“Nature or Nurture?”; The Ultimate Question of ‘ Hwayi:A Monster Boy’

Director Jang Joon Hwan and screenwriter Park Joo Seok’s attempted to delve deeper into the ultimate debate of “ nature vs nurture” with ‘Hwayi: A Monster Boy’ - a savage action-thriller that is expedited by its gratuitous fight scenes. Despite Jang Joon Hwan’s film bringing forward TV star Yeo Jin-goo’s first silver-screen debut, the film’s scant insight into the motives and drives of its odd ensemble of characters alongside shoehorned storytelling and dialogue, will likely test the patience (at times) of action-genre enthusiasts and casual watchers alike.

The movie focused upon the titular main lead Hwayi ( Yeo Jin Goo); a high-school boy who was kidnapped as an infant and brought up by a gang of sadistic thugs. From a young age Hwayi has been reared into becoming a perfect killer by his five “ dads”: Suk-tae (Kim Yun-seok), Jin-sung (Jang Hyun-sung), Ki-tae (Cho Jin-woong), Dong-beom (Kim Sung-kyun) and Beom-soo (Park Hae-jun). However after turning seventeen, Hwayi is soon forced to face the reality of his upbringing as questions soon rise towards his birth parents against his violent nurturing and environment.

Jang Joon Hwan’s 2003 success ‘ Save The Green Planet’ was a work that combined graphic violence, fantasy and social critique to create a daring result. In many ways ‘ Hwayi: A Monster Boy’ shared a lot of similar themes with its predecessor- bloodlust gore and themes revolving around captivity and humanity blooming to life in an attempt to hook and intrigue viewers. However, whilst ‘ Save The Green Planet’ was a movie that possessed tactful multilayered themes and topics, ‘ Hwayi: A Monster Boy’ struggled to sketch-out the same depth as Joon Hwan’s previous work due to a notable key issue; writing.

In theory, Hwayi’s complicated relationships with his five fathers should have been the backbone of the entire movie. However, their character-drives and definitive personality traits were so ineptly draw together at times in Park Joo Seok’s fictional and niche microcosm of convicts and killers, that it was often difficult to truly differentiate them apart. Aside from Suk-tae acting as the boy’s main rearer and as the leader of the group( who is revealed to have his own motives in a twist which whilst climatic, lacked pretension, )and doltish Ki-Tae who sincerely showed affection for the boy , the other men’s reasons and personal motives for bringing up the boy and corrupting Hwayi were rarely tackled or given convincing explanations.


Playing Hwayi as a character pushed over the edge, Yeo Jin Goo could admittedly often lack an air of subtlety by overstating his character’s angst. Nonetheless Yeo Jin Goo gives the main lead an edge of complex fragility, instability and sympathy for audiences. His budding romance for classmate and potential love interest Yoo-kyung (Nam Ji-hyun), one of the few female characters of the movie( who lacked definitive qualities) , acted as a lighthearted respite from the movie’s downbeat narrative.

Costarring alongside Yeo was Kim Yun Seok. The venerable actor added a running streak of brutality and viciousness to his onscreen persona Suk-Tae. Nevertheless despite the brilliant dynamic charm of Kim Yun Seok onscreen, tedious dialogue exchanges against lukewarm chemistry between him and Yeo during scenes rarely instilled tour de force moments when ambiguous feelings of love and contempt became apparent in their final conflict.

In terms of pacing the narrative is filled with adrenal energy- suspenseful and expedited by its violence, but given the myriad of action sequences and locations shown throughout the film, the pinnacle conflict of the movie was climatic yet slightly incoherent also . ( Especially due to sporadic editing at times.) A notable issue which should also be addressed within ‘ Hwayi: A Monster Boy’ was its presentation of female characters. Whilst it is arguable that Joon Hwan and Joo Seok may have been trying to present a critique towards the infringement of gender stereotypes within South-Korean society, the lacking scope for female archetypes aside from the nameless, abused wife of Im Hyung Taek ( Seo Hyung Hwa), and “ love interest” Yoo-Kyung, served little purpose or depth exploration aside from being plot devices to keep the storyline moving.

Of course it’s wrong to entirely critique the movie. Admittedly well-mounted cinematography served as aesthetic eye candy for viewers with inventive and intuitive choreographed fight scenes paired together with a subtle yet momentous score.


Overall ‘ Hwayi: A Monster Boy’ was a film which will likely appease and irk audiences alike. The notable cast lineup did not disappoint and whilst the polished and slick fight sequences and gruesome violence will likely appeal to many fans of the genre, the bogged-down dialogue against cliche-ridden characters and plot will test genre aficionados and casual watchers alike. However, whilst the ending certainly helped to wrap up several key plot points, the end outcome of ‘ Hwayi: A Monster Boy’ was a mixed-result of gory and hare-brained carnage against some insightful delves into nurture, crime and parenting along the way.

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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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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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The Actual 3Bs; Bland, Boring And Bothering ...

Based upon the eponymous manga, 3B No Koibito is a fairly typical romance drama about our “ mistreated” female lead Haruka Kobayashi ( Fumika Baba) and her encounters with the “ 3Bs” ( “ The Three Boys You Should Avoid”): bandman Amemiya Yuu ( Kamiya Kenta), beautician Shintaro ( Nakahara Hiroshi) and bartender Yoshi ( Sakurada Dori) when they begin to reside under one roof.

It is fair to say that 3B No Koibito had “ cliche” setup from the start-up with its “ reverse harem-setup”, the questionable and unfunny gag in the pet salon, and the natural progression of repetitive storyline as well, helped to lead to worsening characterisation, plot development and something even intrinsically “ likeable” about the male leads for a major proportion of the series, often resulting in their interactions with Haruka , feelings incredibly obligated for plot rather than a naturalistic development.

Upon this topic, it is probably important to address the portrayal of our female lead Haruka Kobayashi.Initially, Haruka’s most prominent feature as a female lead was speaking out against the egotistical behaviour at times of her male tenants as well as learning something new about them and herself in the process. Yet rather than allowing us to see Haruka’s further development by healthily overcoming her traumatic experiences, the show becomes too obligated upon Haruka making rash and impractical decisions in order to “ heighten the potential romance” between the trio of love interests. A lot of these decisions resulted in Haruka’s strong personality being degraded to often emotionless and staid rather than well-written, especially within evidently leading on the other male leads without any previous judgement or bond shown to indicate her actual feelings. Consequently, although Fumika Baba isn’t a bad actress, a mixture of lacklustre line deliverances and questionable stoicism at times often made her performance seems as appealing as watching paint dry.

Moving on to our “ 3B”s, one of the most prominent issues which was never tackled can be seen through never highlighting the prejudice and stereotypes held against men in “ less academic” spheres in Japan, as well as the problems of relationships in modern Japanese society. Although this was certainly not a driving factor for the storyline, it seemed odd to not subvert these cliches in order to “ personalise” our characters, rather than draw onto them as plot devices throughout the actual show .

The most prominent “ flaw” rising between all three of the male leads led Haruka to realising early on that they were “ debauchees” with new “ muses” or “ girlfriends” nearly every week. Although this undeniably offered a less “ sugarcoated” reality towards the “celibate and pure “ male lead often written into dramas to romanticise relationships , it nevertheless posed a greater problem within the characters’ double-standards when Haruka decides to start dating someone who ‘’ is not them’’. Of course this did feed into the drama’s storyline, however, it felt brushed over that whilst Haruka would criticise their actions but not dominate their relationships, the 3Bs would begin trying to control and manipulate her own love life because of their own ‘ incoherent feelings towards her for the sake of plot’.

As one of the 3Bs that first presents the problem of characterisation, cosmetologist Shintaro can often be seen to exemplify this problem. He initially appears as a ‘ kind-hearted’ male character who Haruka learns often leads on girls as his new ‘ model’, before either dumping them or allowing them to unhealthily fantasise over being with him. The series attempts to offer some explanation to Shintaro’s actions by viewers learning more about his past, but rather than this acting as a stepping stone to learning from his mistakes, Shintaro seems only to become worse by suddenly deciding he has ‘’ romantic feelings’’ for Haruka. Although Shintaro was less forceful upon Haruka than the other two male leads, it was still a little eye raising when his previous antics caused harm to Haruka as well as not contemplating or reflecting upon his actions, questioning exactly what he even liked about Haruka in the first place due to very similarities or differences between them made prominent for them to bond in the series( apart from only several episodes ).

Moving on to our second notable ‘ 3B’, Amemiya Yuu, there was the evident similar problem of Yuu having a ‘’ new girlfriend’’ at every gig, until a ‘’ tearjerker backstory’’ attempted to explain things in seconds flat, whilst his character initially returned to being often rude and egotistical for a major proportion of the series. Yuu’s behaviour to Haruka after developing a ‘’ crush’’ did seem a little more formulated than Shintaro’s due to actually pointing out some notable interactions between the characters, it nevertheless felt poorly-tackled that the show did not think to draw out actual reasons for Yuu’s feelings suddenly ‘’ occurring’’ rather than actual development.

Finally, our final ‘’ 3B’’ is bartender Yoshi. Seemingly suave, charismatic and reserved, Yoshi is quite manipulative within playing around with women and tries to come on several times uncomfortably on to Haruka to test her reactions. Although Yoshi is not an intrinsically ‘’ horrible’’ person through his later advice for Haruka, his actions towards expecting Haruka to showing up to suddenly try his new drinks , as well as taking heed in her love life, made him one of the hardest characters to romantically pair with Haruka.

The pacing of the show often felt incoherent with a fairly interesting start, which only seemed to worsen as storyline crashed into cliches and attempted romantic pairings with lacklustre effects for viewers’ actual attention. Consequently, the ending was a matter of opinion more than anything else, but certainly expected within the generic setup of the series.

Overall, 3B No Koibito is the epitome of the the type of show that you should watch if you’re looking to binge watch something without a second thought. However, poor characterisation, lacking interest for viewers within a coherent plot, dire pacing and a mediocre finale, will result in the show being a waste of time for those looking for something more refined and well-written.

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A Tale Which Tries To Warm Your Soul…

‘ Coffee Ikaga Deshou’ ( alternatively translated as ‘ How About A Coffee?’) is one of those dramas which will likely remain under the radar for most drama watchers. Based upon the manga of the same name and Adapted to the small screen by screenwriter and director Ogigami Naoko alongside co-director Mori Yoshitaka, ‘ Coffee Ikaga Deshou’ ‘s plot isn’t complex.

Admittedly ‘ Coffee Ikaga Denshou’ isn’t an overly original concept. Main lead and arcane barista and coffee van owner Hajime Aoyama ( played brilliantly by Tomoya Nakamura) comes across in a similar suave and mysterious manner as the “ mysterious flaneur figure” Izakaya owner from ‘ Midnight Diner’.

However on a virtuous note Coffee Ikaga Denshou’ ‘s plot was fairly driven by its prominent messages during most of the series. From dealing with issues such as struggling to fit in the status quo, disillusionment, popularity and grief, most episodes had something fairly
poignant to address about Japanese society and everyday life.

Yet unlike the reoccurring characters of ‘ Midnight Diner’ who were left only to piece together parts of the owner’s past, Aoyama’s link to his backstory as well as his reasons for becoming a coffee connoisseur, played a more “ pivotal role” within the events of the series. The main driving force behind the " tension" of the plot evidently occurred within the interwoven backdrop of each episode focusing upon surrounding the reoccurring onscreen appearance of the mysterious gangster ( Isomura Hayato) who was hunting down Aoyama for unknown reasons .

There’s a lot to discuss about how the series dealt with Aoyama’s character arc. On a positive note playing upon the storyline of Aoyama’s " secrecy being hidden in plain sight" made him an enticing character to learn more about and when his past was revealed it did present a lot of surprising revelations about our main lead. However Aoyama’s transition between his past persona and his current-self rarely felt more subtle or blurred, whilst his journey and struggles to kick past habits ( unless it was necessary for " dramatic tension") often felt disengaged from the storyline.

Due to the change and swap-up of characters during episodes it’s hard to pick out a multitude of characters to analyse in more depth. However due to their reoccurring appearances it is important to discuss ( without spoilers) about how the series dealt with the mysterious gangster Pei and his character arc alongside Shima Kakine ( Kaho)-the first customer to be shown to be served by Aoyama onscreen- and our " final major antagonist”.

Speaking about the latter character Pei’s initial raison d’être is acting as an antagonistic force within the drama by hunting down Aoyama for unspecified goals. However whilst it was undeniably sweet to see Pei have his moment of redemption through his later actions and decisions, the build-up of Pei’s actual character redemption arc often felt sporadic. Of course whilst the drama did drop hints towards Pei’s own personal connections, this rarely felt more built up or more widely interwoven with with Aoyama’s own character arc also.

Then of course there’s Kakine. Kakine is an odd character to discuss as
after her initial appearance in the first episode, her character doesn’t appear again until the last few episodes when the final storyline kicks in. Whilst Kakine is undeniably kindhearted by acting as the stereotypical " moral cheerleader" figure during the later storyline, she’s a character who felt the most paradoxical due to how the series approached her character. To explain this further it is important to point out that Pei initially commented during one of his first interactions with Kakine that she was annoying as she was " boring and dull". However during the first episode one of her major problems throughout the storyline of this episode was her inability to truly fit in at work. It seems an evidently nuanced point and whilst it is correct to assume perhaps from Pei’s perspective, Kakine is boring as she isn’t cut from the same cloth, it seemed an odd point not to expand upon Kakine’s own feelings and thoughts after this initial interaction. Whilst it is evident that perhaps the series didn’t have enough time to focus upon Kakine’s expanded feelings during this episode, it felt a wasted opportunity not to have used more the to have explored Kakine’s feelings, her previous struggled as well as her desire to make a good cup of coffee after her initial meeting with Aoyama.

Last but not least is evidently our " major antagonist" of the series. Now without giving too much away about the plot, our antagonist has their own personal reasons for standing in Aoyama’s way as well as their own screen time to explore their moments of humanity also. On the other hand their character introduction and build-up felt rushed and lacklustre . Whilst it is understandable that the series wanted to keep us in the dark for as long as possible about their identity, it felt slightly odd that the series didn’t try to foreshadow their character introduction or at least their presence in the series as opposed to a quick " climatic turn of events". As a consequence whilst the first half of the series thrived with strong plot messages and mystery, the second- half( whilst presenting more revelations) did seem to struggle with conveying the same ambience of charisma and strong screenwriting .

So is ‘ Coffee Ikaga Denshou’ actually worth watching? Whilst the acting front is fairly decent ( sans from a few awkward line deliverances) and the drama offers an interesting array of characters, main lead Aoyama undeniably has his own peculiar charm over audiences to keep them watching. Each episode offers the formulaic tale of a new issue or message during the first-half of the series and a melodramatic plot climax and revelation during the final part. The end result of eight episodes stringing out a lacklustre climatic buildup will undeniably leave viewers with mixed feelings.

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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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The Hong Sisters Are Back…

The Hong Sisters have produced wide scope of dramas over the years with respectfully mixed results . Enter ‘Alchemy Of Souls’: The Hong Sisters’ latest fantasy creation and arguably one of their most ambitious works yet.

In the series, main heroine Naksu (Go Yoon-jung-‘ Sweet Home’, ‘ Law School’ and ‘ Moving’) is a fearless and sword-wielding assassin. She lives in Daeho; a magical land where sorcerers have extraordinary abilities and powers. Yet despite the beauty of different types of magic, there is still one major taboo in Daeho: soul transfiguration. ( The act of displacing one soul into another body.) Caught between a rock and a hard place, the ruthless and instinct-driven female lead is forced to partake in this soul shifting process in order to save her own skin. She finds herself in the body of peasant girl Mu-Deok (Jung So-min- Playful Kiss’, ‘ Because This Is My First Life’ and ‘ Monthly Magazine’).

Meanwhile unbeknownst to the female lead , her destiny is about to change even more when she winds up striking an unconventional alliance with Jang Uk ( Lee Jae Wok- ‘ Search: WWW’, ‘ Extraordinary You’ and ‘ Do Do Sol Sol La La Sol’), the notorious son of the prestigious and magical Jang family. Jang Uk has his own personal reasons for striking an unusual contract with Naksu. However, thanks to their new relations, they will soon discover that their bond will greatly alter their own destinies for better or for worse.

As mentioned previously, ‘ Alchemy Of Souls’ is arguably one of the Hong Sisters’ most ambitious works yet. While the series has admittedly received mixed-reception by some for its format, it is filled to the brim with the duo’s creative and imaginative world-building in a manner that will likely remind some of their previous hit-drama ‘ Hotel Del Luna’. However while ‘ Hotel Del Luna’ seemed to heavily lean into the genres of dark fantasy and melodrama, ‘ Alchemy Of Souls’ is predominantly focused on its action fight scenes and the conflicts surrounding its setting and the lives of its characters. The series certainly does lean into heavier scenes ( especially with regards to the magical lore of Daeho ) but a lot of these more “morbid” or “disturbing” moments often came through the ambivalent moral choices and decisions of the drama’s characters. ( At the end of the day, the jarring decisions made by humans.)

However on a slightly lighter note, it is fair to say that ‘ Alchemy Of Souls’ is fuelled on pure fantasy. The world-building of the series is detailed at times and filled with a lot of fascinating beauty also. On the other hand despite the creativity evidently present in the Hong Sisters’ drama, ‘ Alchemy Of Souls’ does admittedly hit a few ruts when it came to execution.

Some of the forms of magic tackled in the Hong Sisters’ drama are certainly impressive. However while the presence of magic in ‘ Alchemy Of Souls’ was often detailed, there were moments in the narrative where viewers were expected to “ just know” things without a lot of further clarification or information provided. In addition to this, there is also the prominent issue with the patchy lore of ‘ Alchemy of Souls’ in different parts of the narrative. ( Such as the hierarchies of magical families, the out-rankings of certain magical abilities and exactly why certain noble families are able to get away with literal murder while others accused of killing individuals are subjected to literal witch hunts.)

The Hong Sisters’ drama is what many would probably define as an eclectic mixing pot of genres. There are noticeable elements of action-fantasy but surprisingly romance and comedy at times also. This variety of genres will likely offer viewers with a wide range of different moods and tones in different episodes. However despite the continuous strain of creativity in ‘ Alchemy Of Souls’, it is hard to not bring up one of the drama’s more tiresome issues; the tropes. Of course, the induction of cliches into K-dramas isn’t always a bad thing per say.

However, it did seem slightly surprising that even for well-established writers such as the Hong Sisters, there wasn’t a lot of originality or creativity put into these tropes. Instead enforced cliches such as the love triangle, the strong and cold heroine, the snarky male lead, a troubled past lover and some questionable comic relief wormed its way noticeably into ‘ Alchemy Of Souls’ with some varying and mixed results.

Lore and genres aside, there is also the crucial discussion surrounding the characters of ‘ Alchemy Of Souls’. The Hong Sisters seemed to have attempted a ‘Game of Thrones’-style approach with introducing a consortium of different characters (often with dubious morality) in a short space of time. This approach is not always terrible from a writing perspective and certainly did allow viewers to be introduced to some intriguing players in the narrative such as Yoo Jun Sang ( Park Jin), head of the mysterious group Songnim, Go Won ( Shin Seung Ho), the crown prince and potential future king of Daeho and Jin Cho Yeon ( Arin) , the youngest daughter of the Jin Family. However while some of these characters were well-tackled and intriguing in their own right, the lack of opportunities to flesh-out some of these characters did become noticeable as the season progressed.

Main heroine Naksu ( alternatively known as Mu-Deok in the body of the peasant girl) is played by two different actresses; Go Yoon Jung and Jung So-Min. Both actresses delivered fairly consistent dual performances as the main female lead. Admittedly main actress Jung So Min could feel a little flat with her line deliverances at times but this wasn’t entirely the fault of the actress per say.

As a written character, Naksu is a bit of a tough nut for viewers to crack. The Hong Sisters establish early on to viewers that she is a strong, fearless and powerful female assassin. Even in her newfound predicament in the weakened body of Mu-Deok, she takes advantage of her situation by allowing others to underestimate her abilities and seek revenge on those who have wronged her. ( For reasons which are roughly outlined in later episodes.)However in terms of being a likeable heroine who viewers can actually root for, Naksu will likely either be loved or hated by viewers of equal measure .

Of course, the Hong Sisters have attempted to offer sympathy for Naksu to viewers. As the season progresses into later episodes, the writing duo present the fact that Naksu is motivated for particular reasons and motives as well as her unconventional relationship with Jang-Uk.However, writing a strong character(especially a heroine) can often lead to writers falling into the trap of making their characters feel somewhat overly “invincible” or “overpowered” rather than human with actual flaws and issues. Of course, the Hong Sisters have arguably attempted to show this by certain vulnerabilities for Naksu but often this was approached in a way of a “ challenge” for the female lead in order to overcome. Rarely was this shown as an actual problem or flaw that truly allowed her to flourish and grow as a main character.

Costarring alongside the main female leads, there is also the actor of main male lead Jang Uk, Lee Jae Wook. Jae Wook is likely familiar for most viewers for his stoic potential love interest roles in romance dramas. Similarly in ‘ Alchemy Of Souls’, the actor is typecast somewhat again in the series as Jang Uk ; a brooding and deadpan character that viewers will ( similar to Naksu) either love or hate. Of course it is wrong to make out that Jang Uk is a purely despicable character. Similar to the show’s heroine, Naksu, the male lead has his own motives, his own complex backstory and is shown to be an intellectual than allowed him to be fairly interesting in his own right.

In addition to this , there were certainly moments regarding the main male lead’s backstory that were given a dedicated amount of coverage by the drama’s writers also. However, it could sometimes feel as though that Jang Uk’s dominating traits of arrogance and haughtiness were often mistakingly justified by the Hong Sisters as a “result of his situation” rather than simply being explained and used as a stage of further character development. (Often this resulted in some of Jang Uk’s actions feeling frustratingly repetitive or justified even when there was a necessity for them to be called out otherwise.)

Naturally, it is hard not to discuss the main leads without bringing up their oddball relationship over the course of the season. The Hong Sisters play upon the old trope of the cohabitation drama with the “ master and servant” roles being unconventionally swapped throughout between Jang Uk and Naksu ( in the body of Mu-Deok). This unusual relationship dynamic was certainly compelling for viewers and did allow for the slow-burn romance to satisfyingly thrive in this written relationship setup.

Although often entertaining and certainly generating a few laughs with their comical antics, it could grow a little repetitive at times to see their relationship going from one or two extremes without a lot of middle ground between either being serious or overly jokey . This became especially noticeable when it was placed against the somewhat convoluted induction of the “ love triangle”; a trope that while not overly dominant in the major storyline events of ‘ Alchemy Of Souls’, did play a role beyond its necessary requirements.

As for the narrative structure, ‘ Alchemy Of Souls’ is approached in different layers by the Hong Sisters. In early episodes of the series, the writing duo used their time wisely to establish some of the main narrative events, while later episodes heavily dived into further execution and progression. On the other hand while this is certainly not an unusual writing decision in K-dramas, it did often make the series feel somewhat somewhat slow-paced in parts. As a result of this writing decision, ‘ Alchemy Of Souls’ often felt as though parts of the events surrounding subplot and even some moments of the major storyline weren’t as well-rounded as they should’ve been. However, the Hong Sisters did deliver a thrilling season finale that will likely surprise and intrigue viewers with its ending note .

The stylistic approach of ‘ Alchemy Of Souls’ is admittedly where things become a little more rocky. Under director Park Joon Hwa ( ‘ Bring It On, Ghost’, ‘ What’s Wrong With Secretary Kim?’ and ‘ Touch Your Heart’), the series did present a gorgeous array of sleek and gorgeous scenes and palette schemes. However, it is likely that the opinions of viewers will remain somewhat divided by the heavy reliance on CGI over the course of the series. ( Especially with regards to the quality of green screen scenes not always matching up with the desired intentions of the Hong Sisters’ vision.)

In addition to this, there is also the slight nuanced issue surrounding the more stark modern presentations of certain characters with dyed hair and modern-takes on historical outfit designs. Although this is a fictional work and can maybe be excused on some grounds with an artistic licence, it was sometimes hard as a viewer to really immerse yourself in a historical fantasy world when certain actors had their hair dyed in an obviously modern manner.

Nevertheless despite some liberties being taken with the outfit designs, they were certainly impressive outfit decisions taken by the costume department onscreen. The shades of silk and materials used were often vividly bright in the show’s lighting ; often seeming ethereal on the frames of the actors as they were adorned in bright shades of peacock blue, marigold and deep vermillion and certainly helping to embody the magical element of the show.

Aside from the stylistic approach of ‘ Alchemy of Souls’, the OST was mainly composed of schmaltzy ballads. Certainly some of these songs were more memorable than others such as “ Scars Leave Beautiful Trace” ( 상처는 아름다운 흔적이 되어) by Car, the Garden and "Breath" (숨결) by Kim Na Young.

‘ Alchemy Of Souls’ is an ambitious fantasy epic by the Hong Sisters. It is imaginative and filled with some intriguing world-building, characters and a fairly enthralling plot objective that will keep viewers intrigued. In addition to the writing of the show, Director Hwa’s varied palette schemes and lighting choices help to truly bring the series to life in a magical manner. On the other hand, the writing duo’s project is not flawless. The CGI is varied from scene to scene while the characters of the series and the events of the narrative felt somewhat overly niche and rushed at times. Nevertheless with a potential sequel in the works and a certain possibility to fix some of these weaker writing moments, season one of ‘ Alchemy Of Souls’ is certainly a satisfying appetiser for any fantasy lover.

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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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Destined With You; An Interesting Premise, Just Lacking In Charming Writing…

Let’s be honest. Very few Korean dramas are original. Yes, they can explore different concepts and themes, but many are inspired or borrowed from other shows or movies across years, cultures and genres. Of course, there’s nothing wrong with that. Writers and directors are influenced by other works, and Destined With You is no exception.

The series was written by Noh Ji Sul and directed by Nam Ki Hoon. It follows Lee Hong Jo ( Jo Bo Ah), a bright underdog civil servant, who works hard despite being overshadowed by others. When Hong Jo comes into possession of a mysterious object, she becomes intertwined with cold and stoic lawyer Jang Shin Yu ( Rowoon). Shin Yu has been cursed to live with an incurable disease, yet, Hong Jo may just hold the cure in more ways than one..


Off the bat, I will give it to Destined With You: it is an interesting premise. The cursed setup had been seen and done before, but the sense of the horror element being so spooky early on was quite well done. Some Korean dramas are fairly mild when it comes to horror or jumpscares( especially over censorship concerns), but Destined With You was surprisingly chilling in its opening episode . ( Moments such as the infamous “ bloodied-hand scene” , felt as though they were taken from shows like OCN’s The Guest and CW’s Angel .)


Yet as much as the horror element thrived, the show struggled with attempting to balance the horror and romance element to work well together. It is not necessarily that horror and romance cannot work well. In fact shows like The Master’s Sun and Arang and the Magistrate were able to use this formula fairly well in execution.

The problem is that while both predecessors were aware of creating and broadening characters and balance , Destined With You really struggles to do the same. As the series progressed the horror element was pretty non-existent and turned more into a cutesy rom-com. As a result, it was really hard to work out what this show was going for in thematic setup and messaging, even early on. The early episodes would suddenly go from menial moments of Hong Jo being stuck in a rom-com moment in front of a cute guy, to law procedurals and bickering, to full out body horror with Sin Yu. The constant flip between cutesy romance moments, courtroom drama and disturbing violence and horror , rubbed against one another in the wrong way because the show was never really settled to balance it out . Simply put, it felt like watching three very different shows at times, without a lot of opportunity to fuse them together.


Another major problem lay with character writing. The acting was decent enough. Rowoon is okay here too. He is certainly a good actor, and the idol has proven it in shows like Extraordinary You and Tomorrow. The problem is that Rowoon is not given an opportunity to really shine. His character is the trope-inducing “ cold male lead”.

Admittedly this is not entirely the fault of Rowoon as it is the writing. The cold male lead trope is a preference in romance dramas. It is not bad per say and can be used well in romances to explore characters’ backgrounds and fears. The problem with Shin Yu is that he is a bit of a paper-thin character. Yes, the audience gets he lacks social etiquette, a few “ sob” moments in his backstory and is stoic, but what else is there to say about him?


He is seemingly self-assured and confident in public , and suffering from his curse in private, but his composure rarely breaks beyond this even early on. We see some loose plot threads into Shin Yu’s mysterious family and their weird connection to shamans, but aside from being a necessary plot device, we are never shown the full effect on Shin Yu and how this has influenced any form of backstory or careful character development. In some later episodes we do see a “ softer” side to the male lead by playing into the romantic element and some angsty plot backstory , but aside from this, it’s hard to really see any pivotal or particularly poignant development, apart from going from being churlish then jealous to lovey-dovey with the female lead. This is the a little disappointing considering the fact that he could have been a really interesting character, especially from his written role and introduction with the female lead.


Hong-Jo is unsurprisingly Shin-Yu’s polar opposite. Jo Bo Ah is a good actress and does have some good moments of the show. However similar to Rowoon, her talents are never really given an opportunity to be explored further as a consequence of the writing.

It seemed like a really good writing point to have Hong Jo as the “ underdog heroine”. In theory, she has so many parallelisms that could have been explored to parallel metaphorically with the male lead’s literal “ cursed” predicament. She is outcasted at work, has an abject love life and often feels lonely. She is by all accounts, a “relatable” underdog heroine.


Before I go into the problems, I will say a few good aspects of Hong Jo as a character. She is fairly headstrong, both getting the job done such as the demolition case, confessing to her crush ( even if she was a little childish ) and remaining resilient against the toxic culture of her workplace. They were good attributes in the female lead, and did show off some of her strengths.


However, the problem is Hong Jo is never really fleshed out to the extent for the audience to truly connect with her. Sure, there were moments of pity for this character when it was needed in the plot, but on a deeper level, it was hard to really feel as strongly as the show wanted us to do so for her. For example, one major driving point early on is that she is very bullied and isolated from her work colleagues. She is not invited out after work for drinks, and spends most of her time alone. Yes, this shows she is alone, but why is it so significant for Hong Jo? We do learn a bit of history of being bullied, but, why is she so determined to be friends with people who have hated her? These may seem nuanced, but the show seemed to have multiple opportunities to really go into character’s backstories or growth early on, yet rarely did so even in later episodes.


Then there’s Yoon Na Yeon ( Yura), an interior designer with a bad history with Lee Hong Jo. There’s definitely a lot of mixed things about Na Yeon as a character.



On one hand, she is fairly complicated in the fact that she she puts on a lot of different sides as well as being a bully , and is more than the meets the eye, especially when Hong Jo renters the picture. On the other hand, while it feels like Yura has been typecast once again, the character feeds into a bit of a tiresome cliche of the cruel second female lead.


This isn’t to say that there can’t be animosity between a bully or victim, or alternatively see the character’s pettiness come to light, but rather than using this as an opportunity for Na Yeon to either be explored further in a more subtle manner,this storyline still seems to perpetuate a lot of archaic stereotypes . ( Particularly the oldest cliche in the book of two women at odds with one another being pitted against one another further for a man .)

Adding to this, there’s also the actual fact Shin Yu, probably one of the most misanthropic and seemingly “ isolated” characters in the drama, is in a dating relationship with Na Yeon. Understandably, relationships are not always straightforward and people can meet in a lot of different circumstances. Shin Yu never seems truly happy with Na Yeon, often trying to break up things with her or sitting in sullenness, while Na Yeon fawns over him and becomes more obsessive when she sees Hong Jo as a threat and love rival. Shin Yu does attempt to put their relationship on hold, but Na Yeon is obsessed and does not back down. The relationship displayed a good aspect of difficulties between dating partners, but, aside from just adding fuel to the fire on plot devices and drama, it did seem a little questionable as to why Shin Yu would even agree to date someone like Na Yeon, ( knowing about her past or not) .


The potential romantic pairing between Hong Jo and Shin Yu is fairly good, even if the screenwriting does not always justify it. One of the major parts that came to play here was the romantic sparks flying between Rowoon and Jo Bo Ah’s onscreen characters. They have surprisingly good chemistry as actors. For the characters, it’s a bit of a mixed bag. There is certainly romantic development ( in typical romance fashion) early on, but it was admittedly a little hard to root for the characters when Shin-Yu was often just plain rude to Hong Jo from gossip he overheard as well as his attitude. To make matters worse, even later on, he never really apologised for his actions. Later episodes improve this a little, but then there’s also the elements of Shin Yu’s obsession and later actions ( though there is a suggested cause), as well as feeding into some overused cliches.

On the pacing side, Destined With You is very slow to begin with. It’s understandable even in the first episode alone, there’s a lot to get through, but the first few episodes were fairly slow with pacing . Later episodes did pick up the pace more briskly, but there were later moments, which struggled to really get off the ground, even by the ending. Speaking of which, the ending was a little anticlimactic. Sure we saw a few loose threads tied, but it felt as though some characters and plot was left greatly unresolved.


The cinematography is definitely one of the show’s major highlights. It’s fairly stylish and sleek, with a glossy element of different palette schemes to reflect the mood and tone of the scenes. There are later episodes which feel a little insipid on the staging side, but scenes with the cursed hand, definitely helped capture the more horror and fearful element, with careful attention to detail.



Destined With You is a very odd show. It has a good cast, an intriguing premise and beautiful cinematography, but in execution, it has some very noticeable inconsistencies. The themes were so imbalanced that it was hard to work out what the show was going for in its general setup. While there’s nothing wrong with using classic tropes with a new spin or using them to address a message, Destined With You took them with a fairly copy and paste manner and nothing more . At times, it often made the show feel like it would have been less out of place in 2013 than 2023.


Writing and pacing is another major issue. There were some potentially brilliant characters in the show ( particularly the main leads) , but rather than fleshing them out to their full potential, they were rarely allowed to change and grow ( a key stage in any character’s development). Overall, Destined With You is an average show which is probably best to watch during a forgettable binge-watching session to pass the time .

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A “ Record” Of A Waste Of Time....

Despite its fresh appeal with Bo Gum with a suave pre- Military haircut and So-Dam’s brilliance as a witty makeup artist, the drama was simply lacklustre . Although the drama did obviously touch upon the problems of relationships ( familial and romantic) as well as career choices for our young protagonists, Record of Youth simply reduced most of the characters to nothing more than plot devices throughout the drama.

On one note of appraisal , Bo- Gum was (,as usual,)brilliant within channeling the soul of his character, Hye-Jun. Playing an “underdog” model and aspiring actor, Park Bo Gum did seem to truly step into fleshing out a character , who was rawly undercooked in depth and characterisation by the scriptwriters through his ability to portray the raw emotion of Hye- Jun throughout the drama.

Sadly, however, the scriptwriters didn’t give any justice towards Bo-Gum’s character, Hye- Jun.

This was defined by one fatal mistake by the scriptwriters’ focus upon Hye- Jun as a plot device in regards to his his relationship with Jeong- Ha, meaning that any characterisation that viewers see throughout the drama for Hye-Jun, is severely underdeveloped by the ending of the show.

The most notable example towards this problem, had to be from his sudden “ anger” to “ apathy” around his father and brother and of course his shared love for his mother and grandfather . Whilst his initial feelings towards his father and brother in the beginning of the show was understandable, it was a strange leap in Hye- Jun character to suddenly go from being incredibly infuriated at times by his father and brother, to simply “ not caring” and remaining “ cool- headed”. This would have been understandable if we’d actually see Hye- Jun progress with the plot, but instead, any emotional capacity he possessed as a character is simply thrown away by the near ending of the show. In particular, this is also portrayed by his attitude to Jeong- Ja and his careless decisions within their relationship.

This of course moves us onto So- Dam as Jeong- Ha, a witty makeup artist with her own dreams to become a beauty influencer. Parallel to Bo-Gun’s acting, So- Dam was brilliant within capturing the comical and heart driven moments of her character and therefore there is no denying that Jeong-Ha seemed to be more developed as a character upon some grounds that Hye- Jun.

This also includes the ability towards viewers actually learning why Jeong- Ha aspired to be a makeup artist from her father, something which we never really learn in depth as to why Hye- Jun wanted to be an actor apart from the fact that “ he wanted to do it for a long time”. Additionally, it was refreshing also to come across a level- headed female lead who isn’t ditsy in a relationship, or starts a screaming match with her enemies, but approaches things in a calm , succinct and realistic manner as an intelligent and reasonable individual .( Such as being professional whilst dealing with a senior makeup artist determined to make her life hell.)

Despite her strengths, sadly Jeong- Ha’s greatest flaws from the scriptwriters probably did also come from making Jeong- Ha sometimes a little too “level- headed” than for her own good. Whilst this did naturally add to the “ drama” of the show, it was just as bad for other reasons that Jeong- Ha did not speak out or communicate with Hye- Jun about her feelings or respected boundaries within their relationship. Her attitude towards encouraging and growing closer to Hye- Jun’s best friend Won Hae-hyo ( Byeon Woo- Seok) , was understandable due to her anger towards Hye- Jun, but it seemed both unfair and unkind (regardless of her excuses )towards leading Hae- Hyo on in such a manner. By the ending of the show, a lot of Jeong- Ha’s strengths were sadly greatly overshadowed by her decisions as a consequence.

Ironically, whilst normally I wouldn’t comment upon the reasons of a second Male for chasing after the female lead in such a cliche manner , Woo Seok’s portrayal of Hae- Hyo as a Male lead who has had everything handed to him on a silver plate by his mother, Kim Yi-young ( Shin Ae- Ra), did add some understanding as to why Jeong- Ha became such a figure of interest for him.

One of the biggest emotional trials which Woo Seok comes to grasp with in the show, is realising simply how overbearing his loving mother truly is within controlling every aspect of his life ( including his career) and his sister’s ( a part of freedom which manifests within his sister dating another one of his best friends).

With the fact that his best friend , Hye- Jun, has had the freedom to chase his own dreams and aspire to do acting on his own part, the aspiration of chasing after his best friend’s girl did add the note of a cliche. On the other hand, this understanding towards why Woo- Seok was intrigued by Jeong- Ha, wasn’t left blank for viewers by the scriptwriters. This was simply because Woo Seok wanted control over a relationship. This of course , did add
some explanation and depth to his decisions, but it was overly cliche and stepped across several boundaries of disrespect for both Hye- Jun as a friend and of course Jeong- Ha within the drama as nothing more than an object for both Hye- Jun and Woo- Seok to use.

Whilst of course the drama did delve into some additional “ youth issues” (including a minor plot line of homosexuality,which was only brushed upon for the plot to advance), the drama really didn’t add enough depth or even covered the universal issues as a youth drama. Although we must bear into respect Korean culture and “ sensitive topics”, it was still too glossed over not to come across a youth drama which tackles issues such as drinking , partying, or even smoking , especially with the younger characters’ ages. This is not to glorify these acts in any manner, but, these are issues which realistically, most youths tackle fairly universally ( especially in Korea). For a drama to not even mildly suggest these youths have never done such an act, seemed more of a commentary upon appeasing younger audiences to “ not do this in real life” , than to learn about the real world for youths.

In addition to that his, there was of course the glossed over image of the fashion and makeup industry as well. Whilst naturally the drama did delve into the problems of “ scandals” for Korean celebrities and of course blackmail, these issues became overly repetitive. This of course is an issue which tackles many celebrities on a daily basis in a Korea, but did we really need to have this screamed at us by Hye- Jun’s manager Lee Min Jae ( Shin Dong Mi) for several episodes without thinking to tell Hye- Jun to be more cautious? Probably, not.

In reality, there was little actually exposed about the severity of other issues in these respected industries ( especially fashion ). It’s understandable that the drama didn’t want to delve into this too much in in order to focus on the relationship of Jeong Ha and Hye Jun, but, there was still a lot of exposed ground which the drama could’ve covered on even briefly. Not least, the actual problems for young models upon eating disorders, smoking , diets and of course especially, for young makeup artists, revenue and exploitation as well. For a drama not to even cover upon the issues in addition to poor characterisation, left Record of Youth as a forgettable and cliche show which did not tread any new ground upon Korean dramas.

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"In Space, No One Can Hear You Scream…"

Choi Han Yong’s ‘ The Silent Sea’ is a series which will like divide its audience demographic greatly. Notable A-listers such as Bae Doona and Gong Yoo will likely attract drama enthusiasts towards the drama’s cast lineup and involvement. However ‘The Silent Sea’’s amalgamation of different sci-fi stories and Han Yong’s attempted execution of these plot points may naturally lead to some divided opinions amongst drama enthusiasts and sci-fi aficionados alike.

The plot takes place in a dystopian alternative-future where the earth’s water coverage has been reduced by nearly forty -percent. In an attempt to govern humanity and ration supplies, citizens are assigned a “water grade” based on a hierarchy ranking system that determines how much of the liquid they’re allowed to access. So in an attempt to resolve problems humanity attempts to look for answers ( quite literally) in the stars.

Astrobiologist Dr. Song Ji-an ( Bae Doona )is sent on a salvage mission alongside gruff soldier Han Yoon-Jae ( Gong Yoo) in order to collect samples at the deserted Balhae moon station. With both characters having their own personal motives for taking on the assigned task the duo come across some startling and horrifying secrets as they begin their mission.

Netflix’s ‘The Silent Sea’ origins were admittedly still quite visionary by being based upon Han Yong’s notable short movie ‘ The Sea of Tranquillity’. Yet unlike the art-house-style influences of Yong’s original directed work, ‘ The Silent Sea’ notably markets itself to a wider audience demographic as a “ sci-fi and dystopian epic” with slow- burn mystery ; a mini-series that is likely to eagerly please and disappoint in equal measure.

The plot twists and turns that become apparent throughout ‘ The Silent Sea’ will likely divide those familiar with the sci-if genre; action sequences straight out of Ridley Scott’s ‘ Alien’, a suspenseful tone familiar to Christopher Nolan’s ‘ Interstellar’, bilingual exchanges paying an evident homage to Joss Whedon’s ‘ Firefly’( changed evidently to Korean and English ) , a key plot point nearly strikingly familiar to Jo Sung Hee’s ‘ Space Sweepers’, and an unsurprising likeliness to the water -themed 2009 British series’ ‘Doctor Who’ special ‘The Waters of Mars’, will possibly highlight the fine-line between paying homage and striking similarities to other notable works throughout the drama.

Of course whilst the familiarity of some of these plot twists does come into question when looking back at ‘ The Silent Sea’ it’s important to point out that the series does facilitate a solid pace with its revelations and twists right up till the last episode. However while the plot surprises are still interesting to some extent , ‘The Silent Sea’ could often neglect a crucial element to delivering its attempted tour de force moments: the cast and the characters.

Bae Doona and Gong Yoo are the undeniable star- attractions of the drama through their idiosyncratic performances offering a subtle touch of mystique and heartache as their onscreen counterparts.

Nevertheless given the evident potential for character depth in a series which explores the complexity of humanity, it will likely strike viewers as slightly unusual that ‘ The Silent Sea’ rarely diverged into using even initial exposition for establishing character personalities and adding a tweak of depth to their seemingly profound egocentric motives . Whilst later episodes place a quintessential limelight upon the characters’ roles to play in the events of the series and plot-drive, without baseline personalities ( aside from Doctor Song), notable main and important characters in the series could often slightly shallow and uninteresting .

The design of ‘The Silent Sea‘’s “ advanced” technological world and the cinematography are decent enough during viewings. There is an undeniable high reliance on CGI throughout the filming of the series; not out of the question for a series set in space, but also leading to some heavy artistic licensing by Han Yong. ( Astrophysicists, engineers and science experts may want to look away from these scenes as the logic is often devoid during these scenes .) The established setting is also not too preposterous for audiences ; several holographic displays subtly reminding the audience that this is series is set in the near-future every so often but admittedly not quite being awe-inspiring either.

‘The Silent Sea’ delivered a promising sci-fi mystery epic that brought together a myriad of sci-fi plot point twists to an original concept. With that said the series felt as though it could’ve had more episodes in order to actually flesh-out characters and the world-building of the series , leading to a mixture of mixed-reception with the final production. Viewers looking for a quick binge-watch investment with some familiar faces along the way may revel in the series’ end result . However fans of the sci-fi genre may be slightly disappointed by Netflix’s s high- budget extravaganza which whilst satisfactory for the most part did lack more of an impactful punch.

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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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‘ My Fair Lady’ Meets Japanese Idol Culture…

‘ Nobuta Wo Produce’ is a drama which has long had a love-hate relationship with J-drama fans; some loving the sweet and sentimental revamp tale of “shy girl” Nobuta (Horikita Maki) unlikely befriending
popular guys Kiritani Shuji (Kamenashi Kazuya) and Kusano Akira (Yamapi) in order to get a makeover and become popular, others seeing the drama as just cliche and prosaic. However this leaves newcomers who have stumbled across the drama with one question;” is ‘ Nobuta Wa Produce’ actually worth watching ?”

Arguably one of the winning strengths of the short drama is the acting front. Horitika Maki, Kamenashi Kazuha and of course Yamapi had brilliant and nuanced touches to their mannerisms as their onscreen personas and dynamic chemistry.

As far as the storyline goes there’s a mixed-bag of screenwriting techniques used. On a positive note the drama sometimes did present some more profound messages against its superficial setup; Nobuta’s “ makeover” didn’t press an immediate reset button on how other perceive her or her popularity ( as often showed in the “ magical makeover” trope), but rather gave others over the course of the drama the opportunity to understand the female lead’s unique personality traits.

Similarly unlikely popular main lead Shuji had his reflected insecurities over the course of the storyline. He was often scared of being rejected and often self-conscious about revealing his true self to others until he begins to open up around Nobuta and Akira.

As a consequence of the storyline focusing on high school a lot of the carried themes shown throughout the drama revolved around the “ high school experience” with certain poignancy in the reflected themes, personas and relationships of teens onscreen.

However whilst the drama undeniably had its highs during these moments in the first-half, the second-half lost the series’ true screenwriting momentum . The plot began to rest heavily upon poorly-executed tropes ( including the “ sabotage” cliche) in order to keep the plot moving rather than truly engaging the audience . Characters such as Akira( the fun loving “ jokester” character who felt as though he’d have his key moment to shine like Nobuta and Shuji), fell flat in seconds flat by having little development aside from plot “ tension” ( when it was called for) and to keep the storyline “ lighthearted”.

This is also pointed out a major problem with the second-half failing to seek a sense of dynamic build between our main characters’ friendship; the main goal being simply “ Nobuta’s makeover” lacked a lot of build and connection chemistry. Whilst this did improve over episodes ( and was sweet at times) , it still lacked an extra spark as a consequence of poor build-up.

Then of course there’s the dramatic shift with Shuji and Akira’s “ romantic feelings” for Nobuta. Whilst the romance was arguably necessary to “ spice up the drama”, it was prosaic and meaningless in a drama where the focal foundation of the setup is about friendship. Arguably whilst it was easy to see some connection between Nobuta and Shuji’s onscreen “ potential romance” due to their differing yet “complex” experiences, nothing was ever really solved or explored further between the two. (Questioning as to why it was put forward in the first place.) To add more fuel to the fire there’s also the issue of Akira’s “ crush” on Nobuta. Whilst it wouldn’t have been too bad if there had been a define explanation to Akira’s feelings or this had been carried further, it provided to never brought up again or carried over after its initial use.

The ending of ‘ Nobuta Wo Produce’ has undeniably left viewers indecisive. Admittedly whilst the show does give an appropriate finale and conclusion for Nobuta, there was little to really subside the drama from crumbling away from its initial foundations of a strong friendship between the main characters.

Overall ‘ Nobuta Wo Produce’ was not unwatchable. Despite false appearances against the “ outdated” idol-style haircuts and popular culture tropes, the acting front was fairly good here and the drama did presents some subtly powerful messages about adolescence. On the other hand a major proportion of the drama was overshadowed by the poor execution of the second-half with character arcs feeling rushed and unfinished and tropes and cliches often ruining more profound moments or messages. A decent binge-watch for anyone in the mood for a lighthearted series, but admittedly lacking more coherent structural writing and execution.

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