W two worlds Season 2 sc

I wanted to see this drama after the broadcast, but your comments make me want to see it so badly right now !!! I feel like it's the kind of fast paced and credible SF story I like ... Is it?

The drama is ambitious, but has a rich terrain to explore, requiring serious investigative work on the part of the screenwriter:
- Mental illness and therapy.
- Psychiatric hospital environment.
- Illustrated books for children.
- Book publishing environment.
- Tales.
If all this is well exploited and combined with sufficient imagination on the part of the screenwriter, there is everything to make a very good drama.
I particularly like dramas that take their subject seriously, using real elements to make it more credible. Randomly, the drama Ms. Temper & Nam Jung Gi. Here the screenwriter made the effort to investigate the perfume industry, to use that in the script. It could have been done even more.

About the exaggerated allegorical scenes: I hadn't liked the first of these scenes, then I radically changed my mind afterwards.
For example, the scene where MY transforms into a giant is very good, to represent her whimsical thoughts. Since the drama is a rom-com, there is obviously comedy. And if there's going to be comedy, it might as well be good comedy.

I don't know if the drama continues to show scenes like this, but it would be interesting. It's possible to make them look like fairy tales, like the idea of a giant woman taking over TE, as if he were a little toy figurine. The image is well found since later in the story she tells TE that he is her toy. Here, the scenario uses a correlation that is well placed and does not lose the rhythm of the story.

This allegorical scene could also have a sequel, but from TE's point of view. It would resemble Gulliver's travel tales. MY is a giant, she falls asleep peacefully with a tiny TE on her chest. By magic, dozens of other miniature TE appear and tie the giant MY with ropes. A way to represent later that MY has become his prisoner in love, now attached to him.

Lee Jong Suk is serving as a public service worker since March 2019. If you go to South Korea and walk into Seoul City Hall, this is the guy who opens the door for you and offer you a coffee.
Cool, right? :-D

It's true!
Kim Soo Hyun and Hyun Bin are the most paid actors.
Even Lee Jong Suk is cheap if you compare it.
I don't know why they are the most paid.
Maybe they want more money ? ;-)
I suppose it's related to very popular roles they got in the past.
For example, Moon Embracing the Sun was a drama with huge rating.

Since I re-watched the episodes, I'm being punished for double the amount.
T T
If you feel like laughing a little, I give you the link to the parodic memes I did on this drama:
http://w4worlds.eklablog.com/the-king-eternal-monarch-memes-c31688098

We don't know how the writer writes.
But I have this impression: of course she prepares the structure of the drama, but episode by episode. For each episode, she has one or more key scenes. And she has the cliffhanger for each episode. Then she articulates the rest to give meaning to the general story, and completes it with additional scenes. Additional scenes can be created to contain a meaningful element, too. If there are not enough good ideas before writing the script, it means that weaker scenes are likely to appear (but also very good scenes can appear, with inspiration).

If I compare this method with more plot-oriented dramas, it's different. In this kind of story, cause and effect relationships are more important, events are more intertwined. There are far fewer useless or weak scenes. There is less opportunity to place scenes that are aesthetically pleasing or dedicated to significant elements, which must therefore be incorporated into the other scenes. It is also more difficult to predict the beginning and the end of the episode. But with enough ideas, a cliffhanger can be replaced by another one. So this kind of drama is much denser. A good example are the first 8 episodes of W. The script had originally planned this over 9 episodes. So the cliffhangers have been modified. But the whole thing got a much better density, with a very rich script in cause-and-effect storytelling.

Everything I'm saying here can be a little bit obscure... LOL!
I'm much less interested in scenarios of the "planning and dispersal of significant elements" type. I don't know if it's easy to write because I've never tried it. There must certainly be difficulties, and it requires good ideas to enhance the visuals and the meaning of the scenes (and good planification on the whole drama about thematics to develop). But I often find that the final effect is not very exciting or artifical. Besides, I don't like anything that isn't exciting.
The sense of storytelling, as I appreciate it, is the inevitable chronology in the sequence of events, without getting lost on what is on the fringe. So I always wonder a lot about how some writers, like those of Empress Ki, manage to do that perfectly. I guess they don't have the pre-structured episodes individually, or they have some flexibility to modify their script to continue the story, rather than filling it in to complete an episode that's a little too empty.

One could very well imagine that episodes 3 and 4 of "Psycho is okay" could be condensed into a single episode, using this method. Or that episode 3 is half in episode 2, and half in episode 4. In this case, the cliffhanger of episode 2 can become the scene where the heroine dreams of the hero in her castle from episode 3 (about 30"00).
The writing philosophy is therefore very different, on how to focus on the essential. When the screenwriter has a whole set of characters (hospital staff, friend, brother, editors, etc), these people can be used to garnish with extra scenes. It sounds like slice of life in a way. I don't really like that, the scenes have to be important for that, or they have to be really funny.
The risk is that by being all-in, the general script may be too short. If the screenwriter has exhausted all her best ideas in episode 11 and the end comes at that point, it's failure. But it also means that she didn't have enough ideas for a 16-episode drama. It's better to have too much interesting content and ask the question "what to take out", than not enough content and ask the question "what to add".

Sorry, I got carried away in some thoughts I often have on this subject, I put my comment in spoiler to avoid polluting ;-)

I consider it a real performance to write such a bad script but to have all this budget and to be broadcast. :-D

So it's a dream that turns into a nightmare. ^^

No one will never know. T T

Your article is of high quality, thank you!
I like this drama, but maybe not enough to watch it every week. I prefer the binge-watch later, so I don't lose track of the story.
Until episode 5, I found that the drama was quite irregular. A bit too much character-oriented and not enough plot-oriented. Or sometimes boring, with side scenes that serve to complete the episode. Scenes that are useful, but not good enough in themselves, or some badly placed comic effects (the scene of the rival Nam Joo Ri crying falsely for example). The drama would have benefited from being denser, with a faster pace, but did the scriptwriter have enough ideas for that?
On the other hand, you highlighted the obvious qualities of the drama. Some key scenes are well constructed and well brought out.
I hope the drama won't leave me with an aftertaste of superficiality, as was the case with Hotel Del Luna. I am finding it more and more difficult to appreciate this kind of drama, which is certainly aesthetically pleasing and quite finely written, but which either forgets to focus on the essential or lacks intensity.
I fully understand that this drama is very much appreciated by many people, because in 2019 and 2020, I found it difficult to like a lot of drama. And this one is slightly better than average.

Here you interest me.
Please, could you give me links to what other screenwriters are saying about KES and TKEM?
I'm curious if they talk about the same problems I detected.
If you feel uncomfortable writing it there, please feel free to send me an PM.

Good teakwoondo kick. ;-)

Well... it's the principle from the start, right?
Freak out people by MY's actions.
It could also be by the actions of KT, or other characters.
A little more craziness...

That makes the drama even more average.
I'm sorry not to argue any further, I just feel so tired. ●﹏●

It takes an incredible amount of energy for me to say this:
I've seen dramas in which childhood tropes were either unnecessary or misplaced.
For once, not here.
It's anticipated from the very first scene of the drama.
And it's built up a little bit better with each episode.
I can't accuse the drama of using that trope when it's done right.

With this episode 5, I feel like I've got the whole drama wrapped up.
That's not a good one. But that's not a bad one, either.
Medium not good, and medium not bad.
It's so average I've lost all motivation to criticize in detail good and bad.
¯\_(⊙_ʖ⊙)_/¯

Since you love the story and know it so well, you should be the first person to know that there's no possibility of making a season 2 out of it.
Otherwise, I suggest you write it yourself. Either as a fan fiction or in a more elaborate way, with a real script.

I read and liked your review.
However, I've avoided certain parts so as not to be spoilt, because I'm on episode 50.
For the OST: I'm not very interested in the songs. On the other hand, there are two or three background musics that we hear very often in the drama, and which are superb.

lol, it's just a makjang structure made in 15 minutes, with amnesia trope. ;-)
I already have a character that looks like the FL from "psycho is okay", in the story I finished a few months ago. I felt like I was connected to the screenwriter when I started the drama, it happens sometimes.