Kim Kaphwan

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Spooky in Love takes its inspiration from the 2011 film Spellbound, starring Son Ye-jin and Lee Min-ki. But that's where the similarities end. The trailers, the synopsis, and even the title we were presented with are misleading, because the supernatural aspect involving ghosts completely disappears within the first third of the series, giving way to a run-of-the-mill story that has been seen and done a hundred times before. For old hands who know the formula and the usual storytelling patterns, the problem isn't the accumulation of tropes and clichés, but how intelligently they are used within a well-constructed and engaging screenplay. For someone who doesn't watch many romantic K-dramas, or who is willing to let everything slide because the worse it gets, the more entertaining it becomes, why not. For everyone else, myself included, we came dangerously close to a complete shipwreck, because the writing turns out to be staggeringly poor. At first, it's a mix of Hotel del Luna, From Now On, Showtime! and The Judge from Hell across several themes; but unlike those series, not only will the main couple never reach the required romantic intensity, but worse still, emotion will have packed its bags because the tank will quickly run dry.

Cheon Yeo-Ri (Park Eun-bin) is the granddaughter of a chaebol family specializing in luxury hotels, and she herself runs a prestigious establishment. Competent, she nevertheless lives with a heavy burden following a boating accident she was involved in in the past: she can see ghosts who have not yet managed to move on to the afterlife. She therefore helps them, while also secretly resolving situations where the police have hit a dead end. Unfortunately, she cannot touch anyone without passing this "gift" on to them for a certain period of time. So she is alone. Her path crosses that of prosecutor Ma Gang-Uk (Yang Se-jong), a brilliant and upright man. Through a series of "coincidences" that aren't really coincidences, they are led to meet several times. After uncovering the mystery surrounding Yeo-Ri, and experiencing the consequences himself, their relationship develops and feelings begin to emerge. But between an envious and jealous family and the return of a former relationship, Kang Min-Hwan (Ong Seong-wu), Yeo-Ri will have to fight her way through the demons of her past.

The beginning looked promising because I expected to see an effective duo develop between Yeo-Ri, the wealthy heiress who does good around her, and the fearless and valiant prosecutor Kang-Wook. But the synopsis on most websites (false because they all copy one another like sheep) is misleading and deceptive: it gives the impression that we're going to follow a fantasy romance, with the supernatural at the heart of the story, whereas the drama ultimately uses this element in a much more superficial way, and it quickly disappears. The series seems determined to sell us an original and mysterious story, while a large part of its plot relies on much more conventional and artificial devices. There is therefore a disconnect between the initial promise and the final result, reinforcing the feeling that Spooky in Love never really knows what it wants to be: fantasy romance, family mystery, ghost story, or crime plot. The drama's main problem is its screenplay, which quickly gives the impression that events happen because the script needs them to, rather than because of the characters or their decisions. The writing becomes increasingly artificial, to the point where coincidences eventually replace genuine narrative construction.

The drama nevertheless has some directing qualities and a few good ideas, which makes its flaws all the more visible: there was enough material here to make something considerably better and more substantial. Some episodes feel as though they are circling around the same elements or artificially delaying revelations. The pacing therefore becomes uneven, with moments when the plot barely moves before suddenly accelerating, particularly toward the conclusion, where everything goes completely overboard and ridiculousness takes over from any sense of credibility. Characters are often pushed in a specific direction solely to allow the plot to move forward. This creates a "coincidence falling out of the sky" feeling: the script miraculously finds a solution to every problem, especially toward the end. It's all the more unfortunate because the drama could have made much smarter use of its past and its secrets. A revelation properly prepared with clues scattered throughout the story would have given the viewer the feeling of understanding, in retrospect, what had really happened. So the problem is less the revelation itself than the complete lack of preparation and its absolute convenience.

The romance suffers particularly from this mechanism: some emotional developments lack natural progression and give the impression that the characters evolve simply because the script has decided that it's time for them to do so. Park Eun-bin gives it her all as usual and strongly recalls IU in Hotel Del Luna with her prestigious wardrobe, albeit in a more understated version. But she is at the mercy of a screenplay that does her no favors. I found Yang Se-jong and Ong Seong-wu committed, but somewhat withdrawn. And as you will have understood, where there's romance, there must be a second man, because the story says he has to be there, like some kind of gimmick. Not only is it painfully predictable, but the whole thing is far too caricatural. The story lacks twists, intensity, but above all emotion and sincerity. Everything is pre-calculated, so nothing surprises us; it's far too smooth. The drama asks a lot from the viewer in terms of suspension of disbelief, but doesn't give enough in return for it to really work. Another problem is the lack of a secondary storyline that could have fleshed out the narrative and given it some momentum. The supporting characters are barely used, or used poorly. Overall, it's sweet and harmless, with a strong and interesting basic premise, but one that quickly gets bogged down in tiresome clichés.

The laziness of the writing, especially during the final two episodes, is staggering in its sheer convenience (the "cube syndrome"): the biggest waste is ultimately the supernatural element, which practically disappears just as the drama begins shifting toward its family and corporate storyline. What was supposed to be its distinguishing feature quickly becomes incidental, before almost disappearing entirely from the narrative. There is also a consistency problem in the way certain pieces of information are withheld or revealed. The final stretch should have been the point where all the different elements finally came together and made sense. Instead, it becomes the part where the screenplay exposes its strings most openly. Not everything is bad: there are a few lighthearted moments and some enjoyable comedic elements, but there are so few of them that they get buried in the overall mess. Spooky in Love wants to build a great mystery around the past, but when it comes time to solve it, it doesn't actually solve it: it finds miraculous evidence and providential coincidences that allow everything to be neatly put into place. As for the ghosts, we can simply thank them for stopping by at the beginning to say hello. Come on, I'll be lenient in the end, because even though it lacks surprises, it's still "cute."