W two worlds Season 2 sc

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?!

Your review really make sens. I was about to write about a point, but you made it:
Some people said Mouse was a kind of extravagant drama with plot-twists from nowhere.
It's the exact opposite.
It's one of the most constructed script I could watch. A 20h complex structure, each scene from the start make sens until end of the drama. An amazing work from the screenwriter.
I found that easy to watch and understand, but it was crazy difficult to write.
There is a lot of plot-twists, but with a meaning and a cause/effect driven by the main plot. So, very good plot-twists. Prepared from the start, even before to write the single line of script, during the preparation phase.
You said the show isn't flawless, it's right. But anyway it's impossible to be flawless with a so intricated structure and so many hyperlinks. It's the price to pay.

It need maybe a specific mindset to fully enjoy this. But yes, for people having that, it's an absolute masterpiece. More, the screenplay is one of the best (I looked at several different kdrama screenplay), and get the MBC prize. Not just the story, but the way it's told in the script.
If you liked the show for how smart each moment is, each line of dialogs and complex set-up, maybe you could enjoy to read the season 2 (go to the link on my profile). I wrote it because I couldn't do otherwise (too many ideas). But I wrote it also for fans liking and understanding the first season, not just romance, but the whole style, with emotional rollercaster, endless series of plot-twists, logic and crazyness.

Short parody of a scene from episode 7, with madam president of Korea.
--------------------------------------------------

OFFICER - President, we found something in the garbage.
PRESIDENT - Who put it there?
OFFICER - I don't know (hands the item to the President).
PRESIDENT - (Takes the item and examines it) A candy bar wrapper.
OFFICER - What do we do with it, President?
PRESIDENT - Throw it in the garbage.

The exact opposite.

Episode 10, arm wrestling scene is one of the best of the drama.
Thanks to a bit of "preparation" to it.

Your feeling about american football is exactly what was my own feeling about that. Looking like a basic sport of brute force, etc. More silly than rugby. Since I read a lot about that, I changed my mind. It's highly tactical.

Apart that, I know really nothing about sports. I don't practice nor I watch it on TV. It's not I dislike it, I've just have no interest, except maybe martial arts because I praticed. So, it don't mean I couldnt like dramas about that.
Racket Boys look like a good one. It was already on my radar. But I have a so big list of dramas to watch, maybe better ones before this.
My way too choose is a bit erratic. For HSL, it was because of the main actor. I saw him in some other dramas, and it was a amazing actor. A top 5 of best villains in kdrama in "Remember: war of the son". In this, he make you stand up from your chair, scream and launch something at TV so you hate him, lol! Maybe I answered to a forum post here about best villains in kdrama.

About baseball, well, only thing I watched is also a japanese anime called "One Outs". My motivation was because the storyteller is the same than "Liar game". So it's about baseball, a lot of match and action, but in a very biased way. Nothing heroic. It's about money, psychological manipulation, corruption, even cheating. Even on the field. It's about a unknow player winning money on illegal bets. Then this guy enter the professionnal field. We can say this hero look a lot like a bad guy, but he just face baddest guys. Of course, he's clever and have a huge self confidence and cold blood. Of course, and beware... you are hooked on first episode!

EDIT: I used your website about anime, here the page :
https://anidb.net/anime/6139

Hi, yeah, US show are now very bad. More than 12 years I don't watch anymore. I can't list all the reason why, there is more than one. Maybe the biggest one is lack of feeling and real human emotion. Even the actors are quite good, it's not enough when the script and directing are unable to make it. I still remember some good older show, well packed about action, plot-twists and cliffhangers, without some huge flaws we get now.

FNL is a older show. Maybe the closest series that could have some korean feeling. At least, I can just say it's the only US show that had a scene that made me cry (it was in season 3 maybe, I don't remember exactly).
I can quickly say than just episode 1 give a lot about the way it's done, and immediatly addictive. Of course not for everybody. But if you get that feeling of near documentary way to do I told, it's almost sure you are in from the start and get a huge "woo".
Also FNL is somehow a way to show texas without filter. Maybe a lot of people have a lot of pre-judgement about this place, and not always in a good way. Not the texas of big cities like Dallas but the country and small towns. Hope of people and why football is so much important for them. The serie made me quite entousiast, and before to go further, I opened a book and read what are the rules of american football. I wanted to understand more what happen during matchs. But here too, the show is quite well made, it wasn't so usefull because we understand what happen.

HSL is more about management, I'm ok with that because I already know before to watch it would be that. Also, I've no real feeling for baseball and don't know very much about that. Sports show have a bit of commons tropes. Bad teams becoming good, then winning, etc. It's quite addictive, even we know how it work.

I'm not fan of american shows, but if you wan't to see this kind of drama with lot of good sport scenes, watch Friday night light. Story center on the coach rather than on the manager. There is a near documentary feeling in the show. It's made by a great cinema director, Peter Berg, guy how made famous movies like Deepwater Horizon or 22 Miles.

The drama is good, and no need to know something about baseball or even to like that.
At episode 7, I spotted something looking like a plot-hole. Or really, I can't understand this situation.
The owner of the club hire Baek Seung Soo, so why just a few times after, he already wan't to fire him and replace him with another guy ? It don't make sens.

I didn't read the manga, but have to say it's far better to watch the anime first than the movies. It's made in a way the emotions and intensity are really high.
Season 2 is a bit less good in the way the situation about pachinko is sometimes too long, but there is also huge rewards because it lead to so awesome scenes. First part of season 2 and its conclusion is also so great.

I'm also an absolute fan of the japanese drama "Liar game". Here too, it's not deadly like squid game is. But intensity is far better, well, everything is far better, and ultimate smart and mind blowing content, with manga-like crazy montage. A real piece of art, for a low budget. Just with few money, talentuous people can make content far better than anything else, and make feel there is as many money on this than on squid game.

Squid game violence is almost free violence. Violence for nothing, in the way it don't have an effect, except to be shocking for a few time only. It feel empty. Look more like an american show than kdrama. You know, many deaths but nobody care. Also, I can't classify squid game as a kdrama, it's rather a movie cut in parts. Because it's not the kind of content a kdrama can have, too much violence, people smoking, sex scene, etc.

Very good drama. Almost all is ok, great acting, great directing, good script. High emotion.
I usualy don't like stories about psycho-killers, but this one was worth watching.

Director Kim Chul Gyu made Hwang Jin Yi in 2006, if you watched this drama, you could see it don't look like a 2006 drama, it was 10 years ahead about quality.

I give a plus to your review, even I think I liked the drama much than you.
Acting was great, and at episode 4 I was conviced with some great scenes and a troop of ugly and bad people well made.
But on the long run, yes, it's quite grotesque. We know it's a drama, so not too dramatic, when real events of the story should be more disturbing. The good guys are victorious, far too easy, with rocky music and slow motion when the band walk. A bit too overthetop and unrealistic. Grotesque is the word.
My note is 7 too, what is still good. The drama is never boring and there is punchy, good scenes all along, and a wonderfull and sexy woman antagonist.

Not really. You can read my comment on the drama thread, 6 day ago.
It's a quick review without spoiler. Overall, the drama fall flat.
With also some flaws like : "people tell about their life" in some boring scenes.
Main character start as an anti-hero, looser-gamer. So they tried to make it like Kaiji. Except they need half an episode for that, instead of Kaiji fast pace (I speak about the anime only, that is far better than the movies). Then Kaiji remain faithfull to its character when squid game anti-hero loose quickly its background, and we don't feel it's made into action later. So, the character background could be just something else.
I don't know why the drama have so much success because everything almost was already made elsewhere. Maybe a good publicity. And probably, people don't know from where the ideas come. So it's a bit like the "liar game" korean drama. You can find it nice when you watch it first. But it's quite a bad drama if you compare with the original japanese drama.