W two worlds Season 2 sc

Episode 10.

02:30 - Seo Hae's father visits the daughter of the head of the ICB.

30:15 - Broker Park looks at some pictures of his family.
Look like his wife is the daughter of the head of ICB.
Well, the wife of his younger self (should be in prison).

I think that too. But as I'm watching the episode, it's still ok, or I don't want to think about that, because I want at least enjoy what I'm watching. All I see is the new actor try his best and have good acting. But after the watching, damn, this feeling is here. It's the wrong guy.

Of course, broker Park need partners. He can't doing his business alone. Assistants are very usefull. We know these guys come from the future. Id upload 10000. So they are among the older ones coming from the future. They are partner with Park since long time.
I wonder if BingBing could be Park daughter.. ?!!

Your analysis seems right to me. We first ask ourselves what importance the character has, and why he is there. Of course, he is ejected from the story when he is not useful, there is no time to waste on him. However, the character has a little too much time on his hands to be permanently ejected. Instinctively, as a spectator, we feel that he should come back. It doesn't seem natural that he disappears. Perhaps this is the first reason why he returns. The attachment of the spectator to a secondary character. And his unexpected return is one of the good surprises.

Otherwise, the situations can be solved in another way, and without him, but it could be harmful.
The rescue of Seo Hae can take place otherwise. The plot-twist is still better with Sun, because the scene takes place in two stages:
The heroine is forced to take the wrong path to escape, and she ends up at the place where the sniper is waiting.
The heroine is wounded, the spectator becomes worried.
1st plot-twist: First, Seo Hae uses the EMP gadget intended for the situation against the sniper. The viewer is relieved.
But, it fails! She is caught, additional tension, spectator again worried.
2nd plot-twist: Sun saves Seo Hae! Surprise!
It is a way to play with the nerves of the spectators. And give the impression that the scene could end badly. Some scriptwriters use this to excess (which I like), and sometimes it ends badly precisely! (which is a kind of plot twist too, and even more shocking for the viewer). I have tons of examples like that, impossible to list.
Sun' return here is a big hit.

This also allows the realization of another plot-twist, even more impressive, the appearance of the cup from nowhere, and then the rescue of Tae Sul by Seo Hae during the sniper scene in the market. Seo Hae can do this because Broker Park gave her Equipment (rifle).
If Seo Hae is not also removed from the story (injured) then the situation of Tae Sul being kidnapped by So-Jin cannot take place. However, we can imagine that Seo Hae escapes without being injured, then goes alone to Broker Park to get help, which allows us to dispense with Sun. And for that, we have to find another plot-twist, a fierce fight, a car theft, eventually Seo Hae can even take hostage a member of the control bureau. But in any case, why would she wait so long to act and come back to save Tae Sul? Even wounded, in Sun's car, she wants to turn back! Fortunately (hey hey), she falls unconscious.
Moreover, this does not allow the confrontation between Seo Hae and Jung. When they look at each other, Jung cries, while he is supposed to hate her. This theme of the character crying is used many times, signaling a temporal phenomenon, perhaps memories, or impression. Seo Hae's mother cries after receiving the phone call from Seo Hae. However, Seo Hae just says "mom" in a low voice, then hangs up. Her mother didn't really understand and thinks it's a wrong number. Nobody cries for receiving a wrong call.

For the rescue at the hospital, Sun is used as a partner. An obvious reason, situational comedy, imitating Eddy. But of course, there too, we could do without him! The scriptwriters have absolute power, they can invent anything to solve a tricky situation. Even an operation led by Tae Sul alone. He gets into the building by hacking a digital lock for example, that's his specialty. He still has a lot of chance to be spotted because everyone knows him, but he can just put a black cap, like all the people who try to be discreet in dramas, lol!
Another reason why Sun is indispensable here is that it consolidates Tae Sul's character. Tae Sul never acts, he is the one who thinks or invents technological solutions to situations. It's like that since the very beginning, episode 1, scene of the plane. He wakes up the pilot. Tae Sul knows everything about the plane's electronics, but yet he is not the one who will act (fly).

Sun is also used for a traditional love triangle cliché. Some viewers don't like it, but in practice it almost always works. It creates conflict and funny scenes, annoying to some, satisfying to others. My opinion is that it works too well to do without. I noticed this while watching the drama Suspicious Partner and many others. As soon as the hero's old girlfriend comes back, the situation becomes more exciting. We wait to see what problems she will cause. Of course, some critics will say "this again!", but if this kind of conflict is removed, it makes for a very boring drama like season 2 of love alarm. People hated it so much that it's clear that a rivalry situation would have been more exciting. For Sisyphus, it gives for example the very good comical scene where Tae Sul criticizes Sun's car.

Finally, Sun is used as a hostage, in the last episode. This allows Park to follow Tae Sul to find Agnes.

I still have the impression that the character is destined for something else in the future. A more important role in the story. Since he is one of the characters, we can assume that he survived the apocalypse, and even that his former self traveled through time as well. Either he has already arrived, or he will arrive later from the future. Or maybe he's a sacrificial character who won't survive, but will give his life to help?

I'm just taking things as they come by their pleasant side regarding this character, curious to know where it goes. But even his current use is fine with me, he holds his role as a support character and produces a lot of good things for the drama.

Yes, I writed wrong things before, about new BGM, there is good ones.
Now, I rewatched ep 9 & 10 and I ve ideas more clear about that.
Of course I miss too some of the older ones.

We don't exactly know why, no full explanation given for now.

The screenwriter is more than competent about making more than sad ending: devastating ending. It's bit why I'm curious about this drama. ;-)

The problems I was talking about are not related to the writing time, but to the complexity of writing. The choices that have to be made, and their irrevocability. A drama can't be rewritten, or it's a drama with few prepared elements. A bit like the daily makjang of the old generation (soap opera), but the ones that are broadcasted nowadays have already a much more elaborated structure. Even very elaborate in the case of Penthouse, which is even more complex than other ordinary dramas.
Otherwise, there are IN ADDITION, problems related to the production time. And there indeed, it creates additional inconsistencies. Both for the direction and the writing.
I can just remind you a fact that you already know: the budget of kdramas is 10 times lower than that of US series. They achieve results by their talent, production experience and a Pale Pale Pale philosophy (fast, fast, fast).

Directing: direct example in Sisyphus, scene of the red dot laser. The interior scene was shot in a room that is not really a room in the villa, as seen from the outside. The director tried to hide the opposite wall in the room, to give the impression that there are windows on the opposite side. He showed the heroine aiming at the 2nd floor windows from the outside. But you can see that the shape of the windows is not the same.
Another example: the production probably hired a real machine to decrypt the DNA. But the embedded program may not allow to change the date on the machine. Also, the day and date seen in the drama does not correspond to the date in the time of the drama. It can also be a simple oversight, or the props man badly informed, a loss of information in the production chain. Moreover this date is seen in small.

Writing: I don't have a specific example for Sisyphus, because some implausible scenes I studied turned out to have enough credible elements. And for the rest, it's impossible to say until the end of the drama. I'm quite sure there is still a few ones, even if the screenwriters had more time for the script (writed year 2016)
For other examples, there are tons of them in most of the series, especially the older ones. And in dramas too of course. If a scene involves a real element, the narrative goal almost always comes first, no matter how realistic it is, besides, the authors don't have time to do lots of serious investigations if many elements are involved. For a specialized series, for example, the old Emergency series, a doctor told me that he found it quite realistic. The show is specialized on the hospital field, so certainly they had time to investigate that unique subject. But if in an episode you see someone having an accident in a factory making pieces of sheet metal, it's unlikely that the writers would investigate that. They invent an accident for a worker to be cut by a piece of sheet metal, and pass it on quickly.
Another example, the drama Good doctor: from the beginning, a huge panel comes down in the airport. Yes, in dramas, it's amazing how low the safety standards are. Anything can break, fall down, catch fire, anywhere. The narrative goal is to show the hero in action giving emergency care from the first episode, so it doesn't matter what the actual structure of the airport panels is.
Otherwise, there is the great classic: if you want to kill someone quickly, a white truck appears at the right moment! The spectators are so used to this that they don't take it into account anymore. Only the narrative sense matters: death by accident.

Nowadays, US series have a little more leeway, for example for Walking Dead, a team of 5 or 6 writers. But they don't do a better job than the Korean writers, who have the possibility to be fully in control of their work. They are mostly doing a rehash. They are asked to rewrite an episode or scenes 10 times if they have to. In the end, the episode is also bad because anyway the main objectives of the episode were very low (case of "soft" and boring episodes). The Korean scriptwriter just needs their talent to find the best scene in a reasonable time, the one that responds the most to the naturalness of the story. It is possible that they have time to correct afterwards, to make the scene better, to shorten the dialogue, to add some important visual elements that they forgot. Finally, everything that a real professional can do on top of the rest (general methodology) compared to an amateur like me.

However, they have more difficulty detecting their own plot-holes. It would take other equally committed writers to detect them. That's a writing problem, not a time problem.
I bet you don't like plot holes and inconsistencies? I don't like that either, and I've often complained about that kind of thing. When I was younger, I was obsessed with it and I used to grumble against the writers.
Inconsistencies manifest themselves with phenomenal perversity and ease, I've seen it horribly, despite months of intensive prior structure work. On a 22 hours script, when I reread it (and it takes a long time to reread or correct), I notice a huge plot-hole, in a scene lost in an episode at the beginning of my story. This in a complex story where I struggled very hard to make sense of all the ins and outs from beginning to end. Anguish, my blood runs cold all of a sudden sharp, how could something so huge have escaped me? Fortunately, there is a way to correct this one. But how many other inconsistencies are hidden without my being able to detect them? There is a blinding effect when faced with the mass of text and scenes lined up. Sometimes you can think about it ten times and you can't see the connections. Or it's by devious means. Even with the best will in the world, you get trapped.

Example from Sisyphus: at the beginning of the drama, Tae Sul's brother is supposed to be dead. And even, dead on 12/08/2010. When Tae Sul wakes up in the hospital, it's precisely on 12/08/2020. Normally, especially in a Korean drama, he should commemorate the death of his brother. A short scene to place a flashback. Here, no! I'm willing to bet that this is part of the backdoor inconsistencies impossible to detect. At least, if I had that in my script, I probably wouldn't be able to detect it, even though I've done a lot of work to correct hundreds of other situations, or have always maintained an impeccable story logic taking into account the continuity of situations. And on this example, it's still not serious, but when it impacts deeper things, you have an idea of the terror it generates when you discover that in your own script. If you're interested in screenwriting and want to suffer, do it! You'll get a smile when you think about what I just said when you encounter the case.

Another way to create implausible content is through last-minute editing. When the writer has to rewrite something because it depends on the conditions of the shoot and the direction. There it is easy to break pre-existing links.

Finally, the voluntary plot-holes. I would never have believed such a thing possible, until I came to create one myself. Simply because the scene was a hundred times better this way, and that trying to produce coherence would have resulted in an ugly heap of explanations, devious means and time wasted to make it valid to the spectator. This would have stunned and disgusted the viewer much more than the incoherence.
This happens often in series and dramas, if giving tons of explanations slows down the plot, or forces to tell things too much out of context. At best the writer can give a red flag.

There is a concrete example in Sisyphus. (assuming it is not explained otherwise later).
Episode 8, the drama takes a long time to show the huge flashback of the story of Seo Hae saved by Sun. More than half an episode! Already much too long.
Sun wins the lottery. However, this is in conflict with another element given in the story: the control office is watching the lottery. How can the scriptwriter stage a series of explanations or scenes showing why Sun is not detected by the control office? It is possible! We can find a plausible plot to explain this, because if we want, we can always find more or less plausible plots to explain anything. The only problem here is the time it would take in scenes and explanations off the main plot.
Instead, the writers just used the red flag: Sun says in a dialogue that he is afraid to be caught by the control office if he plays the lottery. Thus, the viewer knows that the writers have taken into account the logic of the story, but without any explanation being given.

Since I have a little time, here is an answer a little long. Both to answer you and also put some ideas into order, a reminder for myself.

It is true that we will know only at the end the characters that could have been superfluous, thank you for making me remember.

For now, the bureau has a place in the universe of the drama, because it is at the center of the theme of temporal migration. There remains the question of how they are used. Sometimes more as a plot-device, to trigger events, or to push a main character to move. Soon, they are no longer perceived as a threat, while their first appearance in the drama is terrifying. It's a pity that they lose this side. Moreover, we still have difficulties to know what they want (kill people? capture them?). This is the kind of recurrent organization that we find in many series. For example, the center, in the US series "The Chameleon".

At this point, we know about the wave of the first travelers. I don't know if the Control Bureau has anything to do with it. In episode 8, there is the hospital that Seo Hae assaults. I wonder if this is the Control Bureau of the future.

You can think about how this element could be removed from the drama. Maybe more when the drama is over. That's a very good move on your part, rather than those of the people who have easy criticism but hardly think.
I've tried to make the effort before on other dramas. It's kind of like reconstructing the script after the fact. It takes a lot of work if the element to be removed is heavily integrated. It changes the chronology of events or their triggering criteria.

For the writers of the drama, the choice to use the Control Bureau is certainly very early on. This is where everything has to be decided, while the whole thing is very vague. The context is very abstract, nebulous, the author cannot yet imagine the drama as it will really be. A decision taken at this moment becomes then impossible to modify. The elements accumulate and become entangled. When the script starts to be written, then it's over, and even then it's already long over. The story has begun to live and unfold its own logic, everything is interdependent. If a really bad decision has been made, it's too late. It is sad, but the author is powerless, and even the story imposes the choice by itself. Rewrite a script like that is quite impossible. Too much text and scenes, too complex, screenwriter become half blind. It's not a movie, but a 18h drama. When it's over, even the author can read their script again and say: "well, it wasn't the best, but it was necessary. I don't see how it could have been otherwise, everything is too connected now". So I'm not too hard on writers, even those who produce dramas that have disappointed me. And if they are here, they are already the best ones, in a such competitive production context.

It's a frustrating feeling. I felt it when writing my own drama: the major conflicts break out in the second half. And the first half? Mostly comedy, with thankfully a some alarming plot twists, a build-up of tension, and the appearance of a mysterious enemy. I would have liked more action or major conflicts though. I'm trying to think how the first part could be shortened, but I don't see a way out. Everything has a perfect reason for being there and the majority of the scenes make sense to unfold the rest of the story. Some scenes of pure comedy could be removed, but that's also a bad idea, because humor is never unnecessary. If it were, there would not be dramas whose only purpose is to make people laugh. And even the pure comedy scenes bring information or have a link with the main plot. What to do then? Nothing, the author is trapped. The story has chosen its own path. Maybe another author could help by making drastic choices.

There are often strong implications in the choices made by the writers. At least in a dense plot-driven drama like Sisyphus. I'm not talking about character-driven dramas, because I have no vision on that, nor any talent or experience to write that way. And plot-based stories are very satisfying to me character-wise. The decision of a plot twist or a major decision of a character forces the author to redefine the psychology of the character, so it contributes to the construction of the characters. Not in a linear sense "the character is like this, so he will act like this", but in a recursive sense "because the character will act like this, then he need to be like this". This has a snowball effect. Since the character is defined by the major choices, the way he will act will be different for the minor choices, and allows to create secondary plot-twists. Anyway, if a plot twist is good, you'll have to do anything to force the character to live it, and patch on their personality the necessary reasons. Of course, it's impossible to write this way if it's a run-of-the-mill story (e.g., regular fan fiction, the author himself doesn't know what's coming next). This only works in ultra-structured scenarios, such as Sisyphus'.

Sometimes the audience disagrees with the writers' choices and the characters' decisions, but I always wonder what could have been done instead.
I can't remember if it was you or someone else who raised the choice "Why Sun's family agrees so easily to leave Korea?".
Here, I put myself in the writer's shoes, and I have 3 possible choices:
- The one used in the drama.
- Do nothing. The viewer will inevitably have the following reaction: What? His family might die in the war and he does nothing to save them? So we see that this solution is not more acceptable.
- The family refuses to leave Korea. This solution has good aspects, even the following one: because his family refuses to leave, Sun has an extra motivation to help Seo Hae to stop the future war.
However, this solution has an impact on the script and the rhythm of the drama: it means using time and scenes for several things: the family conflict, the family refuses to leave. This can be quite long in dialogues and arguments. How far is Sun willing to go to convince his family in vain? Then other scenes to remind the motivation of Sun, in other episodes. His family is always in danger. Regular focus on useless characters.

Whereas here, they are characters destined to disappear from the story. The solution used by the writers is thus intermediate. They don't want to generate an inconsistency by doing nothing, but they can't afford to use these characters more and waste time.
As I was writing, I realized how easy it is to get rid of characters who are no longer needed. It's almost natural. You just forget anything else that could be useless. There is no reason for these characters to appear in the middle of later scenes, which should be fully focused on something else. If a character becomes useless, we try to get rid of them as soon as possible. We can say that Sun's family was kicked out of the drama.
:-D

I can give you a good list of drama more furious about the pace. ^^
Well, my favorite ones, I prefer fast-paced and plot-driven dramas. Sisyphus pace is well balanced.

Sure, it can be rewatched! Here, Im at ep5. The scene with the rumors in the court was gold. With aerial view in the JRPG style, lol!

It's a huge drama, never seen before stuff. Ditto for some fight scene. Highly addictive.
Script is crazy dense and clever, you have hard time to get all, but if you don't, just wait for later revelations, or confirmations of what you guessed before.
Expect also some bugs, a few sequences badly shot (greenscreen stunts). Or some weird things, like ICB incompetent top-models team (recurrent joke here), or some other weird things you don't understand now but have an explanation later.
Still, the drama is very easy to watch, cristal clear about narration.
Look a bit like King Eternal Monarch, but sci-fi rather than fantasy, more sets and quality, without confusion, no useless characters, far more fast paced with plot-twists, and focused on a main and complex thematic instead of too much ones.

I started watching this drama. Very good comedy.

lol, it take too much time to do. here, it's just a single pic on the fly. ;-)
I watched the screenshot and got a flash idea, just by looking at it.
Most funny thing in this is the new actor is 1 year younger than Ji-Soo.

I realize that my comment was misunderstood. Maybe because I have to use an automatic translator.

I was surprised that she has all the attitudes of a real princess: but now, as her memory has been restored, it is quite coherent. I had forgotten this detail.

Otherwise, I'm talking about the character and the plot, not the main actress. Except Ha Ji Won, there are not many actresses that I find convincing in action scenes. It requires exceptional physical skills or years of training in a martial art. Or you have to cheat with the editing, but it is noticeable. I don't nitpick on this therefore.

Here, the drama is quite light, maybe by choice. Otherwise, for the assassin part, it would have been necessary to show a particularly shocking aspect of the heroine. She kills people, no matter who. Innocent or guilty people. But no choice, it's her job. It's a very dark personality. I don't know if the script will take this into account, or if it will be hidden under the carpet. All we know at the beginning is that she wants to quit the business. I don't remember any flashbacks, like she remembers killing people in a ruthless way, or feeling guilt. At first, her murderer friends plan to kill On-Dal, but it's more of a comedy scene. The characters have no inner conflict about this.

Afterwards, this is a fairly common way of doing things in historical dramas. We don't make much of a fuss about killing someone. The proof is that I'm analyzing this, and nobody has talked about it or pointed it out. It's a given and accepted by the audience. I myself didn't think much about it while watching the drama. I had this idea when the princess had quite delicate features. Certainly less than a usual princess, since she often causes scandals at court, and imposes her will to help the king. Very good scenes by the way. We felt the gratitude of the King, who for the first time in years, has a real support. For the actress, of course, she is much more comfortable in this role, or on my side, I prefer her more in this role.

I think the guy he say "you are the only one who will survive". He have the same face, younger. But I don't understand why they don't merge or it don't create glitch effect when they meet. So, maybe Im wrong.

Steps:
1- Sigma arrive in 2001.
2- Sigma meet himself and merge.
3- It's 2021, Sigma use uploader, then go step 1.

Because of the merge, he never get old, and keep memories of the loops. He never live after 2021 (or moment he come back in the past).

It could be interresting. It's better than to mix genre (romcom + serial killer). Also, the part about motivation of the killer is given, so it's ok.

Should be 24000th.

Pssst, leave it as a secret, do reveal this spoiler, but...
Goblin is the most boring drama in the world. High rating ? God, I watched this because it's was high rated. I can swear : never in my life I will make a so big mistake again. People here are inconsistant, unable to find what is good or bad, posseded by weird ostrogen biological instinct out of nowhere. Goblin is a absolute boring shit, my reference about how a drama is boring, ... goblin scale, start to zero. Thank to that, I can establish a scale starting to zero and reach to ten.

I watched Pasta. I don't know what rating it deserve. but for sure, more than many higher rated drama. Even more, it was a drama taken as an example in the parody drama dramaworld. No need to say that, I enjoyed a lot this drama. ;-)
Others dramas : I'm very curious about Bad Thief ,Good Thief. I will watch it sooner of later. Thank you about your list: