Oversweet nostalgia, very tastefully executed

More in the style of a fly on the wall documentary, this sensitively scripted and filmed piece follows two nascent young women into the world of the Maiko. It has an art-house style that favours snippets of ordinary conversation to create the ambiance and atmosphere of their life rather than “telling” any type of story.

It’s a piece to immerse yourself in and it creates a glimpse into a secluded world where time has attempted to stand still. A world of women which is gentle, ordered, bounded, protected and essentially safe. But it has a cost and one of the characters says, “I can’t imagine how us girls could ever live outside of this city”. The restrictions imposed are like the inhibiting clothing and hairstyles, superficially attractive but stultifying, requiring a real-life sacrifice from the participants which is featured in the story. Overall though, the drama puts a glaze over their experience, effectively creating something sugary and homely, much in keeping with the nostalgia that inhabits their profession.

There are minor frictions but don’t look for antagonists creating problems to solve. The characters are universally pleasant and even the more troubled teenager is hardly abrasive. So there is no real depth here and it suffers in my opinion from being overly sweet.

The drama does not seek to contextualise the profession in terms of modern society and virtually all of the paying clients are shown as Japanese middle-aged men, representing a staid conservatism that reflects the stated desire to preserve the past as cultural heritage. There is none of the modern catering for tourists here, even though the photo opportunities when the Maiko are out on the streets is highlighted. Neither is there any discussion or concern shown for the future of such an expensive pastime that services a very small, select clientele.

Food is used as metaphor within the show and each episode features a separate dish. It was a deliberate design feature as one of the main characters becomes the cook and the series is named for that role. As I am fairly ignorant of Japanese cuisine and culture in general, there were abundant occasions where I felt that I was missing the references which were not explained. This would point to the drama being written for a domestic market rather than international consumption.

The cinematography uses as close to natural light as possible often creating the feeling of cloudy days and dim interiors and keeps the modern world of bright lights and kitchen conveniences at bay. The colour palette is very muted and this lifts the contrasting brightness of the maiko’s clothing, emphasising their uniqueness and separateness from the world around them.

Although I did not personally fall in love with this drama, the quality is undeniable, hence the rating.

What my rating means: 8+ A great drama with interesting content and good writing, direction, acting, OST, cinematography. But didn’t quite have the requisite sparkle to bump it into my all-time fave list. Worth watching.

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Sucky blanket romance

A sucky blanket of a romance, with all the normal tropes of love triangles and quadrangles and anything up to dodeca-angles; absent family; hair-pulling fights; past encounters; ML going from distant cool to close warm; men facing off like boys; and of course all the standard clichés of country life. The plot is a well-worn trail of the obvious, so you don’t even have the stress of wondering what’s going to happen, even though they have to cram it in the last episode.

One of the benefits of country shows is at least there’s less PP! Unfortunately though it does step in and manage to kill the mood… ah I really should get over it, but it’s done sooo clumsily here.

Look there’s nothing original, everything is bland, innocuous and inoffensive (and that includes the chemistry, or lack of it) but the short half-hour format makes it an ideal watch for those times when you’ve come home exhausted and all you want to do is curl up in front of the fire and veg out with something totally predictable, brainless, sweet and cosy.

What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.

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Everything-in-one-pan sort of comfort food.

I was trying to work out why this one blew up and got the attention it did. And I don’t think I was the only one, I think the whole company were probably a little surprised too. So what I came up with was that they managed to find the perfect recipe for how to appeal to the maximum number of possible audiences - a producer’s dream. And how, imo, did they do it?

By cherry picking from all the genres and eliminating the potential bitterness before making a judicious blend of sweetness, with a twist of out-of-the-ordinary, that is just sufficient to stimulate almost everyone’s tastebuds. It has the ingredients of a melo without excessive wailing (well it does get a bit wet though, just note the title…); a romcom without cringeworthy comedy (mostly); a makjang without full-blown psychosis (just regular hysteria); a conspiracy without frustrating mystery (but a few too many conveniences), and a slice-of-life romance (plus free homilies) without the plodding reality.

It manages to be a very clever balance of light and dark. Nothing stands out as particularly noteworthy in itself, but put together it becomes great comfort food. Somewhat like all our beloved, over-rated national dishes that tempt the foreigner into disappointment because they expect Michelin stars and it turns out to be your grandma’s cooking.

Overall, it failed to really impress in the creatively inventive/awesome stakes but it delivered a solid script; credible good characters (aside from the ML being ex-special services, puleeeeease…he would have been breakfast); dastardly bad characters and some hearty performances, especially from the leads (and a personal favourite, the shameless rum flip, Grace, played by Kim Ju Ryoung). However it stumbled on the plot front probably because it had too many chickens on the rotisserie. It worked well until about episode eleven, but then the plot began to curdle in certain areas as the focus shifted more to the melo. By the last two episodes, it was shredded and went into makjang meltdown followed by a layer cake of all the genres piled on top.

So, to sum up, if you want the equivalent of a Jamie Oliver everything-in-one-pan sort of meal, you have found it. It’s finger-licking quality with good home grown meat and veggies plus a grating of cheese. Such a thing is hard to achieve so credit to those concerned. It’s the sort of comfort food you’re happy to come home to, but not up there for a gourmet night out or a revelatory culinary experience.

‘Nuff said. There’s already at least 6 pages of “reviews”, posted well before it finished airing!

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A drama with potential, let down by lack of finesse.

The writer, Noh Ji Sul, penned the full-on, tear-stained melo, Scent of a Woman and also 100 Days My Prince (which I haven’t seen). Here we have out and out romcom for the first half and melo-drama for the last part. It’s worth noting that the genre tags are romance and drama, not romcom. It seems she likes extremes and she mixes them here in line with the current trend of fudging genres.

Being used to fixed genres it can sit uncomfortably when they are blended. A great deal of viewer enjoyment comes from having expectations fulfilled. When they are not the viewer is pulled out of the world of the story to deal with their own reactions. You can see it reflected in the comments section for this show. However, in the constant search for something new and different I can see this trend continuing and no doubt we will all adjust our expectations accordingly.

This story is set in two different time periods but the movement between them is somewhat random. Sometimes there are links via dreams, other times were are just catapulted back, which felt disjointed. Some visual/cinematic clues would have gone a long way to smooth the jumps and wouldn’t have been hard to implement. Just part of the overall lack of finesse I mentioned in the subject line.

Even in the present, the timeline was repeatedly twisted up. Once or twice will have the desired effect of increasing tension, but when used too much, you know you are being manipulated and it becomes annoying.

The plot in the past could have occupied a whole drama in itself but was rushed through. I felt the balance in the overall story was off, particularly as I spent the first five episodes twiddling my thumbs in the present time waiting for something to happen. If the writer, and later, the director/editor had decided on a more even weight and distribution throughout between past and present it would have woven a better and more compelling story.

I was puzzled in the first two thirds of the show why they should like each other at all. There were very few interactions that could build attraction and yet all of a sudden there was undying love. Later on the chemistry really worked and drew me in, becoming much more believable. But the viewer needed more ground to stand on early in the piece to give it credibility and a more clever weaving in of the backstory would have solved the problem.

The opening episodes are really at a romcom level, and the action is highly exaggerated to suit that type of presentation. But it does tend to undermine the credibility of the emotions to the point that I felt character integrity was being sacrificed for the sake of a joke. Whereas at the end credibility was sacrificed for a somewhat ridiculous stalker plot.

Rowoon has been very busy in some top-rated dramas in the last few years and he’s not stopping. Is he more than a pretty face? Well he does a decent job here, although his perfect good looks need to be ruffled a little more to really convince. I liked Jo Bo Ah’s performance better, and she is also an actor on the rise with some noteworthy performances on her CV.

In supporting roles, Park Kyung Hye gave a brilliant comedic performance as the desperate Son Sae Byeol, deliciously contorting her face like a slapped arse for most of the time. And Hyun Bong Sik oozed as the slightly sleazy manager Gong Seo Gu.

The cinematography in the historical section is beautifully done, with great use of colour and contrast. There’s some traditional fireworks and those scenes were very beautiful. I’d really love to see those myself - one for the bucket list…

What’s the line between accepted notation and cliché? Is it a matter of viewer perception? For me the accepted notations, such as flickering lights meaning spooky etc, were just too frequent not to fall into tired cliché. There was a distinct lack of imagination and freshness in dealing with the supernatural aspects which really should be laid at the door of the director. As far as the script goes, there’s not a lot of subtlety. It gets the job done rather than looking for novelty. You won’t have to read between any lines here.

Finally, it really isn’t hard to decide what season a drama takes place in. And here it was all over the place. People wearing shorts at Christmas, everything full green and verdant in the depths of winter. Talking about being cold and then hanging out outside. Just unnecessary, sloppy production.

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Hard-core, unrelenting melo relieved by some good performances

Don’t be deceived by the trailer, this is wall-to-wall weeping melo with a few flashes of sparkle to light up the path. We start with a big shock early on and then gradually add trauma to the mix for each character as we go. It’s pretty unrelenting.

This is the main drawback, it tries to pack too much in and takes on too many themes. A secondary focus is child-parent relationships and nature versus nurture. This theme led to the introduction of a lot of characters and some distracting and unnecessarily complex story-lines, one of which is introduced quite late. They have a different resonance to the main plot and disrupt rather than reinforce the central story. The pace of the drama is slow enough at the start to realise the emotional developments, but as the plot becomes more complex the treatment becomes more superficial. Some plot-lines need more attention to be worthwhile and on occasion the emotional impacts are truncated and left hanging.

The romances are somewhat half-hearted and it is notable that the male characters are all listed as support roles. The focus is split between the women’s friendship and their love lives, which means that neither get the strong treatment that they deserve.

The editing of the last episode doesn’t feel smooth to me and although the ending creates the right emotional mood the story-line is fragmented. It pulls its punches and loses something in the process.

On the positive side, it is prepared to get down and dirty with real feelings and conflicting emotional responses. And there are some good performances, particularly from the three leads, Son Ye Jin, Yeon Mi Do and Kim Ji Hyun. The relationship between the them had a believable chemistry and there is a naturalness to the delivery of the lines.

Overall, this is not a bad production, but it carries far too much weight to be an easy or compelling watch.

What my rating means: 6+ Some aspects of it were OK but it had serious flaws. It will pass the time but you can find something better.

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Beautifully crafted but ultimately lacking the magic ingredient to make it really great

There is so much to praise about this production. In particular the cinematography and soundtrack are outstanding. The acting is good, the characters are appealing but the requisite sparkle, which can only spring from a really great script with insightful dialogue, was lacking. It’s not that it was bad, rather that it was ordinary and it wouldn’t have been so noticeable if the rest of the production hadn’t really shone.

The beginning in particular requires patience. If you need to be instantly captivated, forget this one. At the start it was pretty fragmented with nothing much to grab the attention. When you start writing a novel you can usually just dump the first two chapters because they are about writing yourself into the story and the first couple of episodes have that sort of feel. But persistence at this point will pay off in the end.

For the first third, many of the scenes are very short and there isn’t really enough personal interaction to pull you into the depth of the characters or reveal their uniqueness. The dialogue is sometimes quite fanciful and self-consciously poetic and is not always in keeping with the character speaking it. Time and effort is spent with the soundtrack and cinematography which would be better heaped on the relationship interactions. Imo, you need to engage the viewer with your characters from the get-go, then there will be time later for more emphasis on production values. There is not much to hold onto at the start and as a viewer I had to do a lot of work to generate the emotional connections. But later on it pays dividends as the actors slowly reveal the inner world of their characters.

I was not always convinced of the connection between the younger and older versions of the characters and it didn’t help that the actors playing the young versions, didn’t really resemble the actors playing the older ones. And neither did their character traits feel properly aligned. This is the fault of the director (who also wrote the script) as presumably the casts from different time periods didn’t meet each other on set.

Ok having said all that, let’s get into what was great about this drama.

Once used to it, I loved the interweaving of the past and present. The past shed light on the present and vice-versa and it was cleverly done by the author. At the start I was a little confused but soon settled into the structure of it. Memory loss again… which this time was put to good use and if it wasn’t such a hackneyed and clichéd trope I would have enjoyed the role it played here more. It was less of a plot device and more of an emotional device to create an unfolding of intimacy.

The soundtrack is something special, very thoughtful and inventive. There are so many different songs, many of them in English and the use of Bach’s theme from the Goldberg Variations is so poignant.

Beautiful cinematography. With a rich, deep, saturated colour palette in sombre blues and greys. Blue is the signature colour that runs throughout particularly in the clothes and the lighting. Replete with a liberal sprinkling of exquisite compositional set shots using carefully selected colour, form and space. There was also a clever use of aerial and space imagery and an absolutely stunning dance sequence.

The best performances came from Mitsushima Hikari and Satoh Takeru who added a depth of poignancy to the interactions that produced some beautifully moving moments. Overall, this is well worth watching and will leave you with a sweet taste in your mouth.

What my rating means: 8+ A great drama with interesting content and good writing, direction, acting, OST, cinematography. But didn’t quite have the requisite sparkle to bump it into my all-time fave list. Worth watching.

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The oppressive cost of power and order

I’ve just binge-watched this show. I hadn’t intended to but I was caught up with it because I was fascinated by the focus on the limitations and demands of order. If you’ve come in hopes of a standard romance, then you may well be disappointed, because love is shown to be just another victim of the rapaciousness of order, flapping pathetically like a bird in a gilded cage. But hopefully the deeper and more thoughtful themes in this show will captivate your interest.

The drama explores the necessities required by order to maintain itself. To sustain a cohesive society with all its factions it is necessary for the powerful to be bound. The necessity to prevent rebellion/chaos and maintain order is alive in every rule. Loyalty is the only currency. Loyalty is to the one you serve and once that person is dead, you are unceremoniously ejected from the seat of power as your loyalties are no longer fixed and therefore questionable. Everyone, including the king is bound by those rules and must follow them or pay a heavy, and often fatal, price. Within the confines of the palace freedom is the illusion that everyone craves.

The oppressive cost of power is explored through a number of characters, who deal with the shackles in different ways. Some scheme to undermine it, some scheme to try to create safety for their own group, some feign ignorance and keep their heads down, some scheme to gain unassailable power. The FL resists it, fighting to keep a tenuous hold on the fragment of autonomy that she has carved out for herself. Universally, everyone is forced to hide their true feelings and conform to what is required of their role. The suffocation of those endless formal bows and the life spent simply third in line, half bent over, in the small procession that follows the king everywhere he goes. But in the end there is only one way to survive, as one of the characters says, (paraphrased) “if you can’t beat them, join them and go with the flow”.

The role of women is particularly explored here and it is no surprise that the uniqueness of this drama is the result of a female perspective, both in terms of the writer and the director. If you liked the film “The Piano” (Jane Campion) then you will see echoes here of how sex and genuine love are used to “buy” relief from loneliness and the burden of responsibility, and the options available to women in response to those demands.

In terms of the acting, both leads were very convincing in their parts and were surrounded by a good supporting cast. The script was not outstanding in my opinion, but more than adequate to the task. It occasionally slipped into mawkishness, but also surprised in other places. In a drama that relied on the believability of the relationships, the plot lost me sometimes, particularly with regard to the letter and the kidnappings scenarios. However, I can credit that they were used to illustrate broader themes.

Overall this was a surprisingly good drama that far exceeded my expectations and gave me a lot to think about. Recommended!

What my rating means: 8+ A great drama with interesting content and good writing, direction, acting, OST, cinematography. But didn’t quite have the requisite sparkle to bump it into my all-time fave list. Worth watching.

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Relationships laid bare with honesty, comedy and a splash of melo

This isn’t a romcom, but it does have both relationships /romance and comedy as basic ingredients. It’s something that you need to have some good and bad relationship experience to really accept and appreciate. There are no Cinderella and Prince Charming moments here, it is not love conquers all, let’s get married and live HEA. It’s about messy human beings struggling with self preservation and self awareness.

A constant theme is that life is a mixed bag of good and bad, happy and painful, and that you have to accept and negotiate it. Set in the world of divorce lawyers, it examines the fragility of relationships in the wider context of family and also the compromises to be made in the face of difficulties. In general it doesn’t over-sentimentalise but allows the imperfections full display and counts the cost of them.

The first episode is funny, vicious and finally vulnerable, and it sets the scene for what is to come quite well. Divorce and relationship strife is a lose-lose situation and it brings out the worst as people fight to salvage what they can from the wreck. The stories highlight the pressure from all sides that causes the inevitable hardening of attitudes .

The drama is not profound and doesn’t set out to preach. There is also a healthy dose of compassion along the way. It manages to take on some very difficult themes and work with them, not always entirely convincingly, but with enough sincerity to carry you through.

However, there are some great one liners, and it showcases how humour is always the fallback mode for survival. It periodically utilises some of the darker shades of comedy to keep the mood lighter. Sometimes it flirts with the line of acceptability and credibility but on the whole stays on the right side of it and draws back when necessary to keep the integrity intact.

It’s a difficult balance to strike and I think they did quite a good job initially in meshing it all together but the further in you get, the higher the stakes, and the more it fails to gel properly. The full-on melo in the final episode was not to my taste, ‘cause I’m a less is more sort of gal, but the final outcome was right for the characters imo.

The performances were good but not outstanding. There was some great observation and enough character development to make it interesting and real, but at times the comedy elements did disrupt that and some scenes were not adequately prepared for.

This is the only writing credit on MDL for Park Jin Ri. If it’s a first attempt at being a main scriptwriter then I think this is definitely someone to watch out for in the future. She has the ability to create interesting characters and the insight to give them depth.

Overall I liked this drama, but then I’ve got a whole bunch of life-experience to empathise, smile knowingly and appreciate the ironies. It isn’t brilliant but I think it’s better than average so I was in two minds about the rating. However, in the end I chose the lesser as I couldn't really justify the higher. If you’re into wish fulfilment you won’t find much of that here and I recommend you to flick channels and go for “Crash Course in Romance” instead.

What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.

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Have a bucket handy

I don’t know how much cutesiness you can take before being in urgent need of a bucket. I’m not good with it, so be warned, there’s one couple whose nausea rating rockets past stratospheric and had me retching for the FF button. Talking of couples, the word incestuous, seems almost ready to spring from my lips. It got so bad that even the celeb posters in the lobby were making out. If it could move it was paired up with something that only needed to show signs of breathing. Compatibility was an irrelevant afterthought if it was there at all. But hey, I’m not a sourpuss, and if it’s a bit of fluffy romance you’re after, then this is definitely your drama!

Actually, for once, the leads were the best couple (Lee Sung Kyun and Kim Young Dae) and I really liked both their performances.Not the hottest pairing ever, but they had likeable characters and played them well. Second up in the credibility stakes was Park So Jin and Lee Jung Shin. After that it goes downhill pretty fast…

Unlike most dramas, which start and end well but flag in the middle, this had a great mid-section a passable beginning and a totally forgettable end. Unless you’re an aficionado of PP you can skip episode 15 altogether and not miss anything at all.

What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.

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An insightful look into messy relationships

Sorting the proverbial wheat from the chaff of MDL low-rated dramas is always hard. But this is one of those totally underrated dramas that probably got low marks because it does not portray mr and ms perfect living HEA. Instead it explores the messy dynamics of grown up relationships and the strange choices we sometimes make that lead us into places we did not even realise existed.

If you’ve been round the clock a couple of times there’s going to be moments in this drama that bring a wry, knowing smile to your face, that are probably totally inexplicable to the inexperienced. And that’s what makes this drama work for me: the writer knows what he is writing about and it shows.

It explores the blindness that exists in all of us when we fail to realise that other people, even those we are intimate with, live in a world that is separate from our own. They are different, yet we do not clock those differences but make assumptions about what they think and feel based on what we ourselves experience, or the mistaken perceptions we have of them.

The reasons why people stay together isn’t always obvious and the hidden needs which outweigh the disadvantages, hurts and confusions are given an airing. The drama reveals and explores the overinflated price we are willing to pay to hang onto our emotional vulnerabilities so that we don’t have face them and what happens when we decide not to meet the cost any more.

Four characters, in two couples, with fundamental flaws are forced to face themselves, learn about their partners and embrace the responsibility they bear for their three-wheeled relationship going round in circles and falling apart.

This is an awesome cast, totally capable of revealing the comedy and the pathos with equal ease. Lee El and Son Suk Ku, who appeared together in the brilliant My Liberation Notes, are joined by Bae Doo Na and Cha Tae Hyun (who is new to me). They all have a handle on how to unroll a character and dig into the murky undercurrents and here is no exception. Although they all add something to the night sky, Bae Doo Na outshines the other stars in the constellation. Her ability to take you through the whole range of emotions and fully realise the character written in the script is outstanding.

Ultimately it’s an optimistic drama that manages to keep its head above the heaviness that such a topic could fall into, and that’s credit to the writer Moon Jeong Min who ensures a healthy vein of dry humour runs through the storyline. It carries the viewer through the difficulties that the reality of the situation demands and offers some light relief in whimsical arguments often fuelled by jealousy and competitiveness. In the hands of a capable cast, this is just a delight.

The script is sometimes patchy and meandering, and the symmetries that kick in about three quarters through are almost a stretch too far, but tbh I was willing to ride with it because it was so well acted. It can be whimsical and the number of coincidences goes from being off-putting to sort of deliberate, such that the whole thing is an intricate tangle of relationships which ravel and unravel around each other.

Moon Jeong Min’s insight into the female characters is praiseworthy and if anything, he wrote them better than the male characters. He was ably assisted by the director, Soo Hyun KI, who struck the right note with the melo such that when it needed to bite the impact had not been forestalled by previously overcooked emotions. Each character had their moment of intensity and it did not go to waste.

Overall this drama is not outstanding but well worth watching. If you are looking for dreams, go elsewhere, but if you like an honest view on messy human relationships between ordinary people with a dash of insight it will not disappoint.

I’m torn about the rating, but because there are so few K-dramas that successfully deal with this topic in a realistic and sensitive manner, I’ve decided to be generous

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Beautifully crafted gem

This is a tasty little series; unpretentious, straightforward and beautifully put together. It is 8 stand-alone episodes, each with a specific theme and a different male/female couple. The twenty-five minute stories involve spending a night together (not necessarily for sex) and eating breakfast afterwards. The series explores the hinterland of closeness, both physical and emotional. The borderline of intimacy and emotional vulnerability.

A great deal of thought has been put into how to frame each story. Every episode has a definitive colour and food menu and they are used symbolically to represent the different flavours of interaction and relationship. Emotions and emotional space is also symbolically represented by cutting images into the narrative. A character may be seen alone in an open field, or sinking through water. At first this struck me as a bit self conscious, but as the series progressed, I got into the imagery more and appreciated the careful crafting that had gone into the production values.

It’s the type of series that packs a lot in and you could definitely watch it again and get more out of it. The dynamics of the couples were so varied and covered a whole range of reasons why we seek closeness with others - consolation, kindness, loneliness, sanctuary, hope and failure - all of these were featured and more.

The standard of acting did vary, but was very good in the main. Only episode six stuck out as being below par.

Recommended.

What my rating means: 8+ A great drama with interesting content and good writing, direction, acting, OST, cinematography. But didn’t quite have the requisite sparkle to bump it into my all-time fave list. Worth watching.

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A never ending struggle to the end and not just for them…

I'll apologise in advance, this isn't going to be my best review I simply can't find the enthusiasm to go into any depth.

I never thought it was going to finish. And by the time we did end up at the beach, I was less than interested and definitely not convinced. I felt like I’d been dragged kicking and screaming through a series of fragmented plot-lines, rushed developments and overused clichés. Amnesia once is unfortunate, twice is unforgivable and tbh I got to the point of hoping to be touched with it myself…

The actors battled hard against an ever loosening plot, but were unable to save it falling apart into a weird time-loop at the end. The costumes were very pretty and far too clean, and the cinematography was also pretty.

An attempt to be epic that simply became unmanageable.

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Cosy comfortable with a shot of blood

Once you get through the obligatory starter course of processed cheese, the first four or five episodes turn into a gentle, warm, carefully observed drama-romance with credible characters. Then the romance stretches like melted mozzarella for a number of episodes before just about righting itself; the cottage cheese style comedy tries to spice itself up with some hot chilli crime and the plot turns into gruyere, with holes so big you could run a mouse through them. Unfortunately, I could see where it was headed like I had a grandstand view down a wormhole.

Okay, let’s put some spoiler-free depth to those claims.

First the romance. This is a noona romance and visibly so. I have no problem with the age of the FL, or the fact that the characters are played by actors with at least 10 years between them. But at times I found myself wincing because in the script the FL acts more like the ML’s mother than anything else and at one point the ML behaves like a teenager, and those things I did have a problem with. However, once the romance got going things settled down a bit, but there is precious little chemistry going on. It’s all very cosy and comfortable, so be prepared for that.

It seems that the writer wants to give the drama a bit of weight and chose to do it in two ways. One of which definitely added something—educational child abuse in pursuit of excellence. Because of the setting in a tutoring academy it was fully explored and provided some real depth by documenting the impact on the students. This part of the drama was good and was credible alongside the romance. But the other theme—heavy-duty-crime—really didn’t mesh well and was totally unnecessary imo. Also the execution of that whole plot thread was obvious and clumsy.

There’s a fashion at the moment to try mixed genres, but it rarely succeeds. Okay I admit, it could be that I just need to change, get with the program and embrace something new, but … I think that there are genres for a reason. And that’s because any drama is an exaggeration of life in a certain direction. The imaginary world created by a romance is fundamentally different to that of a crime thriller because it is designed to evoke different emotions and responses. Things that are credible in one world aren’t in the other. When you mix the genres it’s like being emotionally and psychologically pulled in opposite directions so that you twang like a rubber band from one to the other. In the time it takes to cut to the next scene the viewer has to heave out one universe and drag in another. Jeez, it wears me out…

A bunch of corrupt mothers were required to fulfil both the comedy and the serious commentary on educational abuse. But neither the writing, nor the acting/directing was subtle or clever enough to exploit this killer opportunity for black humour. Satire is an art-form, and anyone who wants to check it out at its absolute best should watch “Heard it through the Grapevine”. Here it was mostly a clumsy mish-mash.

Hwang Bo Ra was delicious again as the mercurial but minor character, Lee Mi Ok. She could have made a much better job of the self proclaimed leader of the mother’s group than Kim Sun Young and brought out the dark humour. She is such an underrated actor imo. Lee Chae Min as the student Lee Seon Jae and Jang Young Nam as his mother were notable, and the scenes between them were little gems. He’s a Song Kang lookalike but with acting ability… In general the performances were really good and that is what kept this drama afloat for me.

To quote Skitc’s excellent review for “Stranger’s Again”— beware the trebuchet!!!! Another traffic accident. Really!!!

Okay if you are a writer in need of ideas of how to injure someone in an urban environment that doesn’t involve a car, here are some pointers (feel free to add more in the comments below)
• bitten by a zombie escapee from “Happiness”;
• pushed down a manhole into the sewer;
• Dorothy’d into the sky by a tornado;
• half encased in setting concrete;
• an eye gouged out by a drone;
• garrotted by a kite string;
• savaged by a flurry of rabid hamsters.

F**king anything pleeeeeease except being hit by a car.

What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.

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Scored well until it started kicking own goals.

As the famous football quote says: this is a game of two halves and it’s not over until it’s over.

This perennially loved theme has always found an audience, from “Shirley Valentine” onwards; the dutiful, middle-aged woman waking up from the self-imposed drudgery and finding she has no-one to blame but herself, then kicking over the traces and fighting back.

In the first half, it takes some standard comedy tropes and situations and gives them a refreshing twist. It’s not outstanding in any way, there’s no spectacular cinematography, or deep, complex characterisations, or an innovative script or striking editing, yet the first half ticks every box as a great, enjoyable watch. It’s funny without being obvious, observant without being self-conscious, clever without being pretentious. It’s a great all-round show that slides seamlessly from comedy to drama to melo and back again, maintaining exactly the right degree to remain balanced and credible.

Then after half time, the team comes back and who knows what happened in the locker rooms in those fifteen minutes? Because things start to go pear shaped during the obligatory away-from-home scenes in episodes 9 & 10 after which they pretty well fall apart in episode 11 and continue on kicking own goals from there.

The plot really got pushed way beyond its limits. It went hunting for bottomless pits to fall into and whenever it couldn’t find one wheeled in an excavator and dug it out until, by the end, the pitch looked like a opal mine site at Coober Pedy. The overblown comedy and melo burrowed deeper and deeper until the whole thing pretty much collapsed into a sink hole.

The team managed to scramble up to the surface again for the last twenty minutes, but by that time, it really was all over.

There was absolutely no real need to keep upping the ante, there was already plenty to work with in the relationships laid down at the start. But everyone was literally dragged through the operating room for emergency surgery that singularly failed to revive a show gasping for air.

Having said that, in amongst all the manufactured chaos were some nice performances.

Although Uhm Jung Hwa gives a convincing performance as the unconfident and self-doubting Dr Cha, I feel she was somewhat overshadowed by Kim Byung Chul as her scheming husband, who has fantastic comic timing and plays in to all the “total bastard husband” expectations that you may have. Another actor who stood out for me was Song Ji Ho who beautifully captured the conflicted son.

What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.

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