Although ´makjang´ was taking it almost over the edge of the bearable, I had to stick with it

A classic among KDramas. The dramaturgical moves may sometimes be predictable - the evil stepmother and such... However, there is this passionate play of truly dedicated actors . ...and a groovy interpretation of Ave Maria, that burns mercilessly into your heart and ear. Although makjang (Mean! Bitchy! Malicicious!) was taking it almost over the edge of the bearable, I had to stick with it. Some scenes still have an impact on me years later.

Human abysses are presented in abundance. In addition, dealing with different facets of true love. An unforgettable piece of KDrama, for those who can never get enough drama. Here you can emotionally let off steam on the backs of the protagonists. For everyone else it might be a bit too much in some places.

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The KMovie is carefree, harmless and heartily. However, it is not trivial.

"Dream" is about team spirit as a positive force that allows a group to excel itself. The KMovie is carefree, harmless and heartily. However, it is not trivial, as it sides with those commonly referred to in society as the weak.

You shouldn't expect too much, then everything works quite well. Obviously, IU and Park So-joon are the show's carthorses. But that doesn't do justice to the rest of the cast, who all contribute their unique esprit. “Dream” comes across as teamwork through and through.

Although it was filmed at original locations in Budapest, somehow, in my opinion, the casting (unfortunately) often enough doesn't work so well, when Korean productions are dependent on actors from different origin. For whatever reason. Even if it's only supporting roles or extras in this case, they seem to be rather amateurish. Hm.

All in all: “Dream” is a KMovie for high spirits and light fare. Not intrusive. With a few flaws here and there. However, also with some well-placed, wonderful and valuable messages in passing.

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Solid crime drama! Gripping! About an aged, cynical cop struggling in a dark, grim man's world

"Shadow Detective" offers solid crime thriller quality at a high level - gripping, dense, with South Korean Look&Feel!

As a Disney production, the series was produced explicitly for the international streaming audience. Accordingly, within compact 8 episodes the KDrama presents itself rather slim in terms of some characteristic dramaturgical, Korean-style storytelling elements. Nevertheless, a profound script, the committed cast and witty camera manage to create an enormous intensity and three-dimensionality.

"Shadow Detective" takes the audience firmly by the hand. The story does not have to come up with an excess of violence (as is so often the case with international, more masculine orientated streaming productions). I should mention, though, that it's primarily about older men in a man's world - and it's rather dark, grim, cynical.

Against the almost self-evident background of an almost unassailable, corrupt shadow world, the story focuses on the protagonist's inner struggle to do a reasonably good job as a detective despite the ailing system (... and to cope with aging).

Another season has already been announced.

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It is about the area of tension between longing, choices in life, accountability and responsibility.

"A Man and a Woman" is emotionally profound, yet subtly leading into intimate depths where it hurts, too. There are no pink ribbons. And the intimate encounter of two souls does not miraculously sort out the problems of the world in a groundbreaking way. Life is difficult. There are also unexpected beautiful moments. But life remains difficult. Is that why it's bad? Only bad? "A Man and a Woman" paints a portrait of two people who have careers of their choice and families - but life is still no lollipop. It is about having an affair. It is about wanting another life. It is about the area of tension between longing, choices in life, accountability and responsibility.

Highly valuable.

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A shining little diamond! An extraordinary masterpiece that touches the heart in more than one way!

For all those who like three-dimensional life in movies and television. For all those who, apart from the clichés, are open to more complex relationships and personal development processes. For all those who want to get involved with a downright hopeless fate at the 'lower' end of the social pyramid. In this context, one should not allow oneself to be driven away immediately by punches and kicking. "Padam Padam... the sound of his heartbeat and hers" rewards with a touching love story that, by Korean standards, takes its place in an almost sensual, sensitive way.

I already got to know Jung Woo-sung in "A Moment to Remember" as an exceptional actor, enriching his encounters and relationships with an almost sensual dimension. That alone is a unique feature that contributes enormously to the quality of this KDrama.

Nevertheless, it wouldn't do justice to the story (which is wonderfully told in all instances) to reduce it to just a romance. It tells the story of an ex-con and his fellow inmate. It quickly becomes clear that Yang Kang-chil actually was innocent. And even after his release 13 years later, he is not free from that momentous act that he did not commit. Rather the real perpetrator would like to finally get rid of him for good, as he had witnessed what really happened back then. And others, too, have not forgotten or even forgiven what happened back then.

Kang-chil, on the other hand, would like to make amends for the lifetime that was unjustly stolen from him in prison. He's a simple, uneducated young man, now in his 30s, who only learned crafts in prison. His vita has taught him to engage 100 percent in the NOW. He may seem simple, yet he sees life in simple terms. However, he is quite capable of comprehending, of taking action and responsibility as well. He choses a simple, direct route. If he is happy about something today, then he gives room for this joy TODAY. Not tomorrow. And he doesn't have to weigh up whether it's ok to be happy or not. It's the same with anger. In short: he follows his heart. And there we are with the title of the KDrama: "Padam Padam". As onomatopoeia, it refers to the heartbeat (and takes up the title of a chanson by Edith Piaf of the same name).

------ SIDE NOTE --- Importance of onomatopoeia in the Korean language ---
The title "Padam Padam" also refers to the fact that the so-called onomatopoeia/onomatopoeia is of particular importance in the use of the Korean language - it is about eight times as important as in other languages. In Korean, remarkably often in narratives one can encounter the simple (yet acoustically imitated in a culture-specific way) onomatopoeic imitation of simple natural sounds. The list of everyday onomatopoeic vocabulary is correspondingly long. With this content communication is expressed more directly, more forcefully, more concretely and more immediately. "Padam Padam" therefore not only refers to the heartbeat - symbolic of the life that one wins and loses again, or for the feelings of the two lovers - but also to the special portion of 'directly conveyed, sensually experienceable feelings', which the protagonist places in all of his encounters.

A lot of heart and soul goes into the hand-picked production design, which also mostly wants to leave a consciously direct impression for all senses. (Mainly we are in the rural areas of the coastal region of South Korea.) The landscape, the sunset, the lake at night, the fireworks, etc. impress through a high degree of aestheticization. Sometimes you have the impression that you can literally smell the sweat of the well-trained young men... At other times some scenes are repulsive, ruthless, almost ugly - yet still highly sensual.

So Kang-chil is sensitive, but he's also a tough guy. He's not your usual appealing protagonist. He is peculiar, impetuous, impulsive, irritating, and also disconcerting. But he quickly grows on you in his sincere, direct and sensual way. This is actor Jung Woo-sung at his finest. His female film partner Han Ji-min can't resist the intensity that emanates from him either. It's a pleasure to watch her being drawn into his spell. (Here I can expressly praise the chemistry between the actors...) And then there is Na Moon-hee, who once again embodies the bumpy, complex and yet emotionally real (South Korean) mother-son relationship in a three-dimensional authentic way. By the way, the men here are above all punching, kicking and spitting as if it were the most natural thing in the world. That may be due to the milieu in which the story is set, but not only. Even if it seems strange to the Western eye at times, the KDrama is authentically filled with life throughout.

The story finally offers a not inconsiderable special feature as an encore for its surprising developments away from your ordinary everyday life: a guardian angel (wonderful: Kim Bum with ponytail) .

An extraordinary masterpiece that touches the heart in more than one ways!

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Another milestone of epic love story & a new aspirant for the hall of fame of historical KDramas

Now that another 11 episodes of the second season of “My Dearest” have come to an end, I have a couple of additional thoughts, that I would like to add to season 1.

First.
In my opinion, the mission (I am here referring to the side note of my review for season 1) was a complete success in terms of the haunting dramaturgical interlinking of personal fates, love stories and a historical context, whose traumatic shadows for the national self-image extend to this day. Therefore I consider “My Dearest” as definitely belonging to the hall of fame of historical KDramas. And as a milestone of epic love stories, too.
So, on the one hand, there is the never-ending, tragic roller coaster of this fateful lovers... at times you may even become impatient that this (hopefully!) has to come to a happy ending soon, shouldn´t it? On the other hand, it is precisely because of those two significantly insignificant contemporaries and their personal context that we are cleverly torn ever deeper into the actual historical and political framework of that time. Whether we like it or not. Basically, we are of course primarily concerned with the touching dynamic between the two :-) but, nevertheless, we inevitably get closer to the dilemmas of the people, their problematic king and the political framework of that historical chapter, too... Thus, the emotional intensity of the love story kind of also serves as the cream topping for an audience, who is going all the way through this humiliating (preferably repressed) time for Joseon.

This brings me to the second:
I was positively surprised, how Confucian moral values (based on ruling authority, especially morality and loyalty) are openly pilloried in this production. Actually, the MBC KDrama production “My Dearest” from 2023 takes a pleasingly liberal stand, when it comes to a conclusion. Officially, in the narrative of the story, authoritarian values are upheld, but for the audience, this supposedly unerring path to ´order´ and ´harmony´ is clearly revealed to have failed.
It is said that the fish rots from the head down. Eventually, when it comes to such a stench, the noble, ethical-political teaching of Confucius must fail, too, if authority (embodied by the king, the teacher or the father) is weak, sick and delusional. Loyalty to a delusional king or an almost fanatical adherence to principles obviously borders on stupidity. Thus, it doesn't accomplish anything. On the contrary. Dramaturgically speaking, “My Dearest”´ haunting dynamic is driven by exactly this officially ethically legitimated, but then in fact again personally motivated 'stupidity' of some, who call themselves scholars or nobles. Practically speaking, it is about stranded traditional Confucian values… and therefore, as far as Joseon at that time is concerned, highly self-critical, too. (E.g. it is neither ONLY the Qing, to be blamed, nor ONLY the Joseon king…)

P.S.:
And as a third:
In my opinion, Ahn Eun-jin in the role of Gil-chae has really catapulted herself into a new league of acting over the course of the series - with her increasing presence, depth, authenticity and overall growing charisma. Respect! I'm definitely looking forward to further productions with her as female lead...

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You can look forward to a spicy mixture of fun and seriousness

For all the law-and-order series that the KDrama Orbit has so far produced in 2022, Law Café romps on the more witty, hilarious rom+com side. A web comic served as a template.

Nonetheless. For all its playful wit, it is also a production that has its serious moments as well. In the background wafts an ugly (as usual) Jaebeol mess at the expense of the honest simple people. In the foreground, the protagonist fights for the rights of ordinary people with a lot of passion, intelligence, courage and the active support of old and new friends as well as her (after all) love interest. The legal cases dealt with are close to everyday sorts of topics and provide an up-to-date overview of perennial issues such as bullying, child abuse, sloppiness in construction, etc.

The idea of ​​setting up a Law Cafe away from the usual law firm business is unique. There visitors can get professional legal advice in addition to barista coffee in a comfy atmosphere. All of the characters are originals, and their quirks and idiosyncrasies are cheerfully staged here and there. You can literally feel the underlying comic.

The focus is on the 'four-dimensional' personality of Kim Yu-ri. (4D in Korean standards means a particularly eccentric, freaky, quite special character. 4D is generally considered a compliment, especially in the teen and KPop milieu.) She meets the ingenious, former public prosecutor Kim Jeong-ho, her school friend from back then and also son of a rich family. He lately indulges in idleness, enjoys his life in tracksuits - as a writer and real estate owner. There's some harmlessly sweet, romantic flirtation of the Korean decent kind, but also concentrated intelligence and creativity in solving some intricate cases. The evil, powerful business bosses and their crazy doings find an appropriate expression in the phrenetically perfidious, exalted, almost insane boss of the Dohan construction company.

Bottom line: You can look forward to a spicy mixture of fun and seriousness. To a love story. To a cast in good mood. To lively entertainment. However, I have to admit that 2 (sometimes 4) episodes a week was quite enough for me. I could easily wait for the new episodes. Thus, I wouldn't call the KDrama gripping. It is rather shrewed and witty in places. Rather harmless. However, it is not completely banal.

Overall, special care was taken to ensure that everyone in the audience understood the seriousness of the legal cases being dealt with. The deliberately sincere, almost missionary approach to e. g. the topic of sexism and "Yes means Yes" is remarkable. The KDrama obviously wants to be more than just good entertainment. And I think that the production succeeds in this mission quite well: A rom+com K-Drama, derived from a comic, that gently but firmly grabs society by the collar, in a good mood and optimistically presenting creative ways, how despite all the existing corruption business surrounding the machinations of the powerful, justice could actually be possible. It wouldn't be due to the law, because that would at least actually be available...

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About a great service of love AKA a fateful, karmic relationship

"Past Lives" is a US production. Both the author and the two 'Korean' leads have Korean roots, but they did NOT grow up in Korea, nor do they live there. The story is autobiographically inspired and is dramaturgically presented in authentic dialogues on the one hand and selected, visually impressive sets on the other. It is about the aspect of fate (and or Karma) in encounters as well as pondering platonic love. "Past Lives" is indulging into the emotional world of more or less accountable and sensitive reflection of the protagonists, especially of those two extraordinarily mature, fine young men. You rarely see that. Additionally, as far as camera work was concerned, light and perspectives were chosen with care and thus implemented as supplementary actor, sort of. All this is quite wonderful and has already been widely praised. “Past Lives” is thus a movie well worth seeing.

This movie presents South Korea and an attitude towards South Korea through the eyes of a South Korean girl who during the 1990s emigrated with her family at the age of 12. She then grew up in Canada, tried her luck as a playwright in New York, married an American, received the green card as side effect, and is ambitiously seeking recognition and success as a writer today. “Past Loves” thus has its positive emphasis on life in the US. The protagonist´s family had turned their back on South Korea. However, besides everything else, that has been already mentioned all over the place, I would say, that "Past Lives" is actually indirectly, in a rather subtle, reserved, unobtrusive way, (almost overlooked and hidden underneath the shiny, promising dominance of the US,) about positive Korean specific qualities, too... Therefore…

Generally, “Past Lives" juxtaposes those two ´worlds´ rather dichotomously. THERE South Korea, the country of origin that was left behind - far away and rather in the background, in the camouflage colors of the military and surrounded by plenty of soju. HERE the USA - reduced to a highly stylized New York (and artist retreat on Long Island), that is bathing in beautiful light and selected colors. In several respects, the United States is presented as the unrivalled better choice.
However, we experience these worlds through the eyes of the protagonist. In Nora's eyes, South Korea stands for conservative narrow mindedness, constraints, lack of freedom (which to some extend is certainly true). The USA, on the other hand, for her is the symbol for freedom, creative power, partake (should, could, might as well…). Eventually, those world views turn upside down. These are prejudicial concepts, both of which are not generally correct, e.g. each not representing the whole truth.

So, KOREAN normal everyday life is portrayed as conservative, shaped by her parents perspective and Nora's childhood impressions of the 1990s: the young democracy, already economically shaken by the Asian crisis. Her parents were artists and as such one way or another most probably influenced by the shaky turbulences of pro-democracy movement of the 1980s. They wanted a fresh start. Yet, what remains in Nora's memories? Very vague memories of school days, of what was said at home, of the striking images that remain impressively to this day. Bottom line: 'Men have to do their military service.' 'People are conservative and unsophisticated.' 'Men dependently live at their parents´ home until marriage.´ ´You can´t proceed in life.´
On the other hand, NORTH AMERICA is the much-cited world of unimagined possibilities. For Nora specifically, it is about a liberal world for the arts. She´s dreaming about her successful future, while the ambitious daughter may actually be living a much wanted life in lieu of her parents, too, to a certain extent. However, this ambitious dream is symbolically captured as an aesthetically abstract decal of New York and the Montauk artist retreat. For Nora, the USA represent a possibility to fulfil her dream of international prizes as an author. Thus, the USA as the center of her life is uncompromising and practically non-negotiable. That's okay and understandable.

This South Korea in the movie has a strong touch of Nora´s own prejudices. Apparently, she never emotionally processed or reflected her relationship to her country of origin. A deficit, which may also narrow down the perspective of the audience. Therefore, I would like to stand up for positive 'Korean merits', which only shine through subtly. In fact, though, they are formative for the characteristic poetic quality of the story. They come along in the person of Hae Sung. Thanks to him Nora can finally hold the key to her emotional freedom in her hands. (Whatever she may do with it now...) Thanks to Hae Sung (so to speak) she got her story and thus her tremendous success as a writer and director, too.

If you don't identify with Nora´s enthusiasm for the US so much, it might be easier to recognize those ´Korean merits´. Hae Sung actually embodies the opposite of what has settled in Nora's mind about South Korea. He stands for a new spirit among the digitalized young generation - even though he is an engineer. She, however, sees what she wants to see, reducing him to military service, close family ties, his clearly structured career and his reserved answers to her questions about marrying or rather not marrying his girlfriend.
Nora overlooks the fact that in his half-hearted answers about marital responsibility he carefully avoids generalizations so as not to overwhelm her with his feelings for her. She overlooks the fact that Hae Sung is indeed the courageous creator of his own world, possibly facing life even more creatively and openly than she dares herself. He chooses to study abroad in China because he wants to learn the language and because it may suit his career, too. He is ambitiously following his career plans, just like she does. Nevertheless, he is open to life´s challenges and ready to completely turn everything upside down. He is actively dealing with what is going on between the two. He prefers not to go for a logical, reasonable marriage. Instead, he takes what his heart tells him, seriously. He wants to sincerely check it out. This makes him vulnerable, too. Actually it was him, who originally went looking for Nora. With courageous creativity he took the chances life had to offer in his own hands. From a practical point of view, HE thought creatively and acted courageously. Nora on the other hand was the one, who, to a certain extent, simply unwinds her program without looking to the left or right.

Back then, when she left South Korea, she just put her feelings away, came up with a new name, learned the new language and left her best friend (and Korea) behind like an old toy. Since then her feelings for her old homeland only slumber unconsciously in her dreams. In her life, which is highly concentrated on her career as an artist, her past and origins have not been given the place they deserve. Hae Sung has to come first to open the door to that forgotten dungeon of her heart.
Still, we don't know whether Nora was able to take the 'little one' in herself by the healing hand - the 12-year-old Na Young, whom she had left alone in the past. All we know is that Hae Sung gave her a chance to reconcile with her roots and a hidden, almost forgotten part of herself. His great service of love was: not forgetting her, not giving up on her; looking out for her; meeting her, too; recognizing her for who she is; reminding her of something else, that she had almost forgotten; and finally letting her be - in an understanding, loving, respectful, ´Korean´ manner. Even if it hurts.
Actually, being himself, he represented another powerful aspect of South Korea, that Nora had so far not realized as such: A finely nuanced, rather emotionally dominated and yet respectful attitude towards life. This in contrast to a rather dichotomously shaped - black/white, good/bad, yes/no -, rather reasonable approach towards life, as it radiates from her 'North America'-concept.

At the heart of "Past Lives" is the probing of the protagonists' feelings for each other. What are those feelings supposed to be? Platonic maybe? Or more than that? And of course the story lives from the attraction of 'What if?'. This careful scanning of a space of potentiality is processed aesthetically cultivated, and stylishly. Respectfully too. Finally there are tears. ´Past Lives´ it is… However, the striking poetic aspect of this story is only made possible (in my opinion) by this very South Korean Hae Sung, who is not afraid to meet the multilayered complexity of emotional depth, confusing affection and difficult challenges in life, and (!) who is also not afraid to back off in respect to a larger context either. Thus he eventually even provided her on the silver platter of his heart with the so much longed for international artistic success...

PS:
Must be the 'In-yeon' they keep talking about throughout the movie...


--------------------------------------------------------
SIDE NOTE:
In-yeon = a fateful, karmic relationship
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ambivalence

"Oasis". Hm. I've thought whether I should continue watching or drop the series... I've also considered more than once whether I want to write something about it... My feelings about this KDrama are ambivalent. However, the ´why is this?´ , is why I actually consider it worth mentioning.

Sure, there were bumpy details, like the boys' artificial skin tanning when they were young, but I don't want to dwell on those.
>> The decisive factor for me, not rooting so much for this show, was and is that I really do NOT care so much for ANYBODY in this story. I understand, yes. There is empathy, yes. But sympathy? I couldn't care less. I've never had that before. I actually didn’t care. Neither the love story, nor the incorrigible rival, nor the girl wanting to bring back her father's cinema – this all and more only had limited impact on me. That's why I was tempted to turn my back on the story. Yet, I don't want to deny the actors' ability. I would do them injustice. They did their job fairly well. There are a number of strong moments. But still, maybe they were not the perfect cast? In any case, I would argue that in “OASIS” the character portraits were simply NOT drawn that well. ...In my view, that's obviously NOT the strength of the script...

Then there is the historical context of the series – the rollercoaster ride of the 80's and 90's. In South Korea, they are the neuralgic interface between dictatorship and democracy. But I don't want to dwell on this either.
>> What was decisive for me was that the STORY of the KDrama really mattered to me – whatever triggered the dynamics, the twists and turns. Intertwined with it were indeed countless moments that touched me deeply. Starting with the seed that underlies the whole drama: the fatal loyalty of the former slave not only to his deceased master, who had fought for independence, but also to his son, whom he now still serves as a free man. And then also the fruits that came out of this seed. Plus a lot more. The circumstances, the constraints, the social context that shines through in how it shapes (or had shaped) people, all of this really had me .
The way these forces of time and history run along in the background as a matter of course and keep stirring up the lives of the protagonists at crucial points, I think the script did THAT quite well. (However, I don't know whether it would have worked that way if I hadn't already known something about the political and social context back then.)

Maybe I could summarize: The portrait of how the historical dynamics are intertwined with personal destinies is well done in "Oasis". The character portrait of the comparatively stale protagonists, on the other hand, is less so. This discrepancy, resulting in my rather indifferent experience of the main characters on the one hand, and the emotional force with which the story keeps lashing out on the other hand, is a phenomenon that I have never experienced in a KDrama before. (But I don't necessarily assume that this has to be the same for others as it is for me.)

Eventually, despite the ambivalence, I watched to the end and was always curious to see what would be next. I can't say I regret watching either. But then I wasn´t all that happy in the end - even though I was partially impressed by the showdown, (yet, again, only partially.)



----------------------- Tiny side note: -------------------------------------

Re: 80's and 90's:
In connection with e.g. the KDramas "Sandglass" and "Giant" I have already given some of the political coulors of the 1980s and 1990s. Much of this applies to the historical context of "Oasis" as well. (you might want to check there.) Here, though, the dubious role of the secret service comes more into focus.

Re. Movie theatre:
The dictatorship was characterized by censorship. In addition, there was no freedom to travel. Accordingly, the cinema was like a window to the rest of the world, and generally offered a canvas to dream away from one's own misery, at least for a while. That may be more or less true wherever you look on this planet. But in South Korea at that time certainly more than i.e. in Europe. The role of the ´cinema´ in "Oasis" not only coincidentally represents liberation (struggle - especially of the female protagonist).
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Ps.:
Because of this KDrama I stumbled over another one - same title, 20 years older: "Oasis (2003) " or "Desert Spring".
I am grateful for this discovery thanks to the name-connection. Actually I liked that older one (despite the specific doing of that time) even more...
Nevertheless I consider "Oasis" (2023) having its moments, too...

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Suspense-packed. Elusive. Tough - KDrama shows us a poker face in several ways

"Insider" grabbed me from the first minute. It was exciting and unpredictable, fascinating regarding the world of card gambling and convincing with a consistently top-class cast. The story is knitted around the ever topical issue of corrupt South Korean society. You will not find good and bad in the classic sense. Dark shades of gray on the gloomy side dominate the picture. The focus is on the sobering practice of substituting compromises for morale. And those who are not willing to compromise may experience violence. In this context, the KDrama is also brutal on a high level.

Can one person change the predicament of a corrupt society? In recent years, the KDrama has conspicuously often asked this question. Here the son tries to do the same as the father and at least tries... because: if you don't at least try, then nothing can change. So he wants to go to court and do his part there to ensure justice. Also undercover, if it may help. The question remains: Can one person change something about corrupt social structures? Does it help when illegal activities are uncovered? Or will everything in the end remain as it was, since new characters simply fill the vacant roles?

"Insider" focuses on the networking of politics, criminal prosecution and specifically institutionalized criminal organizations. Democracy has practically no chance in the face of these almost overwhelming networks that decide in the background and create facts. It's bitter to see. In particular, the handling of the law, which appears to be swung almost like a sword in the interests of the powerful, thus relentlessly destroying any hope of justice for honest people.

In this respect, "Insider" is more of a pessimistic story. I admit that I'm ambivalent about this overall quite brutal KDrama. It's repulsive but fascinating at the same time. The story ruthlessly unfolds its impenetrably entangled threads. It tells of outrageous machinations of the powerful and infernal manners in prison. Also about being mercilessly dependent on oneself. It tells of the desperate attempt to avenge injustice.

The dramaturgical leitmotif running through all of the 16 episodes is quite concrete and also symbolic: the impenetrable poker face. Illegal gambling with cards dominates "Insider" from the first minute to the end. Especially at the beginning, the card game itself is in the foreground. As the series progresses, the viewer's perspective shifts to the meta level of casino management and what may be attached to it. But who is up to something here and who is on the side of the protagonist remains unclear until the end. Who or what should you bet on? KDrama also shows us its poker face and simply plays its cards unperturbed - one episode after the other, until the end.

In my opinion, the permanent increase in tension during the first 8-10 episodes, which are mainly focused around prison-life, is like a permanently increasing climax - and the most impressive (yet challenging) part. After that, the actual revenge campaign can only lose. Not because it is not also based on a high level of quality, but simply because this permanent increase in tension cannot be continued forever. In the meantime, the audience has so many open plot threads in their hands that they now want to be resolved before they completely lose track (and interest).

Kang Ha-neul as main lead is incredible. He embodies the difficult process of change in the personality of a highly motivated young trainee at court who involuntarily has to get to know the dark end of society up close. If he doesn't conform and play by their rule, he won't survive. However, if he survives in this dark parallel world, he can never be who he was.

But everyone else around him also keeps up the intensive field and contributes to the convincing overall performance. I was particularly drawn to Kang Young-seok, who practically excelled alongside Kang Ha-neul in the first half. It's unbelievable how he manages to embody the worst merciless willingness to use violence on the one hand and yet still somehow is able to win sympathy on the other. A strong, unforgettable performance!

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Captivating spy thriller, intelligently questioning the philosophy and ethics of secret services

"The Veil" is a really exciting, all-round first-class KDrama in the secret service milieu. The world of spies, the unconditional obedience to orders and professional ethics as well as the swampy terrain surrounding ´right´ vs. ´wrong´ / ´good´ vs. ´evil´ is not only extremely exciting, but also multi-layered and downright critical. (With "Moebius: The Veil", the makers provide background information on some of the central characters of the series in an equally gripping 2-part prequel.)

At the center of the "The Veil" is an excellent agent of the National Intelligence Service (NIS), who suddenly reappears out of nowhere one year after his mission had gone wrong. He has no memory of the past year whatsoever, but is determined to find the cause of failure at that time.

The international title of the KDrama refers to the veil of the protagonist's memory that is lifted in the course of the story. At the same time, it also refers to the veils within the NIS behind which many secrets are kept hidden, and what happens when someone wants to lift them. In the original, however, the title is translated "Black Sun" and refers (no less symbolically) to the phenomenon of the solar eclipse.

MBC spared no expense or effort in the production of "The Veil". With this series, the station is celebrating its 60th birthday in 2021 in a successful way that is well worth seeing. Not only excitement and action are guaranteed, but also an intelligent story that is up to date. (See side note below.) The gripping script is multi-layered with numerous characters who repeatedly move back and forth between the poles of good and evil - eventually, in this intelligence service profession it is neither clear who is who, nor is it unambiguous why...

The overall first-class cast has proven itself altogether through their strong, convincing presence. Namkoong Min in particular gives everything here. He is hardly recognizable compared to e.g. "Stove League" from 2019. For "The Veil" he had trained intensively and gained 10 kilos of muscle mass. He impresses with his powerful physicality, which gives his role even more weight. In that sense, he also performed all the stunts himself.
(Apropos stunts.... this KDrama has its bloody, brutal side, too... for some it could be a bit challenging at times...)

Right down to the camera, light and music, everything is of the highest standard. Since both the characters and the story are so sophisticated and complex with many details, the KDrama is also suitable for re-watch - even if you know how it ends...

"The Veil" is a captivating spy thriller of international caliber that intelligently questions the philosophy, mission and ethics of the secret services from multiple angles. The story also deals with recent history and political past, with present and future ´NIS´ of South Korea.



------------------ SIDE NOTE: --- political/historical context of the NIS ---

The NIS has only had this title since 1999 - and not anymore since July 2020, to be precise. (The story is from 2018 though.) The history of South Korea's intelligence agency is paved with some abuse of power over its own people on South Korean soil.
The South Korean intelligence service originally goes back to the KCIA (Korean Central Intelligence Agency) from 1961, which General Park Chung-hee had initiated. The responsibilities included overseeing and coordinating both international and national intelligence operations and investigations by public and military agencies. The power to get involved in political events (unsolicited and without permission) was correspondingly great. With all this, the KCIA is also one of the elite of Asian secret services in terms of the demanding training.

Following the end of the military dictatorship by General Park Chung-hee, who was assassinated in 1979 by the then head of the KCIA, the KCIA was purged and operated as ANSP (National Security Planning Agency) from 1981. Their most important tasks included spying on North Korean activities and, for example, the suppression of political activists of the pro-democracy movement in their own country.

In 1999 ANSP became NIS. For its part, the NIS actively intervened in domestic politics in favor of Park Gyun-hye (daughter of the former dictator) during the presidential election in 2012, prompted by the head of the intelligence service, Won Sei-hoon. In fact, that NIS campaign against Moon Jae-in resulted in him narrowly losing the election. Meanwhile, Park Gyun-hye has been in prison since 2016 on serious corruption charges, and Moon Jae-in has officially been in office since 2017 (-2022) as the 12th President of South Korea.

In 2020, the government, the presidential office and the ruling Minjoo party agreed that the state secret service NIS should stay out of domestic politics in the future. In connection with corresponding reforms, the NIS was renamed "External Security and Intelligence Service". Illegal actions by secret service employees, abuse of power or interference in domestic politics will from now on be subject to severe penalties.

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Idiosyncratic SK interpretation of a sequel to 'Sleeping Beauty' from the Prince´s perspective :-)

I would like to see the KDrama "Yong Pal" as an idiosyncratic South Korean interpretation of a sequel to 'Sleeping Beauty' in the modern zeitgeist, which is told from the point of view of the prince - what had actually happened after the two had celebrated their wedding at the time? ..."Yong Pal" gives its own makjang-infused answer several centuries after the Brothers Grimm :-)

Obviously, the story also has a critical focus on recent health care topics. Basically, the Hanshin Hospital takes center stage. This belongs to a Jaebeol conglomerate. Yong Pal is employed here as a talented young intern. But Yong Pal also works illegally as a doctor. Provided the price is right, he treats those who need medical care below the official radar of the health care system. Yong Pal gets promoted as exclusive doctor for the discreet care of the VIPs, too. On the 12th floor, the very rich and most influential patients stay within a separate department of the Hanshin Hospital, where, in addition to plenty of luxury and discretion, only the best medical care is guaranteed. Towards the end, Yong Pal also works as a doctor in a simple, small, rural clinic. Thus, in the course of the KDrama the protagonist's field of activity (and challenges with ethics, or rather the lack of it) covers the broad spectrum and the current focal points of the topics in health care (i.e. in South Korea).

In the beginning, Yong Pal is clearly at the center of the story, captivating the audience. The focus shifts after he meets coma patient Han Yeo-jin and helps her to regain consciousness, strength and her rightful legacy as Jaebeol of the Hanshin Group. From then on, everything revolves more around Yeo-jin and her vendetta. This isn't less impressive, especially with Kim Tae-hee's intense acting. However it is different. The second part thus offers pure Korean-style Makjang: more drama is always possible. As a result, storytelling takes another lane. (Many viewers obviously don't seem to have been very happy with that. Makjang fans, however, will definitely get their money's worth.) The transition between the first and second parts is moderated by a transition, which is filled with the blossoming romance between the two protagonists. From then on, however, there is hardly any room for a love-life in the protagonist's bitter fight for inheritance and revenge, in which she is ready to take any means. (You may want to take that against the KDrama as well.)

All in all, "Yong Pal" is a moving story that is grippingly exciting at the beginning and furthermore tells of a makjang-charged revenge. Love story included. Due to the success of the series at the time of broadcasting, actually two more episodes were added.

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The main focus is not primarily on the action but the intervals. Intimate play. Highly committed.

The story is told quite sensitively, calmly, just a few dialogues. It is almost studio theatre that relies on the two main protagonists and thus on the haunting performance of Bae Yong-joon and Son Ye-jin.

´He' is typical male, who feels like he owns the world - and now being confronted with his pride being hurt , whereas 'she' represents everything that makes a "good" wife: devoted, caring and - in case of doubt - convinced that she herself is to blame. However, for both of them as their former worlds fall apart their encounter sets processes in motion. They start questioning their lives. Quietly the chance for new orientation, for a new self-image and changed standards when it comes to relationships open up.

The title "April Snow" refers to the fact that the two protagonists love different seasons: he loves winter and she loves spring. Snow in April thus symbolizes a bridge that leads the two together. In the original, however, the title reads something like "Excursion" and refers to 'his' wife and 'her' husband who, as part of their affair, go on a secret trip on which their serious car accident brings everything to light...

(At first the story somehow reminded me a bit of the US movie "Random Hearts" from 1999. The KMovie "April Snow" from 2005, however, is not a remake, just a similar story.)

Yes, it is not a funny movie. Yes, it is intimate play on high studio theatre level. No effects. Just intense play. The main focus is not primarily on the action but the intervals in between. It´s different. Highly committed. Intense.

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An inverse function... Consider the journey the reward. Truly captivating.

Two core components of KDrama characterize the recipe of "Secret": Firstly, the rich and powerful can obviously get away with anything. Secondly, a secret not only changes those who know about it, but eventually comes to light. Yet the brilliant mixture of this pastry makes the difference: the fatal initial constellation of the relationship dynamics is so cleverly shifted, twisted and tricky in several emotional loopings that the emotional world is completely turned upside down - an inverse function...

For quite some time I avoided this KDrama, because (from the description) I thought I already knew how the story was going to go. ...Quite familiar, already seen many times... However, at some point I just wanted to have a glimpse (probably because of Ji Sung). What a surprise: it was truly captivating...

Moments of foreboding and predictability, yes, there are. But believe me, that doesn't stop you from wanting to see HOW things in their complicated entanglement can still turn out for the best. On the contrary, you CAN´T WAIT to experience that! The destination may be known, however, consider the journey the reward.

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A fancy, unusual treat for crime thriller fans

"Longing for You" offers crime and more at its best. Nice to have along the way: a bit of salt in the fresh air of the coastal town where two of the protagonists grew up in.

The public prosecutor's office and the police form a special investigation unit in the case of a serial killer. Solving the case is one thing - an that is overrun by further victims. The internal dynamics within the team as well as emotional complications between further characters are another. Both crime case and complex personal dynamics being jointly combined within a splendidly explosive mixture make “Longing for You” a fancy, unusual treat for crime thriller fans.

We abruptly stumble into an opaque spider's web. The KDrama thrives on its bizarre, strangely interwoven relationships. Abyssal. A bit chilly at times. Mostly harsh and brusque. But sensitive and touching in well-placed spots, too. Suspenseful until the end. Whenever you think you have a clue, the story takes a new, unexpected turn. As I said, a fancy, unusual treat for crime thriller fans.

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