Ji Eun as female lead and love interest Lee Hee Kyum. Hee Kyum is an intriguing character with her own reasons and problems and especially due to her “ complicated” relationship with her ex and main male lead Su-Yeol. ( Especially with consideration to her somewhat acrimonious and unexplained breakup.)

On the other hand, whilst Hee Kyum was a necessary asset for the events of the narrative , there was a notable flaw at times with the main female lead; she lacked a definitive edge. Arguably it is noteworthy that Hee-Kyum is fairly resilient in the face of adversity and is quick to stand her ground also. Yet sadly Hee-Kyum rarely had opportunities to be explored outside of necessary plot-line . It was fairly sweet and engaging to witness the unfolding and potentially rekindled flame between the former-lovers onscreen. However, there were many notable aspects of Hee-Kyum’s intriguing backstory ( mentioned only several times as passing references), dreams, familial relationships and reasons for becoming a detective which were often left disregarded throughout the narrative .

Admittedly Lee Hee Kyum wasn’t the only victim of absent character backstory . Second male lead Oh Kyung Tae, a necessary character from the beginning, is dismissed through a “ necessary plot point” from being actively involved in the series. Whist this was arguably crucial to allow the events to unfold, Kim Sae Bom rarely measured opportunities through screen time to “ get to know” a key player in the drama; he’s altruistic, clever and observant but that’s also the problem. Oh Kyung Tae never truly felt as though he was a realistically flawed character.

Other side characters of the storyline included detective Yang Jae-Sun( Cha Si-Won)- Su-Yeol’s loyal work colleague and slight sycophant , shady but knowledgable psychiatrist Yum Geun-Soo( Choi Kwang Je) and the mysterious and unnerving professional psychiatrist Shin Joo-Hyuk( Jung Sung-Il). Whilst these side characters played important roles in various parts of the drama, predictability soon arose ( in parts) for the roles due to the evident writing-setups for these characters .

On this note it is important to bring up the nature of the opposing forces of the narrative. Admittedly ‘ Bad And Crazy’ never truly established an “ overarching” antagonist per say until later events of the storyline . Whilst the series did gradually veer towards having a final “ threat” during end events, the storyline instead placed multiple adversaries for the main lead such as corrupt politician Assemblyman Do Yu Gon ( Lim Ki Hong), the big kahuna of a drug gang Boss Yong ( Kim Hieora)and her right-hand man Andrei Kang ( Won Hye Joon) as potential “ red herrings”. Whilst these side characters did play their necessary role within the events of the narrative and help to buildup to the finale, the ending admittedly felt somewhat anticlimactic as a result of rarely presenting these antagonists with more profound character-qualities.

Admittedly ‘ Bad And Crazy’ was a slight anomaly when it boiled down to pacing . Whilst some dramas can notably suffer from the classic problem of possessing strong beginnings and weak endings, ‘ Bad And Crazy’ presented the opposite: a weaker beginning notably gave rise to a lighthearted introduction to characters, whilst the second-half focused heavily upon crucial details of plot and heavier topics.

Whilst this wasn’t necessarily bad per say and did allow for audiences to establish the key players of the drama, tedious pacing during early conflicted dilemmas for the characters contrasted by quick-paced action scenes during fights, often rarely allowed golden-opportunities to delve deeper into the ins and outs of the storyline. As a consequence, the ending is admittedly dependent upon expectations; some may enjoy the final events of the series with satisfaction , whilst others may feel disappointed and letdown by the final result.

Then of course there’s the discussion surrounding Yoo Seon Dong’s filming. Whilst Seon Dong could captivate a certain ineffable charm under his directing reigns with fast-paced action sequences and chases, Seong Dong’s camera work could often be amateurish at times also. Admittedly this isn’t entirely the fault of the director per say. The addition of pacy editing and cut scenes in order to make up for the usage of sloppy fight scene choreography and punches highlighted mixed-results throughout the camera work. On the other hand, the OST did often help to draw attention away from these scenes through an eclectic mix of generic instrumentals and unpredictable tempos - in particular ‘ Bad and Crazy’’s EDM opening song helped to capture the adrenal-infused mania and atmosphere for anyone willing to stay along for the ride.


Overall, ‘ Bad And Crazy’ is a series which felt somewhat shoehorned at times by plot, characters and pacing. Nevertheless whilst predictable and niche at times , the twelve-episode series was surprisingly delightful in parts with a pacy narrative allowing opportunities for viewers to become intrigued within some of the drama’s touching depictions of its main characters. Fast, thrilling and not without its rougher edges, ‘ Bad And Crazy’ will perhaps not serve as one of Lee Dong Wook and Wi Ha Joon’s best performances to date for some watchers , but it certainly can offer an adrenal-infused binge-watch for those intrigued from beginning to end.

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Is ‘ Don’t Lie, Rahee’ Actually Worth Watching?

Produced as an original miniseries by Naver TV Cast, ‘ Don’t Lie, Rahee’ ( ‘돈 라이 라희’) is a fairly lighthearted yet niche setup with an abundance predictable cliches along the way.

The series focuses upon the titular female lead and influencer Noh Ra Hee ( Kim Na Hyun). Despite having other 100,000 subscribers and a popular image, Ra Hee struggles to maintain her perfectionism . Instead Ra Hee has turned to fabricating a web of lies in order to boost her influencer persona. However when a particular lie leads her to running into childhood friend and her first love Seol Ho-won ( Kim Ji Woong), Ra Hee finds it even harder to keep her hidden secrets …

‘ Don’t Lie, Rahee’ is notably a simplistic and lighthearted concept. Whilst the series was surprisingly compacted into its short duration time of four episodes, this did admittedly present a double-edged sword. A shorter and easygoing setup allowed the miniseries’ narrative to be expedited and wrapped up quickly, but it also highlighted a major dilemma also; there was no real sense of impending doom or growth ( even in a short space of time) for the characters.

It is important to reiterate that ‘ Don’t Lie, Rahee’’s storyline and execution was limited from the outset with only four episodes . On the other hand whilst extended time can be a contributing factor towards writing a detailed and well-executed plot, certain short stories and mini dramas have proven time and time again that writing and the usage of plot is key also.

One of the most notable things about ‘ Don’t Lie, Rahee’ is that even in a very short space of time, the series often struggled with trying to buildup the dilemma surrounding Rahee. Of course this isn’t to say it wasn’t apparent from the outset or nonexistent but aside from some cutesy exchanges between Ho-Won and Rahee onscreen, a multitude of selfies taken by Rahee, or a heart to heart chat with Rahee’s close friend Go Min-yeong ( Choi Yeon Soo), it was hard to really pinpoint precise moments ( aside from the final episode) when the storyline really permitted a climatic build or sense of unease for the audience.

The acting of the miniseries is admittedly decent enough. There were admittedlt a few abrupt moments of awkwardly delivered dialogue and interactions but the main cast, specifically Kim Na Hyun and Kim Ji Woong, were certainly charming enough.

Former SONAMOO member and actress Kim Na Hyun ( ‘ The Miracle’, ‘ Café Kilimanjaro’) played main female lead Noh Ha Ree.

As a character, Ra Hee is fairly hard for audiences to warm up to. Initially whilst she is supposed to be haughty, fractious and evidently flawed through her multiple shared falsehoods, it was difficult to really feel pity for Ra Hee during seemingly sympathetic moments in the final part.
Perhaps one of the key reasons for viewers feeling somewhat disengaged from this seemingly “ quintessential” character came through the fact that there were few redeeming moments or even opportunities to see past Ra Hee’s false pretences early on.

Of course throughout the narrative, we are supposed to see Ra Hee “ grow” by her rekindled feelings for Ho-won as well as her confession in the final course of the narrative. On the other hand whilst this did resonate a certain sympathetic tone with audiences, it was hard to really grasp how Ra Hee truly matured or developed as a character, or at least painted in a more sympathetic light early on by foreshadowing or trying to build up her storyline subtly more even in a short space of time.

Costarring alongside Kim Na Hyun was idol-actor Kim Ji Woong ( ‘ The Sweet Blood’, ‘ Kissable Lips’) as leading man Seol Ho-Won.

Reserved, slightly brooding, good-looking and altruistic, Ho-Woon embodied all of the stereotypical tropes surrounding a main lead and a potential love interest with differing results. Whilst is arguable that Ho-Woon was a a necessary component for the events of storyline and for Ra Hee’s character , Ho-Woon was a shoehorned archetype. He was kindhearted and sweet but aside from his ambivalent feelings for Ra Hee and helping her in different ways, Ho Woon rarely had prominent flaws or at least notable drives as a character. Instead Ho Woon came across as a carte blanche main male lead; necessary for keeping the plot afloat, but rarely sticking out as a sentient or driven character.

On the other hand it is undeniable that the chemistry between lead actors Kim Na Hyun and Kim Ji Woong was prominent throughout the short series. Despite some limited dialogue and situations, Na Hyun and Ji Woong were able to power through with surprisingly natural and coherent chemistry from beginning to end.

The quality of production and filming is admittedly to be expected for a miniseries. ( Although notably slightly glossier than some productions due to the corporate funding by Naver.) It’s slightly limited by settings and quality of camera angles and gradients in parts, but certainly not bad either.

Overall ‘ Don’t Lie, Rahee’ truly epitomizes a “ binge-watch” miniseries; shortly compacted into less than twenty minute episodes and easy enough to watch in one sitting. The acting is solid enough and whilst there were a few questionable moments, the chemistry between our main leads was surprisingly dynamic. The storyline is limited by certain elements of writing, execution and buildup, but did offer enough opportunities in for those willing to disengage and embark into a lighthearted and fluffy viewing session.

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“Spellbounding” Performances...

“ The Witch Part 1 ; Subversion” (2018) has been sitting on my “ To Watch List” for the past year or so , yet , I could never quite find the right opportunity to properly see it. By chance a couple of weeks ago, however, I finally had the opportunity to sit down and watch it properly, when a film channel in my country was airing the movie late one night .

Having always been quite a big fan of Korean revenge thrillers and horror movies such as Oldboy (2003) and The Tale of Two Sisters (2003), “ The Witch Part 1; Subversion” lived beyond my expectations with an actually intriguing and grappling storyline by screenwriter/ director Park Hoon Young. This is because whilst the movie was brilliantly focused upon bloodthirsty violence, there was a good amount of time to see and understand our main female lead Ja Yoon ( Kim Da-Mi) through her interactions , as well as fairly difficult themes being tackled such as mortality, dementia and illness being shown throughout the movie as well.

On the other hand, I must admit that it did take me awhile to recognise that Ja- Yoon was being played by the same Kim Da-Mi from Itaewon Class , due to appearing strikingly younger without the makeup or hair dye. Yet as Da-Mi has proven before during her performances , she doesn’t merely act and her role here is no exception . In the movie, Da- Mi truly stepped into her character and her performance as Ja-Yoon; a seemingly naïve and talented schoolgirl with a secret which becomes more intricate as the duration of the film progresses .

Another immediate note of praise must be given to Da-Mi’s costar Choi Woo Shik. Admittedly, Woo Shik has always been under my radar as a good actor for awhile after seeing his lesser-known and brilliant performance as the seemingly innocent Male lead in Hogu’s Love and then his diverse roles across several Asian films and movies. Woo Shik’s role in “ The Witch” is no exception as the sardonic, near-psychopathic and ruthless physic
(referred to only as “ Nobleman” during the ending credits), determined to destroy any sense of Ja-Yoon’s normality by revealing her hidden secrets. Naturally Jo Min Soo and Park Hee Soon cannot be forgotten by animating the movie with being the seeming mysterious antagonists, Dr Baek and Mr Choi , and the underrated role by Da Eun as the mysterious accomplice of Woo Shik’s character, certainly shouldn’t be overlooked as well.

Yet whilst the movie was undeniably brilliant by its transition from a seeming teenage comedy to horror over the gradual halfway point of the film, “ The Witch” was undeniably flawed from its lacking sense of greater purpose with its cliches. That’s not to say that these cliches didn’t add anything to the characters or storylines, however, there seemed to be too many loose ends with some of these flaws meaning that it took away a lot time from intriguing focus and the actions the storyline.

Overall the Witch; Subversion Part 1( 2018) wasn’t completely flawless ( from cliches that have been seen and done before to arguably some shakier performances by Go Mi Shi), however, the film was filled with an intriguing storyline, action and fairly spellbinding performances by the majority of the cast ( particularly Da-Mi and Woo- Shik) and definitely worth a watch.

Although Woo- Shik will be a sad loss to not being the sequel, so long as Park Hoon Jung maintains the quality of screenwriting , Part 2 will be equally brilliant with the added performances of Jin Goo, Park Eun Bun and Lee Jong Suk appearing in the next part.

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The Eternal Search for ‘ Happiness’…

Against its seemingly antithetical title screenwriter Hang Sang Woon and director Ahn Gil Ho’s‘ Happiness’ attempted to mirror similar issues from prejudice, isolation and loneliness which occurred particularly during the COVID-19 pandemic period. The unusual combination of genres highlighted a hellish fight to not only escape from the “infected “( the mysterious disease ravaging the population and leaving the infected in a zombie-like and feral state with few lucid moments ), but surprisingly a bittersweet love story between its main leads also .

The TVN drama presented an odd accumulation of fast-paced thrill and tension through its plot twists as well as tender and bittersweet scenes by taking a moment to slow-down the storyline and allow viewers’ to contemplate and soak in events. Yet like most intriguing fusion-genres in execution ‘ Happiness’ could sometimes not escape certain pitfalls of writing errors and character-drive along the way.

Of course ‘ Happiness’ offered viewers a fairly impressive lineup of acting abilities and most notably our main cast. Actress Han Hyo Joo brought forward Yoon Sae-Bom to life through adding an unlikely sweet charm to her onscreen persona ; a professional counter-terrorist operative whose pursuit of happiness by moving into a new apartment proves only to be a blunder during the events of the series. Sae-Bom’s reactions and interactions with others throughout the series could often feel prosaic during early episodes; initially driven for the “sake of plot “ rather than upon reflection of viewers getting to understand more about the female lead through subtle character growth . Nevertheless as the series progresses Sae-Bom provided to be a major asset to the plot and allowed some time to focus on developed sides of Sae-Bom’s personality from altruism to stubbornness in order to present some focus on the importance of humanity and depth within the female lead.

Costar Park Hyung Sik’s reprisal of an intriguing role was highlighted through his onscreen persona Jung Yi-hyun ; a suave and observant detective investigator who had shared-history with female lead Sae-Bom from their school days and provided to be one of the first key characters to come across findings of the mysterious disease during a case. Yet whilst Yi-Hyun was undeniably an intriguing character he could often suffer from the fate of many main characters through becoming an inherent “ plot device”; necessary to keep the storyline moving, but sometimes lacking in more subtle character development. Naturally Yi-Hyun did have golden opportunities to be explored in more depth during some key moments in the series but this could sometimes lack greater exploration.

As far as the chemistry between our main leads is concerned ‘ Happiness’ admittedly was a bumpy road- good onscreen chemistry between Hyung Sik and Hyo Joo could often fall victim to more staid cliches and setups which did not always weigh up against the more heavy-hitting moments of the series. Naturally later episodes took a little more time out to focus on some subtle relationship development between the main leads but often this was interwoven with more serious scenes and storyline moments also.

the supporting characters of the drama also have an intriguing part in events of the drama from Han Tae Seok ( Jo Woo Jin); a discharged military informant agent to the residents of the apartment ( some of which are admittedly less well-defined than others.)

Ahn Gil Ho plays upon subtle palette changes and lighting tones throughout the mis-en-scénes of the drama - key scenes crafting an important ambience throughout the series through this setup and pragmatic choice of OST, whilst some quintessential moments admittedly lacked the same ingenuity when required.

‘ Happiness’ offered viewers an intriguing concept with a dash of profundity and romance in between its zombie-style thriller setup- it isn’t inherently terrifying , but director Ahn Gil Ho and writer Hang Sang Woon are able to add a touch of suspense and sweetness in an intriguing and pacy storyline. The writing could sometimes wane through the pressure placed initially upon odd tropes, cliches and setups( especially for our main leads) during early episodes.( Alongside the heavily dominant setting of the apartment growing slightly bland.)However later scenes spent time focusing upon the storyline in more depth; brilliantly brought to life by our main cast’s dynamic performances by our main leads and the interwoven cinematography of the director. The ending was admittedly filled with a few loose ends but did deliver a sense of completion for the series. Overall whilst ‘ Happiness’ wasn’t without its more evident writing faults the drama offered an intriguing storyline with contemplation with a good cast and intrigue for viewers, as well as allowing room for philosophical thought towards the true definition of happiness in life.

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A ‘ Door’ Into The Realm of Disappointment…

Based upon the eponymous novel by Robert A. Heinlein, ‘ The Door Into Summer’ ( alternatively known as ‘ Natsu e no Tobira: Kimi no Iru Mirai e’ or ‘ 夏への扉 キミのいる未来へ’) seemed to initially offer viewers an intriguing premise under the directing reigns of Takahiro Miki and the writing of Kanno Tomoe.

However despite the movie’s impressive plot premise and the casting choice of renowned actor Kento Yamazaki ( ‘ Orange’, ‘ Alice In Borderland’, ‘ Death Note’), ‘ The Door Into Summer’ soon suffered greatly under the aimless direction of plot holes, lacklustre genre exploration, character and plot growth as well as pacing also.

The movie initially focuses upon young scientist Takakura Soichiro ( Kento Yamazaki). Trying to complete the research of his late paternal and mentor figure Matsushita Kazuto ( Hidekazu Mashima) upon plasma research in 1995, Soichiro’s plans are scuppered when he’s betrayed from the shadows and loses control over his research . With no other options, Soichiro is subdued into a cryogenic chamber. Waking up nearly thirty years later in 2025, Soichiro discovers that the world has changed significantly as he desperately tries to find a way back to 1995…

Perhaps one of ‘ The Door Into Summer’’s greatest downfalls and arguable strengths came through its emotive moments. Admittedly it isn’t out of a question for the science-fiction genre to explore and widen the scope of expectations with presenting the emotional conflicts and struggles of humanity. In particular one of the most heartfelt moments of ‘ The Door Into Summer’ came through Soichiro’s relationship initially in 1995 with his adopted feline friend Pete and being able to relate to his cat’s emotional struggles. In the latter-part of the series this relationship was replaced by Soichiro’s android friend PETE ( Fujiki Naohito); one of the few characters who could offer viewers surprising comic relief and emotional complexity at times also .

Nevertheless ‘ The Door Into Summer’ was a storyline that was supposedly focused upon elements of time travel and pseudo-science. However whilst the lingering presence of humanoid robots and time travel are intriguing plot hooks for viewers, Kanno Tomoe’s screenplay greatly struggled under the cataclysmic weight of plot inconsistencies and lacklustre loopholes as well as logic .

One of the major problems of Tomoe’s world-building and “factual “ science came through its lacking and quintessential presence in the main events of the storyline. Perhaps the major source of the problem can be found that ‘ The Door Into Summer’ was heavily dominated by its emotional aspects. However rather than using this as an opportunity to explore characters or even widely offer an edge of complexity towards Soichiro, Kanno Tomoe ladened the narrative in parts upon Soichiro’s insipid, potential romantic relationship with main female lead Matsushita Riko ( Kiyohara Kara).

This was a notable flaw throughout Miki’s movie; there was rarely a sense of plot. Seemingly quintessential characters and events were rarely developed and whilst the movie did attempt to present a gradual “ villain” , ‘ The Door Into Summer’ could often feel aimless and directionless within its messaging and plot development. In particular the ending of the movie notably presented the outcome of the plot’s aimless narrative with an anticlimactic and lacklustre conclusion.

In addition to this there’s also the issue of the lacking opportunities to really flesh-out characters and in particular the main male lead of the series. For a a main character who is supposedly constantly looking towards advancement , Soichiro’s uninspiring and tailored reaction towards the near-future, technology and the world around him felt somewhat regimented rather than befitting for his seeming character archetype.

The acting of the series was admittedly a slight mixed-bag. Kento Yamazaki’s role as Soichiro was admittedly somewhat uninspiring with certain line deliverances feeling enforced. The supporting cast such as Matsuhhita Riko played by Kiyohara Kara and Natsuko as Shiraishi Rin in particular were decent enough with their performances but rarely brought forwards a dynamic charm due to limited screenwriting opportunities. Perhaps one of the few standout performances of ‘ The Door Into Summer’ was Fujiki Naohito as PETE but due to limited dialogue and depth opportunities, Naohito was rarely a wider scope to exploring his onscreen persona with tact.


Perhaps one of the few saving graces of ‘ The Door Into Summer’ under the directing reigns of Takahiro Miki came through the movie’s impressive and glossy CGI, cinematography, slick shots and fuzzy retro and nostalgia shoots also. Although admittedly a somewhat generic approach with certain filming techniques, Miki did help to captivate a certain aesthetic throughout the filming of the series. The OST of the series was slightly dull in comparison to the slick shots of the movies; synchronic in parts, but rarely giving viewers an opportunity to feel the emotional weight and impact of scenes either.

Overall ‘ The Door Into Summer’ is a film which whilst boasting some impressive filming shots, scenery, CGI and some familiar faces, often felt heavily burdened by its writing. The elements of science-fiction present within the narrative of the film are approached tactlessly with aimless plot motivations rarely giving further insight into the growth of characters or tension either. The ending of the series will likely offer viewers with a final admittance of the narrative’s disappointing deliverance despite its unlimited potential.

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Is it Worth Investing Time in ” Hospital Playlist”?

Yes, I am late to the party with only just having completed screenwriter Lee Woo Jung ( Reply series, Prison Playbook ) ‘s drama “ Hospital Playlist”. However with ”Hospital Playlist 2” now ( at the time of writing) being released on Netflix streaming services , I decided it was a good time to give the critically acclaimed and hit series a go.

Of course“ Hospital Playlist” isn’t without its more nuanced flaws. At times ” Hospital Playlist” struggled to step away from the medical show fusion genre scenario with the mundane setup of high drama, lighthearted comedy, “life vs death” consequences, and not every patient makes it through in order to keep viewers on the edge of their seats. (Additionally this provoked the evident problem of tedious pacing in the show also.) However, there’s a more poignant element similar to Friends in the mix, as the quintet are revealed to have a deep-rooted friendship with one another for more than two decades.

Whilst the first couple of episodes invest time within “ getting to know” our ensemble and present the fairly dynamic performances of our main cast, the following episodes explore an oddly balanced investment into the quintet jamming out in their band during their free time, backstories and the current ups and downs of life at the hospital also.

Arguably one of the major roles to talk about in the drama was the role of Jo Jung Suk as Ik Joon. As a single dad, Ik Joon could have easily been stereotyped as the cliched “ estranged father” or having a “ bitter” relationship with his son Woo Joo (Kim Jun) due to the bitter nature of his divorce from his wife , however, Ik Joon is refreshingly nothing but a kindhearted goofy dad, with a charm that easily wins over even his most stubborn of patients in the hospital . Arguably the potential “ love story” element in consideration to his unrequited feelings for Song Hwa ( without decisive spoilers) may leave viewers a little on edge by the unnecessary setup, however, surprisingly the later decisions of Ik Joon felt surprisingly natural for his character.

Following on from Ik Joon is evidently Jung Kyung Ho as Kim Jun Wan.
Despite his tough shell in front of the trainees and his peers , actor Kyung Ho seemed to pretty much nail Jun Wan’s archetype as the “ grizzly bear with a marshmallow heart”. Jun Wan is a harsh teacher at times, but a brilliant cardiothoracic surgeon and truly cares for his patients ( even if it means making tough calls). In one particularly heartfelt scene of the series, Jun Wan adorns a terrible suit from Jae Hak (Jung Moon Sung), and attending the wedding of his patient’s daughter as his patient is unable to attend. His love story with Ik Soon ( Ik Joon’s sister) did undeniably start on a bit of an eccentric and uncomfortable setup but did become enjoyable ( especially with Jun Wan’s grouchiness at times) as the series progressed.

As the only female friend of the quintet and a single woman in her 40s Chae Song Hwa could’ve easily done down the more stereotypical route of being “ bitter” or “ pitiful”. However Song Hwa is refreshingly anything but these labels. A Charismatic, compassionate, intellectual and elegant character , its easy to see why actors Jo Jung Suk and Yoo Yeon Seok recommended theatre actress Jeon Mi Do for the role.Arguably whilst season two has given a potential opportunity to explore the landscape of Song Hwa’s mixed feelings for her respected love interests, season one undeniably often failed to truly sketch - out Song Hwa’s more profound complexity in her love life. (However room for a second season will hopefully delve into this issue more.)

Nevertheless arguably one of the most surprisingly heartwarming characters in the series was Kim Dae Myung’s role as Seok Hyung. Seemingly starting off the drama as the cliched and spoilt “ mama’s boy”, Dae Myung’s performance added surprising layers to Seok Kyung as a character with his complicated past and rationale as a medical professional . His potential love story with coworker Min Ah could’ve easily gone down several mundane routes, but his overall development and reactions rarely felt out of character.

On a weaker note, the final member of our quintet was Yoo Yeon Suk as Jeong Won. This isn’t to say that Yoo Yeon Suk’s performance was bad in any way. In fact the actor truly animated his onscreen persona to life with many endearing and likeable qualities. However Jeong Won was sadly a little less well-rounded. Whilst he had an intriguing storyline and a more complicated backstory than a lot of the other characters, but his later motives and personality assets often felt less profound. In addition to this whilst the show did seem to go down the evident route of his potential love story with Gyeo Wool in snippets, it often lacked the same charisma as the rest of the ensemble.

So is “ Hospital Playlist” worth watching? The show doesn’t entirely step upon new ground with its concept with certain characters and storylines felt slightly undeveloped ( although a sequel season will hopefully dismiss these issues) and snail pacing in parts also. On the other hand “ Hospital Playlist” has surprisingly profound and bittersweet themes with backstories and life in the hospital, as characters are often faced with realistically challenging issues which helped to provide food for thought. If you are willing to invest some time into this show, then you’ll absolutely love “ Hospital Playlist”.

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Well, I Certainly Won’t Be “ Hiccuping ” To Say That This Drama Has Its Flaws...

With numerous reviews over the years upon the drama, it wouldn’t be surprising if this review easily becomes disregarded amongst others. Nevertheless, it’s important to give an honest and objective verdict on whether “ Pinnochio” still lives up to its legacy as a “ good” series , or is overrated for what its worth.


Pinocchio tells the story a man ( Lee Jong Suk) whose life was devastated by corrupt reporters. Seeking revenge since childhood, he takes up another identity as “ Dal Po” ; the deceased son of an old man suffering from denial and mental illness called Choi Gong Pil ( Byun Hee Bong). Together with his “ niece” and sufferer of the fictionalised illness “Pinocchio Syndrome”, Choi In Ha ( Park Shin Hye), the two go on a journey of self-discovery that forces them to face some uncomfortable truths.

Undeniably the most intriguing concept present within the show was the ideology of Pinocchio Syndrome; a (fairy tale-inspired) condition which causes the individual to hiccup whenever he or she lies. As someone suffering from the condition, In Ha is often subject to discrimination and prejudice by wider society, however, this concept of the show did lack genuine or factual explanation to viewers towards its causes- is it hereditary, psychological or just a cause of random gene mutations? Although it is notable neither of In Ha’s parents suffer from this disease, it did remain a lingering question towards exactly how and when In Ha was diagnosed with Pinocchio Syndrome and the actual science behind this fictionalised disease.

Instead, the fantasy concept of Pinocchio Syndrome is truly reduced to more than an asset plot device to accompany more prevalent focal point of journalism within the show. The aspects of critiquing the competitive and exploitative natures of the industry of media did notably help to present a surprisingly realistic and somewhat fairly profound depth to the storyline.

Dal Po’s entire character is driven by his enmity and obligated feelings of revenge for his family . Yet by becoming the very thing he hated more than anything in the world, he stumbles upon the truth that the world of journalism is not as black and white as he originally had the preconception of ; news outlets, individuals and reporters may twist certain stories for their own gain whilst the true victims remain without voices. Whilst Lee Jong Suk has often had a mixed bag of performances over the years, his role as Dal- Po did seem to capture multifaceted and depth to his character. This is because Dal- Po is still motivated by his intentions for revenge, but he also learns to forgive and learn that sometimes honesty is the greatest weapon of them all.

Yet this also moves us on to the obvious problem of the drama. The ridiculous amount of cliche coincidences happening in the subtext of thirteen years of secret messaging between the second male Beom Jo ( Kim Young Kwang) and In Ha, the notable “ chances” which arise for Dal-Po being able to land a job as a journalist despite his limited qualifications ( regardless of his intelligence) and of course the sudden reversal of “ external forces” which kept away characters such as Dal-Po and In Ha from developing relationships in order to suddenly have a “ happy ending”. Although a preferred choice for the dramatised events of the series, it was initially off-putting at times within the cliche and unrealistic setups which suddenly manifested without prior build-up.

Yet perhaps the biggest problem in the series was the dragging sensation of storyline in places. Initially this is somewhat ironic for a show which has surprisingly quite good pacing for the majority of the show , but the duration of episodes in addition to transition in places upon plot devices, over actual characterisation often resulted in this problem.

The biggest example of this problem can be found through In Ha as a character. Although Shin Hye can’t be faulted within her stellar performance and her character does initially having an interesting backstory, her actual relevance to the storyline often felt minimal and intrinsically quite lacklustre. In Ha simply does not have notable character growth in the series. Arguably a lot of In Ha’s problems and the drama wouldn’t have been as effective without In Ha having remained the same, however, this is also a somewhat nonsensical venture into In Ha as a character. Considering her experiences and scenarios growing up, In Ha neither really seems to be given the chance to confront them openly and actually learn and develop, often resulting in her character coming off as a plot device in order to keep the story motivated such as her relationship with her mother and Dal Po , than an individual in her own right.

In terms of the latter mentioned point , the relationship between Dal Po and In Ha was a little questionable over the course of the series. Although not relatives by blood ( giving the obvious explanation against the otherwise incestuous proposal) , a lot of viewers often forget that In Ha and Dal Po grew up together for more than thirteen years as uncle and niece as well as during their younger years having a notably fraternal relationship - the pairing between the two characters just felt odd and mismatched. Actors Lee Jong Suk and Park Shin Hye did help to cover up some of the more awkward onscreen moments through their performances and the show acknowledged it to some extent , it still seemed oddly problematic to romanticise this pairing in the first place as well as the striking differences between both characters and their personalities.

Perhaps the most praiseworthy relationship in the show occurred between Dal-Po and his biological, revenge driven brother Ki Jae Myeong(portrayed by Yoon Gyun Sang), provided the zeal of the revenge story and the clear differences in motive and experiences of both brothers.

Dal-Po seeks revenge in a similar manner to Ki-Jae, but in the process considers and acknowledges reconciliation and forgiveness against certain individuals due to being distracted by a kind-hearted “paternal” -figure and surrounded by a fairly loving family . On the other hand, Ki-Jae’s experiences was solely driven with cause of distraction for revenge with a carte blanche given by viewers just to see how far he can gross the line of morality. This presents an intriguing relationship between brothers with Ki Jae oblivious for a major proportion of the series due to not knowing Dal-Po’s true identity. Jae Myeong’s performance was surprisingly good and a honest gift to this drama by making up for some of its more evident flaws .

So, was a “ Pinocchio ” a good series, or another overrated drama? It’s fair to say that the concept of the show was intriguing by tackling difficult issues of manipulation, injustice and exploitation, the OST was quite good, and there were some particularly well-written characters such as Dal-Po and even In Ha’s mother, Song Cha-ok ( Jin Kyung) who was surprisingly given some profound depth despite her antagonistic role in the series. Nevertheless, “ Pinocchio” isn’t as flawless as watchers truly make it up to be- the ridiculous coincidences took away from the surprising twists of storyline, In Ha as our female lead was severely underdeveloped and the relationship between both characters was ultimately a little uncomfortable considering the angle of the storyline. It is probably fair to say that “ Pinocchio ” wasn’t a dire or terrible drama by any stretch of the imagination and had many likeable assets , but it certainly was overrated within being passed off as a “ flawless” drama by some fans.

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A Bittersweet Fairytale...

It is undeniable that even amongst the drama-watcher community, there tends to be a notable problem of more well-known dramas being “ overrated” or “ glossed over” from noticeable flaws by biased fans of certain actors, actresses or directors, and “ It’s Okay, Not To Be Okay” is certainly no exception .

Written by lesser-known screenwriter Jo Yong ( After The Rain, Jugglers), ‘It’s Okay, Not To Be Okay’ plays itself upon being an “ atypical” romance between a stoic, yet kind-hearted psychiatric health worker called Moon Gang Tae ( Kim Soo Hyun ) and the eccentric children’s writer Ko Moon Young ( Seo Ye Ji) as they both try to find new ways to heal and recover from their past traumatic wounds along the way ...

Before talking about the interesting joys and delights of characterisation in the show, it is first prominent to commend most of the cast for their performances. Oh Jung Se was undeniably brilliant within his role as Gang Tae’s older autistic brother Moon Sang Tae; a performance which was angst-ridden and heartwarming for viewers over the course of series . Parallel to Jung Se, of course, was undeniably Seo Ye-Ji’s performance as the witty, sardonic yet complicated children’s writer Ko Moon Young; purposefully comical and flamboyant, yet intricately heartbreaking as well.

Truthfully, however, the show’s acting quality could sometimes be a mixed bag, not least from Kim Soo Hyun as our main lead. Although Soo-Hyun is undeniably a brilliant and talented actor, his role as Gang Tae was a little lacklustre and “ wooden” at times to say the least. This is not to say that his performance was unwatchable nor was it “ dire” , however, considering his reputation as a top-notch actor, it was a little surprising that Soo-Hyun didn’t truly add anything to his character . On the other hand , perhaps some of this can also be attributed with screenwriter Jo Yong’s deliverance of characterisation and several plot inconsistencies as well.

As a concept, ‘ It’s Okay, Not To Be Okay’ did not truly step upon new ground with its setup of the recently popular “ reversed gender trope ” in Korean dramas (where the female lead “ calls the shots”, and the male lead is nothing more than the “ object of obsession” in her eyes at first). Nevertheless, one of the undeniable great strengths of ‘ It’s Okay, Not To Be Okay’ was its ability to write several fairly “ fleshed-out” main characters who gradually grow over the course of the series .

Ko Moon-Young wasn’t supposed to be your typical “ Princess” heroine ( even labelling herself to be the “ Pretty Witch” of the story) ; she is successful and a talented writer, but intrinsically insecure and traumatised by her complicated past and her estranged relationship with her seemingly mentally-ill father as well. It remains apparent after finishing the show that Moon-Young often allowed her dark and twisted fairytales to adorn her view of the world; fairytales were once used commonly as morality tales to scare children and adults away from danger, a bittersweet belief (, which despite Moon-Young’s often reckless behaviour, )she applied full-heartedly to her own reality and comes to several harsh wake-ups calls by stepping away from these beliefs over the course of the series.

It is therefore apparent that just whilst Moon-Young is your “ atypical, yet typical” heroine, Moon Gang Tae is your “ usual, yet unusual ” knight in shining armour.

Gang-Tae is hard to really describe or feel true emotional attachment towards as a character ( perhaps explaining why Soo Hyun’s performance felt a little lacklustre at times) , due to his often stoic expressions and unreadable personality ( especially in comparison to Moon-Young) over the course of the series.

Nevertheless, it’s wrong to entirely dismiss Gang-Tae as a “ terribly-written character” , as his “ apathy” is often broken in the face of his trauma and clearer feelings( particularly towards his brother and later Moon-Young) in the second-half, however, the biggest problem about Gang-Tae’s characterisation was often a consequence of his sudden transition feeling a little purposeless.Although the show attempted to explain this characterisation by having to look after Sang-Tae as the “ carer” in their fraternal relationship, as well as evidently irked by Moon-Young in the beginning of the show, considering the extent of some of his traumas, Gang Tae’s reactions and coming to grips with them often felt lacklustre and perhaps resulted in Gang Tae merging into a “ stock male lead” over the course of the drama.

Naturally this draws us up onto the aspect of relationships in ‘ Its Okay, Not To Be Okay’. Perhaps the most praiseworthy thing to note about the programme is that although it is a “ romance” drama, it points out many different types of relationships ; from paternal ( such as the case of Kim Mi Sung’s character Kang Soon Deok and her adoration for her daughter Nam Joo Ri played by Park Gyu Young) ,to the fraternal bond between Gang Tae and Sang Tae and to the obvious romantic bond between Gang Tae and Moon Young over the course of the series.

In the case of the latter relationship , the show had an odd balance between genuine and striking similarities between the polar opposites acting as their magnetic force to stick together, as well as later riding upon several cliches which intrinsically took certain earlier driving factors from their fairly well-written and blossoming relationship. The ending was undeniably sweet, though perhaps a little anticlimactic for some watchers (considering the darker themes tackled).

The obvious and evident pairing overshadowed in the show by Gang Tae and Moon Young’s romance , occurred between Nam Joo Ri(Gang-Tae’s “ lovelorn” best friend) and Moon Young’s colleague and CEO of the publishing company Lee Sang In ( Kim Joo Heon). By default their pairing should have perhaps been the most grounded portrayal of the most “ normalised” romantic relationship in the show , however, by investing so much time into Gang-Tae and Moon Young’s, Sang In and Joo Ri’s pairing felt lacklustre , incredibly forced and a cliche setup between the “ extras”, rather than fleshed-out and realistically built-upon over time.

So, is ‘ It’s Okay, Not To Be Okay’ actually worth watching? Although there were a couple of questionable acting moments, cliches and plot inconsistencies, ‘ It’s Okay, Not To Be Okay’ was still a good drama, and certainly shouldn’t be dismissed as “ mediocre” ; the plot was intriguing, the cinematography was creative and beautifully shot, the OST was eclectic and themes of mental-health as well as psychology were fairly well-tackled and portrayed. ( Perhaps one of the most gripping scenes in the whole series came from a veteran soldier experiencing a bout of PTSD and the horrific scenes through the cinematography he was seeing on a normal bus ride.) ‘ It’s Okay, Not To Be Okay’ is undeniably not a flawless show, however, it is certainly still worth a watch ( not least for Moon Young’s more and more extravagant attires by each passing episode).

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Should You Keep A “ Distance” From This Drama?

There is undeniably something poignant about the plot premise of ‘ At A Distance, Spring is Green’ as the series pursues the soul-searching quests of our tritagonists trying to guide themselves through friendships, love and their own personal conflicts in different ways.

Yet in between the vivid spring palette scheme of director Kim Jung Hyun ( Secret Garden, Legal High) ‘s cinematography , ‘ At A Distance, Spring is Green’ doesn’t escape from the realm of scrutiny either. The divergence from the original storyline by conservative production channel KBS ( including changing platonic friendships to romantic pairings and even a character’s sexuality),unsurprisingly has sparked a lot of controversial debate over the handling of characterisation and plot throughout the drama.

However against the more heated feud surrounding the drama’s storyline , our main cast offered refreshing performances as their onscreen personas . Idol and former child actor Park Ji-Hoon delivered a beguiling performance as Yeo Joon. Throughout the drama we learn more about Yeo Joon away from his cheery and fake facade of similes. Foregrounded as a byproduct of an oppressive and dysfunctional family consisting of his older brother Yeo Joon Wan( Na In Woo), as well as his parents Cha Jeong Joo ( So Hee Jung) and Yeo Myung Hoon ( Kim Hyung Mook). One of the major drama subplots surrounding Yeo Joon’s family did undeniably have some surprising twists, but this subplot was sadly underdeveloped as a consequence of the predominating screen time into Yeo Joon’s “ romance” with So Bin ( Kang Min Ah).

It wasn’t the case that Park Ji-Hoon and Kang Min Ah had terrible onscreen chemistry. Kang Min Ah is a brilliant actress and she certainly helped to convey sweet moments between their onscreen personas ( one of the loveliest scenes of the drama being when So Bin gave Yeo Joon a hyacinth). However, the plot often seemed to struggle with conveying a symbiotic and mutually respectful relationship between these two characters with Yeo Joon (in early episodes) manipulating So Bin’s feelings, and then So Bin happily going out with someone who infringed upon her self-respect . Aside from diverging from the original webcomic the pairing between these main leads was similar to So Bin merely acting as an emotional band aid for Joon’s emotional wounds; quick to slap on top in order to make their relationship seem “ soulful”, yet often
resulting in a one-sided investment of only So Bin hearing out Joon . Whilst in the later storyline Joon did arguably “ support” So Bin, this was in a fairly manipulative manner towards humiliating someone who caused her to get into a tricky scenario rather than trusting and listening to So Bin and working out their problems together. Instead whilst it is understandable that Joon needed some respectful boundaries with So Bin ( and vice versa), it provided a sense of distrust within their relationship by Joon often considering Soo Hyun ( Baek In Hyuk) more as a “trusted” confidant than So Bin throughout the drama.
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However arguably one of the most enjoyable feats of the drama was Yeo Joon’s gradual relationship with his older brother Yeo Joon Wan ( Na In Woo) and then of course his friendship with Nam Soo Hyun. For the former, Na In Woo was really dynamic at capturing his persona Joo Wan’s stoicism by his expressions rendering something which is “ more than meets the eye” in early scenes. His heart-rendering journey from being the “ estranged” and “ heartless” brother of Joon to expressing his actual worry and emotions as truths come to light was one of the few beautiful moments of character development in the drama . However the ultimate show stealer was of course Joon’s oddball friendship with Soo Hyun.

Ironically this gradual “ blood brother” bond was more intriguing at times than the predominating relationship of Joon with So Bin, as a consequence of being able to contrast and present the characters for all their flaws and strengths. In Hyuk is captivating as second male lead Nam Soo Hyun. A distinctly subversive character; he doesn’t beat around the bush about Yeo Joon being used for his money, his irritation at Yeo Joon sucking up to him and also acknowledges his own social stigma of being " arrogant" on campus whilst struggling to play a fraternal and paternal role for his brother Nam Goo Hyun( Kim Su Gyeom). However one of the biggest problems with Soo Hyun came from (controversy aside), his lacking focal investment with his equivocally intriguing backstory being disregarded in favour for the “ romantic” moments of the drama.

The “ romantic pairings” present in ‘ At A Distance, Spring Is Green’ seemed to provide an ultimate foil at times to greater development with our characters (especially in regards to our female characters) , with the biggest elephant in the room being So Bin.

Respectfully whilst we do get to see insights into So Bin’s life through her interactions with roommates Wang Young Ran ( Kwon Eun Bin) and Gong Mi Joo ( Woo Da Vi) , her " crush and best friend" Hong Chan Ki ( Choi Jung Woo) and some abrupt glimpses into her ” difficult“ past, there’s little to truly put together about So Bin’s greater sense of purpose in the drama . There is the evident argument that whilst Yeo Joon and Soo Hyun represent the problems of loneliness and economic injustice, So Bin is supposed to show the “ average Korean student”. However unlike her counterparts So Bin rarely has this greater calling towards why she was even studying in the first place, her sense of personality outside of her interactions with her roommates, classmates and romance also and being able to have a more profound backstory . Arguably there was a quick passing comment by So Bin that she wasn’t entirely sure about her future and we did get to see abruptly little snippets of So Bin’s past catching up on her , however, perhaps if the series had gone more into So Bin’s reasoning either to ” prove everyone wrong“, her struggles with feeling motiveless or if this was previously rooted from academic or social pressure in her backstory , So Bin would have felt less like a “ emotional band aid” for an enforced romantic pairing, and more of a sentient individual.

This was also a case and point problem with the " unrequited feelings” of Gong Mi Joo towards Soo Hyun. It wasn’t necessarily that Mi Joo was an unlikeable character. In fact actress Woo Da Vi was brilliant at portraying an otherwise paper thin role of the ” superficial rich girl” . However for a major proportion of Mi Joo’s character arc, she was often fractious by her “schoolgirl crush” as well as her motiveless and unhealthy obsession over Soo Hyun. If Mi Joo had tried to understand more about Soo Hyun beyond “ he gave me the drink at the convenience store and is good looking” by asking Young Ran ( and perhaps acknowledging at least their different outcomes), maturing slightly after her previous breakup or even being able to venture more into her backstory, then perhaps Mi Joo would have felt like a well-rounded character. However, it was tiresome to once more see the second female lead be stereotyped as “ pitiful” and “ needy” before being disregarded nearly entirely when she wasn’t “ necessary to the plot”.


Arguably one of the few female characters in this drama who was given justice for a major proportion of the early storyline was Young Ran. The best friend of Soo Hyun who proves herself to be a supportive and a down-to -earth friend, it is disappointing that the show did not take more time to invest in her character arc aside from playing match maker and her seemingly “ unseen” future . The ending overall was a little underwhelming to say the least- not bad per say, just failing to wrap up key character points and moments.


So is ‘ From A Distance Spring Is Green’ actually worth watching? It is evident to see where this drama has its own alluring appeal for certain viewers by really good casting , beautiful cinematography and the portrayal of hard-hitting issues ( such as abuse, bereavement, economic and academic pressure ) in an attempt to take off the audience demographic’s rose-tinted glasses associated with youth. On a more pessimistic note, it is evident to see how this drama struggles with mixed-criticism by viewers with the adapted storyline straying away beyond recognition from the webcomic, mismatched pacing in parts ( due to the investment in lacklustre pairings) , the “ mismatched” main pairing ( which dominates a high proportion of screen time) as well as stereotyping certain characters into mundane one-dimensional roles , diminishing from fortified character development as well as more original takes on the youth genre . Overall certainly not an unwatchable drama but perhaps not as impressively original, or well-crafted as viewers were anticipating either.

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Does The Glass Slipper Fit?

Ah, the “ Cinderella-Tale”. It’s the trope which embodied the ‘ Hana Yori Dango’ franchise, 2000s rom coms and 1990s shoujos countless others beforehand , where the outcast or plucky mundane heroine changes the spiteful, rich male lead ‘s life before he whisks her away to live happily ever after. The trope nearly defined the zenith of 2000s romance dramas, yet nowadays the “ Cinderella Tale” archetype is often seen as being retrospectively outdated . Now the trope comes to life once more with “ Promised Cinderella” but just how does this cliche actually play out in 2021? Is it a nostalgic trip about the old days of romance dramas , or is it just too outdated for its own good?

At its heart “ Promised Cinderella” is based upon the Josei ( aimed for older teens to women) manga of the same-name. It is a trope-worthy love story between 27 year-old Katsuragi Hayame ( Nikaido Fumi), a vagrant former-housewife and rich and pugnacious 17 year-old Kataoka Issei( Maeda Gordon) who Hayame is forced to move in with. However whilst Issei finds his feelings growing for his senior, Hayame finds herself torn between Issei and his seemingly kindhearted brother Kataoka Seigo ( Iwata Takanori) , leading to all the imagined twists and turns out of a love triangle setup.

The drama is undeniably lighthearted, with a more mature and serious heroine taking central position in the drama and also taking off that burdensome worry of labyrinthine plot line . Overacting was sometimes an undeniable problem here, but nonetheless the main cast were dynamic . Nikaido Fumi really embodied Hayame to life onscreen through her performance, en par with fellow costar Maeda Gordon as foul-mouthed high schooler Issei and evidently Iwata Takanori as Issei’s brother Seigo.

Yet is is impossible to turn a blind eye towards the numerous problems amounting in this drama towards Hayame’s “potential love interests”. As far as the main couple goes let’s not sugarcoat it. Hayame is a 27 year- old woman and Issei is a seventeen year- old kid. Understandably the drama has never established anything lewd between the two aside from Issei’s crush and of course age gaps can be shown in numerous and versatile ways. However when tackling the subject of age or generational gaps, a topic which admittedly does come up is how this can impact a relationship between lovers socially, culturally and psychologically.

The drama plays repeatedly upon the gag that Hayame is an “ old woman” ( despite only being 27) but rarely does it draw onto the more significant factors of this age difference for both parties. Issei is incredibly immature for his age. There is the argument that a lot of his conducted attitude is based upon his experiences and whilst we do get to see his character grow at times, he was the typical “ spoilt and insolent brat” archetype. He nearly constantly put Hayame down verbally by passing remarks even in social situations, whilst irksomely Hayame ( despite being 10 years his senior and with more life and relationship experience) seeming “ wittiness” would be thrown out the window in order to keep this lacklustre charade moving as part of the plot device.

Then of course there’s Hayame’s “ potential chemistry” with Seigo. Despite being the older brother of Issei , Seigo has his own dirty secrets which can flare up a nasty side to a seemingly “sweet as pie” trope character. Undeniably intriguing to watch this character unravel, but nevertheless it made it troublesome for viewers to truly root for a respectful and flawed yet likeable character in this drama. Seigo’s “ infatuation ” with Hayame without respecting boundaries sometimes or his own brother’s feelings could verge upon obsessiveness . Perhaps this problem wouldn’t have been so bad if the drama had noted or brought to light that Seigo’s actions were unhealthy or wrong but rarely was this brought up and instead often passed on as “ just fascination” . In a setup where both characters are supposed to be flawed but have their own unintentional screenwriting problems, it is hard to truly root for either main lead. ( Without the lingering thought that Hayame is nothing more than a plot device to keep this lacklustre potential romance “ more dynamic”. )

To make matters worse aside from the questionable relationships in this drama, ‘ Promise Cinderella’ pretty much ticks all the boxes of every romantic cliche that you’ve seen and done before a million times;

1)The jerk former husband who abandons his wife, and isn’t necessary to the storyline pretty much ever again? Check.
2. The female lead who is too prideful to bother actually looking for a job to get off the streets, but no because it gets in the way of the actual reason to be saved by a high schooler? Check.
2)Trying to cover for a “ divorce background” with her husband in order to pair off Hayame with the potential love interests, yet never actually covering legal matters or court processes because it is too much like adding something realistic to the drama? Double Check.
3)Introducing the crude, teen male lead with an inferiority complex and who has a reason for being rude but none of them justify his bratty actions, or allow an opportunity for Issei to issue an actual apology to anyone? Triple Check.
4. Subverting the entirety of the female lead’s strong willed personality in order to make her cutesy to the plot but then changing her again, and then making her docile once more ? Quadruple Check.

‘ Promised Cinderella’ isn’t entirely a bad drama per say. It was pure sickly sweetness in all its glory with an ending which goes down an expected route. The acting was solid and an older female lead adds an intriguing dynamic to the storyline with her potential love interests, however, at the same time, the storyline was often predictable and dull by not even attempting to play or add anything new to the screenplay setup . The relationship between the two main leads and the controversial age gap raised red flags for all the wrong reasons without even trying to present this gradually , and the fact the drama itself wasn’t entirely sure how to incorporate Hayame’s character or revamp the “ Bad Boy” trope with Issei made ‘ Promised Cinderella’ an undeniable guilty-pleasure , but a 2000s-style revamp which feels more out of time than a nostalgic trip down drama lane.

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