W two worlds Season 2 sc

It's thriller too. Crazy complex one, you understand nothing. The beginning of the episodes have a "previously on..." montage. This montage is so over the place, full of twists and shocking events but you don't know why, that you lol a lot when watching that. What is this crazy story?! Sometimes I rewatch just the beginning sequence when I wan't to laugh.

Reset.. the cdrama or the kdrama ?

Sometimes, a drama looks like nothing, and seems long and slow. And yet!
Love In Sadness: the most suffocating of all the dramas. A feeling of not being able to breathe almost from the beginning to the end. That's why I watched the episodes as fast as possible, to be relieved of the permanent anguish of the main situation.

From your list :
Flower of Evil!!! As enjoyable than mouse but different. Suspens scene on the balcony,, episode 3. Woo!

Kairos! Great!! One the very few one drama that contains one true multi contextual scene (a key scene where fantastic concept trigger high emotion in a smart way). It's a scene about a support character, a bad guy, about the way his love story end.

The Penthouse drama nescafe PPL:
Someone get angry and the cafe is throw in the face of someone else, instead to be drink.

Drama "the king eternal monarch" was also the king of PPL!
I remember a funny scene when a character act like as iron-man when wearing an PPL iron mask.

I add time or motivation to watch few dramas, so at least I connect so I can update my watchlist, as it help me a lot to track what I watched. 2 very good dramas: Flower of Evil and Mouse (the story structure was so great in that, about that specific point it's a masterpiece). I MP you for informations.

Yeah, and if we look more, all characters suffer from mental illnesses in their own way. Explaining many weird decisions and feeling. It's not a story about what it should be in a ideal world with some expected morality. It's great for audience liking somewhat twisted stories.

Hello!! As you know my review is quite harsh on this drama. I formulated all is wrong in it. Now, on more thinking, there is still some good points. The writer still make a good job about creative writing and screenplay (It was so clear in my mind after watching hospital playlist, lol). So there is beautiful and poetic visuals. Some elements you never forget in the story, like a king on white horse in Seoul (followed by a nice episode 1 cliffhanger). Last episodes, when the story is at its worst for some fantasy concept logic (no explanation about how a king kid grow up and mysteriously is only one king when the other one return from the past), there is well directed scenes, like the crossing of the ML and BadGuy in the other dimension and various things of this kind. And I still enjoy this more than Goblin because it's a bit less boring. Really I was too harsh on TKEM. ^^

Well, on the other thread, I saw you like W, so of course, it's difficult to like TKEM because it's uselesly confusing, spreading in all directions, and low logic about concept. For a fantasy/SF concept, we can say these two dramas are opposite, even if I think W could do a better job at explaining better part 2. As TKEM explain nothing and create inconsistencies, we see how much it's dammageable.

So weird, when I dropped Goblin, first thing I was proud of was to put it on my dropping list, then write a killing review. ㅋㅋㅋㅋ

ahaha, you lie, it's not on your watching list. ;-)

Fun article, thank you! I'm pleased to read something against the flow.
I never hate a character, it's just I know or I feel this character shouldn't get the ML or the FL in the end. Just with an example, I like Kim Tae Hae in "Starway to heaven". Yeah, she's more like a bitch in this, almost a criminal. But she's more pretty than the FL, I really like to see her on the screen preparing sneak attacks. But I don't wan't her to be the final ML love. Just not! I prefer the official FL far much for that. You like or dislike them, they are good or bad, anyway, SML and SFL will suffer a lot lot lot until the end of the drama. Poor Moon Cha Won in "Shinning Inheritance", far much pretty than FL, always nice (until her mother end to corrupt her). She deserved to get the ML. But instead, she'll just suffer a lot. Don't be too harsh about these characters because if you look more closer, they really don't need us to hate them, they already suffer such a lot.

Burlesque comedy was too much for me during episode 1.
To the point I was about to drop it.
But then come the "horse" scene... so grotesque and over-the-top I ended to LOL!!!
Then I was definitively convinced when reaching episode 3 with this scene :
They are in 2 differents places, shouting at each other then... WHAT ???
Ignoring law of physics, one character go into the other one split screen!!!
Just awesome.

I like the main actor too. Tall, strong. For a long time I didn't recognize him.
Quite stupid, it just needed to read the actor background.
Of course, it ring a bell, he's Mu Hyul in Six Flying Dragons !!!
One of the best character, quite simple, tall, strong, nice and faithfull warrior.

I like this drama, but one element is really non-sens :
Choi Daniel reveal to the FL he love a woman (without saying this woman is her).
How a qualified psychologist like him can do such an error ?
It's the better way to make she won't have interest for him and think this woman is someone else.

It don't matter I enjoyed the drama or not, I'm also curious to read various review. Even someone disliking a lot something I like. It's fun. Maybe I can find something into that: this people didn't understand this or that, or maybe the drama has flaws and the review was able to find what.

Number 3: You should allow alternative answer because Squid Game has this exact flaw. You never worry about who die, and people in the story aren't so scared and live it like a ballad in disneyland park.
Number 7: I can't speak about others, but reason why I love this drama is I know it's bad taste on purpose, and it make it just more funny. But from the perspective of someone disliking, I think it's correct.

Apart that, your idea to take sentences from people disliking the drama is fun.

Hi, thanks for the link to this interview, I'm always very curious to read what Korean screenwriters say.
There is some useful information about the way she do it:
- Know a little bit about the subject and be inspired by real facts.
- Talking with your characters! It sounds very strange but it doesn't surprise me. I have never done this, but rather, I play the characters successively. This also means that I feel their emotions, which is sometimes overwhelming. If a scene is sad for the character, I may end up crying while writing or rereading. This gives me an idea that the scene is probably successful.
- Choi Ran reveals why we know Ba-reum's identity quite late, and how he goes through 3 phases, to allow the viewer time to empathize. Really great. The screenwriter made the right choice. I had a similar choice to make in my story, except I wasn't nearly as certain of my decision. I thought that some scenes came too early to create that kind of empathy for a character, or that they would have to be either cut short or delayed until later in flashback. In the end, I intuitively made the right choice, and now I'm sure of it thanks to this interview!
- The screenwriter-director partnership. Here, it was very tight! Of course, with so many scenes at the beginning and throughout having a strong impact on subsequent scenes, every detail counts. The content produced by the screenwriter undergoes other phases (acting, directing, editing), at each stage, other people make the drama. And at each stage, there are losses, risks that someone didn't understand something in the script and translated it badly. And it gets worse when the production gets involved and distorts the drama. She talks about it in this other interview:

https://www.kcrush.com/kcrush-interview-with-screenwriter-choi-ran/

Very interesting too, and very reassuring.
- How she starts with some ideas.
- How she writes: don't waste screen time, make every moment captivating. Philosophy that I share very much. This is how the drama gets a "movie" feeling rather than a "series" feeling. We can see in many dramas that this principle is not always applied. Hence the dramas becoming boring, producing fillers, or scenes that are not very interesting but there because they have to tell a transition without conviction or good ideas in it.
- And finally: the fact that it is not possible to sit down and write and manage to do it. And therefore that the imagination must remain free and relaxed.
- She also talks about provocative concepts like "make the psycho the main character", what I call counterintuitive ideas. It's when the inspiration gives something unexpected and opposite to what was planned. I can give an example from my script: I have a heroine called Ren-Bo. At the very beginning, before writing the story, this heroine was supposed to be a pretty, nice girl with no particular problems. But when I imagined a romantic story with her, I didn't have many ideas. Everything seemed flat and conventional. I made a counter-intuitive choice by giving her a personality and problems opposite to what I would expect. And then it was an explosion of ideas. You can say that everything changed and transformed boring moments into moments of strong emotion. The whole character design changed and became completely consistent as well. I kept only one line describing her as "the incarnation of the pure and innocent girl", that is true, but everything else is bewildering. To get counterintuive ideas is difficult. We tends to tell what is obvious. I used a major counterintuive ideas later in the story (it saved a large part of part2), and smaller ones. But maybe I could had more ideas like that.

I'm at episode 5.
It's crazy stupid, but enough fast paced and fun to make me watch.
The way it's told, the gags, and how the main actress act look like a manga/manhwa.
So, adapted from a manhwa, but for once, keeping the manhwa feel.

I'm also glad to meet someone who has a good sense of storyline and even about many meaning in the story (what I'm sometimes less focused on, unless I rewatch the whole).
I still call it plot-twist, but in the sense that there is foreshadowing. Enough elements before to make the plot-twist believable when it happens. It can even be predicted for people who are very attentive.
But a plot-twist without foreshadowing and not predictable is also very good when it is foreseen by the structure of the script.

And this important question: how can one person write this? It's probably easier to be alone, to find your way in this labyrinth.
I would like to know how the writer conceived her story. This is the kind of brilliant scenario that we sometimes meet, like W, 365 repeat the year, Sisyphus the myth. Complex stories with many links from start to finish.

I wrote a story like that, about 22 hours. It took me a year and a half before I could start the script. So, 6 months of intensive ideas. And a year of preparing the structure (and new ideas). It's very heavy to carry, because the story is very unclear for a long time. It's a mess, thousand of lines in ideas files, and you feel like your brain is going to burst to fit everything in. Kind of story, what happens in the first episodes will have an effect on the last ones.
As if by magic, the ideas end up organizing themselves by connecting to each other. Like a chemical precipitation, taking place at the moment when the chronology is established. As this process continues even during the writing, it is sometimes necessary to rewrite what was there before to match what is there after, in case it has changed in the meantime (few radical changes though). An extraordinary phenomenon happens without the writer's knowledge: correlations everywhere. It's not really calculated or defined in an intellectual way.

Once the writing is underway (with tons of new ideas again and again), and even with uncompromising logic, the risk of plot-hole is very high. Since everything is connected, you have to keep revisiting scenes and wondering if there is an oversight or something inconsistent with the rest. And the plot-holes slip into the story with disconcerting ease, so difficult is it to master a document making a volume of text of several novels.
And that's for the points related to the main plot or the rules of the universe.

Then there are also the "small" plot-holes. Not in relation to the story, but in relation to the logic of a scene. This too is quite easy to produce, even when you don't want to, and even when you try to think of everything and write logically.

Finally, there is the work on the interest of a scene and its rendering, its visual. Here too, it is very easy to forget. You have to ask yourself tons of questions all the time.

You can have an idea of my work on my blog (check my profile). I have detected, by dint of correction and proofreading, some imperfections in my story. As I left the old versions (the page is renamed with _old at the end), you can have an idea of the possible omissions, or of the work to go from a rough document (however corrected several times) to a real screenplay.
- Example: Episode 1, the story introduces a character (Moon Mi-Ra) that we see in one scene. However, only the script says her name. The spectator can't know her. Stupid as an oversight! Having the character come out of nowhere like that, without realizing it... Also, the correction was to insert a visual insert during a previous scene, showing the character at the same time as she' s named.
- Another example: Episode 2, a character recognizes himself on a drawing. This makes sense in the story, it's meant to. Except that... in reality, the character has little way to recognize himself, because he is younger and drawn in a stylized way. This seemed obvious to the writer, but it is not obvious to the audience. So I added a visual where we can see the character in a picture, having a better resemblance with the drawing.
- These are two mistakes or small plot-holes that make the content difficult to understand or create discomfort for the audience. No doubt there are others that I forgot!
- I also had to correct a real plot-hole in one scene (episode 6). Fortunately, it was possible to do this without changing the structure of the story. Otherwise, it would have been catastrophic. Even after rereading the script 3 or 4 times, the plot hole was invisible. That's terrible!

In a story where the plot is important, reality must be bent to connect subplots. You have to force the story to go where it's supposed to go. But at the same time, without giving the impression that it is forced! Everything must remain logical, with justifications. And all the while avoiding transition scenes that have no other interest in themselves. Because each scene must be interesting for what it is, no filler, no "it's written because it has to be". Sometimes, it can become shaky on small events. And sometimes you have to change the structure on a more general level when a much better idea for a path comes along (and will even bypass or defer what was originally planned). This happened to me, a major structural change around episode 38, which was necessary, once the fact was put in relation with the final script. It's pretty scary, but fortunately, you naturally land on your feet if you know where you want to go.

Finally, the cliffhangers! How to build an exciting story while having a good cliffhanger in each episode? It's also magic to have a cliffhanger at the right moment. Or: the story is so dense that many scenes can be turned into cliffhangers (it happened on W! The Penthouse too is impressive about that).
In the case of Mouse: some cliffhangers are artificial. It's not very good, but better than no cliffhanger at all. So the end of the episode is shocking, but the resolution of the cliffhanger quite disappointing. For example the cliffhanger where Jung Ba Reum taps Ko Moo Chi. (in real, he slaps his own hand). There are some less good cliffhangers in this style, while also having real ones. Here again, it is impossible to blame the scriptwriter, who does according to the density of the story: to make the story not drag and advance as much as possible during an episode. How to have the chance to fall on a real cliffhanger by doing so? Low. So, force the cliffhanger a bit if necessary. I find this preferable to a drama that defines its cliffhangers first, then drags its story, fills it with fillers, just to get to the end scene at the right time.

What the writer of Mouse does, as well as some other Korean writers, is the most difficult to do:
An entire hyper-linked series. No American writer ever produces that, even though they are entire teams. They work in small chunks, story arcs, with an overall plot, or a season at best. Or by procedural episodes (with a background story). This is seen in movies because it's easier to do, there is only 1h30 to 2h of content. But a 16 to 24 hour drama?!