21
35
7
WandereR
Borneo
To love and be loved
The King’s Affection is one of three sageuk produced by KBS this year, following River Where the Moon Rises and ending right at the start of The King of Tears, Lee Bang Won. It is also one of eight sageuk set during Joseon Dynasty, as well as nine overall to be aired this year. 2021 truly has been inundated with a number of K-historicals and fans of the genre are all the better for it!
This firmly belongs to the fictional romance variety, the likes of Rookie Historian Goo Hae Ryung, Love in the Moonlight and the more recent Lovers of the Red Sky as well as the currently airing The Red Sleeve, albeit purportedly based more closely on historical records. The thing with romance-centric sageuk is that there is generally a wider scope of themes being depicted, in addition to the love story between the leads.
In this case, they include palace politics, melodrama, comedy and a fair amount of “fluffiness”, while commonly established tropes are added into the mix for good measure, comprising childhood connection, contract marriage, crossdressing or gender bender, found family, love triangle, and the star crossed lovers. So if you’re in the mood for a sageuk that isn’t too heavy in terms of historical accuracy or the seriousness of the politics but with enough light-hearted moments mixed with a dash of heart-wrenching events and a big dose of passionate romance, then this is definitely one to consider.
The drama tells the story of a pair of royal fraternal twins who switch places, with the female becoming the Crown Prince in her brother’s stead before eventually succeeding the throne, hence the appropriately given title for the drama. Along the way, the “King” develops affections for one of her subjects, amidst the intense political rivalries between various factions in the palace. Further complications arise to the already precarious situation in the form of dysfunctional family dynamics, forced marriages and murderous antagonists who are hell-bent on furthering their nefarious agendas.
The screenplay by Han Hee Jung, who previously wrote Gunman in Joseon, is adapted from the manhwa, Yeonmo (연모) by Lee So Young which was serialized between 2011 to 2014 and revolves around the fictional King Namjang but with references to real life historical figures from the late Yejong to early Seongjong era of the Joseon Dynasty. This is the first work from directors Song Hyun Wook and Lee Hyun Suk that I have seen.
Being a pre-produced drama that began principal photography in April, filming finally concluded in late November, halfway through the drama’s airing schedule, due to a number of delays caused by Covid infections to the crew and a fire that reportedly broke out at a filming set. Yongin Daejanggeum Park, the iconic MBC film set for historical productions, served as the primarily filming location along with several other famous landmarks and notable locales. These include Minsok Korean Folk Village in Yongin, Sangdangsanseong Fortress in Cheongju, Gwanghalluwon Ojakgyo Bridge in Namwon-si, Jeongseon-gun Doroni Pond (Gangmujang Pond), Itaesarangbawi Rock in Geochang-gun (Gangmujang Cliff), and Andong Seaside Film Set.
What I Liked
The production values are obviously very high and reflected not only in the nationwide filming locations but also the quality in terms of the visuals presented. In addition to the cinematic feel to the atmospherics courtesy of the excellent cinematography and post-production effects, the aesthetic art direction as well as the beautiful elaborately designed costumes certainly enhanced this aspect significantly as well. There is quite a fair bit of slow-motion immersive and “romance-themed” framing. I truly appreciated this approach to the visual language.
The direction as well as editing absolutely complements this aspect of the storytelling because the entire drama takes its time allowing certain key moments and scenes to breathe and leave a memorable impression on viewers. Although nothing to write home about, the action sequences and the choreography for the sword fighting appears quite decent for the most part and progressively intensifies as the story approaches the climax.
The grand scheme of the overarching plot and the conclusion. As soon as I had read the synopsis (which is rather spoilery, by the way), I knew that the conclusion to the story was going to be limited to only a handful of options, some of which probably would leave viewers somewhat distressed. Without spoiling it, I will say that the outcome of the story surprised me a little but in a good way. I also think that the drama ends as strongly as it starts, with episode 19 a particularly thrilling rollercoaster of emotions and adrenaline rush.
As far as the characterizations are concerned, the FL, her grandfather and the ML’s father stand out for me. Especially during the more serious segments of the plot development pertaining to the court intrigue. Each of them is extremely grey and buried beneath the many layers that they have embodied into their persona that sometimes I, as a viewer, become unsure of which mask that they put on is the "real" them. After years of pretending to be a man, the FL probably does not even know what it means to be a woman anymore, until her affections have been awakened by the very person whom she first developed feelings for, as a child. Physical attributes aside, her demeanour is utterly that of a royal Crown Prince.
The Left State Councilor, Han Ki Jae is a man who will stop at nothing to preserve his political powers, including his own flesh and blood. At times, the villainy of this character is truly awesome to behold. Likewise his retainer, the cold blooded and ruthlessly efficient Jung Seok Jo. If Han Ki Jae is Emperor Palpatine, then this man is Darth Vader. But beneath the facade of unrelenting malice lies a truly conflicted and tormented individual who knows deep down that he has sold his soul to the Devil.
The performance by all 3 actors for the aforementioned roles are the highlight of the drama for me. Park Eun Bin is absolutely phenomenal. This lady has so much potential given her track record for compelling portrayals in recent times, and her iteration of the gender bender is one of the best I’ve seen. Yoon Je Moon provides the perfect delivery of the antagonistic grandfather and politician of the Joseon court, where his subtly expressed passive-aggressive undertone imbues an added dimension to the depth of the characterization. Bae Soo Bin is much more action oriented given that he portrays quite possibly the best swordsman in the drama, Jung Seok Jo. In addition to the physicality and despite being a man of few words, the nuanced microexpressions on his face say it all, really.
Apart from the impressive trio, Bae Yoon Kyung’s Shin So Eun is noteworthy considering that she lacks screen time because she steals the scenes whenever she does make her appearance. I have to mention the child actress, Choi Myung Bin. Out of all the child actors I’ve seen this year, and there have been many, I do think that her portrayal of both Lee Hwi and Dam Yi is the best. Of course, at 13, she’s considered quite mature but her duality in depicting two vastly different characters, one of whom is male, sold it for me.
The soundtrack is very good, and I wouldn’t expect anything less. If there is romance involved, one can be sure that the music will no doubt play a major part in tugging at the heartstrings with emotional love ballads, of which there are plenty in this production. In this aspect, TKA definitely does not disappoint. My personal favourite is the main theme by LYn, which gets significant airplay via the infusion of countless MV scenes of the lead couple.
LYn (린) - One and Only (알아요)
Ro Woon SF9 (로운) -No Goodbye In Love (안녕)
Baek Z Young (백지영) - IF I
SUPER JUNIOR-K.R.Y. - Shadow of You (그림자 사랑)
An Da Eun (안다은) - I Believe
VROMANCE (브로맨스) - Hide and Seek (숨바꼭질)
Haeyoon (해윤) of 체리블렛 Cherry Bullet - Full of You (티가 나)
Room for Improvement
As much as I have waxed lyrical about the positives, TKA is not without its flaws but on the whole they aren’t overly detrimental to the storytelling. I think at times, particularly midway through the story, the fluffiness probably receives slightly more attention than is perhaps necessary. As a result, cuteness overload features prominently as fillers, where the leads behave out of character and out of place with the setting. Adorable but ridiculous at the same time.
Rowoon, portraying the ML Jung Ji Woon, has the physique to match the action scenes well. His chemistry with Park Eun Bin, as the only CP in the drama, is quite apparent and their scenes together are pretty convincing. My only gripe is the emotive aspects of his performance. Park Eun Bin appears the more superior performer and it truly does show, IMHO. The same goes for the other supporting cast of Nam Yoon Su and Choi Byung Chan as Lee Hyun and Kim Ga On respectively. I’m actually rather intrigued by the character of Kim Ga On, who I wish could have been more fleshed out because despite the potential of his backstory, his character arc never fully materialises into something more than the stoic persona throughout.
As far as the other supporting characters are concerned, Lee Pil Mo as King Hyejong, the FL’s father, appears somewhat inconsequential to proceedings before eventually becoming a mere plot device to the overarching plot. The character of the psychotic Prince Chang Woon who has a penchant for unmitigated violence, played by Kim Seo Ha, is clearly a cliche and written to be nothing more than an OTT antagonist. He comes across as a cartoon character whose only job is to provide angst and cringe. Meanwhile, Jung Chae Yeon has the unenviable task of playing the annoying airhead and occasional comic relief, Noh Ha Kyung. That said, the character is rather pitiful and I actually feel sorry for her in the end, which is a credit to the actress’ interpretation of the role.
Overall
The pros outweigh the cons, and I have absolutely enjoyed Park Eun Bin’s performance here. The story also provides an acceptable closure, much better than I had initially anticipated. The King’s Affection ranks as one of the better produced romance sageuk that I have seen this year.
This firmly belongs to the fictional romance variety, the likes of Rookie Historian Goo Hae Ryung, Love in the Moonlight and the more recent Lovers of the Red Sky as well as the currently airing The Red Sleeve, albeit purportedly based more closely on historical records. The thing with romance-centric sageuk is that there is generally a wider scope of themes being depicted, in addition to the love story between the leads.
In this case, they include palace politics, melodrama, comedy and a fair amount of “fluffiness”, while commonly established tropes are added into the mix for good measure, comprising childhood connection, contract marriage, crossdressing or gender bender, found family, love triangle, and the star crossed lovers. So if you’re in the mood for a sageuk that isn’t too heavy in terms of historical accuracy or the seriousness of the politics but with enough light-hearted moments mixed with a dash of heart-wrenching events and a big dose of passionate romance, then this is definitely one to consider.
The drama tells the story of a pair of royal fraternal twins who switch places, with the female becoming the Crown Prince in her brother’s stead before eventually succeeding the throne, hence the appropriately given title for the drama. Along the way, the “King” develops affections for one of her subjects, amidst the intense political rivalries between various factions in the palace. Further complications arise to the already precarious situation in the form of dysfunctional family dynamics, forced marriages and murderous antagonists who are hell-bent on furthering their nefarious agendas.
The screenplay by Han Hee Jung, who previously wrote Gunman in Joseon, is adapted from the manhwa, Yeonmo (연모) by Lee So Young which was serialized between 2011 to 2014 and revolves around the fictional King Namjang but with references to real life historical figures from the late Yejong to early Seongjong era of the Joseon Dynasty. This is the first work from directors Song Hyun Wook and Lee Hyun Suk that I have seen.
Being a pre-produced drama that began principal photography in April, filming finally concluded in late November, halfway through the drama’s airing schedule, due to a number of delays caused by Covid infections to the crew and a fire that reportedly broke out at a filming set. Yongin Daejanggeum Park, the iconic MBC film set for historical productions, served as the primarily filming location along with several other famous landmarks and notable locales. These include Minsok Korean Folk Village in Yongin, Sangdangsanseong Fortress in Cheongju, Gwanghalluwon Ojakgyo Bridge in Namwon-si, Jeongseon-gun Doroni Pond (Gangmujang Pond), Itaesarangbawi Rock in Geochang-gun (Gangmujang Cliff), and Andong Seaside Film Set.
What I Liked
The production values are obviously very high and reflected not only in the nationwide filming locations but also the quality in terms of the visuals presented. In addition to the cinematic feel to the atmospherics courtesy of the excellent cinematography and post-production effects, the aesthetic art direction as well as the beautiful elaborately designed costumes certainly enhanced this aspect significantly as well. There is quite a fair bit of slow-motion immersive and “romance-themed” framing. I truly appreciated this approach to the visual language.
The direction as well as editing absolutely complements this aspect of the storytelling because the entire drama takes its time allowing certain key moments and scenes to breathe and leave a memorable impression on viewers. Although nothing to write home about, the action sequences and the choreography for the sword fighting appears quite decent for the most part and progressively intensifies as the story approaches the climax.
The grand scheme of the overarching plot and the conclusion. As soon as I had read the synopsis (which is rather spoilery, by the way), I knew that the conclusion to the story was going to be limited to only a handful of options, some of which probably would leave viewers somewhat distressed. Without spoiling it, I will say that the outcome of the story surprised me a little but in a good way. I also think that the drama ends as strongly as it starts, with episode 19 a particularly thrilling rollercoaster of emotions and adrenaline rush.
As far as the characterizations are concerned, the FL, her grandfather and the ML’s father stand out for me. Especially during the more serious segments of the plot development pertaining to the court intrigue. Each of them is extremely grey and buried beneath the many layers that they have embodied into their persona that sometimes I, as a viewer, become unsure of which mask that they put on is the "real" them. After years of pretending to be a man, the FL probably does not even know what it means to be a woman anymore, until her affections have been awakened by the very person whom she first developed feelings for, as a child. Physical attributes aside, her demeanour is utterly that of a royal Crown Prince.
The Left State Councilor, Han Ki Jae is a man who will stop at nothing to preserve his political powers, including his own flesh and blood. At times, the villainy of this character is truly awesome to behold. Likewise his retainer, the cold blooded and ruthlessly efficient Jung Seok Jo. If Han Ki Jae is Emperor Palpatine, then this man is Darth Vader. But beneath the facade of unrelenting malice lies a truly conflicted and tormented individual who knows deep down that he has sold his soul to the Devil.
The performance by all 3 actors for the aforementioned roles are the highlight of the drama for me. Park Eun Bin is absolutely phenomenal. This lady has so much potential given her track record for compelling portrayals in recent times, and her iteration of the gender bender is one of the best I’ve seen. Yoon Je Moon provides the perfect delivery of the antagonistic grandfather and politician of the Joseon court, where his subtly expressed passive-aggressive undertone imbues an added dimension to the depth of the characterization. Bae Soo Bin is much more action oriented given that he portrays quite possibly the best swordsman in the drama, Jung Seok Jo. In addition to the physicality and despite being a man of few words, the nuanced microexpressions on his face say it all, really.
Apart from the impressive trio, Bae Yoon Kyung’s Shin So Eun is noteworthy considering that she lacks screen time because she steals the scenes whenever she does make her appearance. I have to mention the child actress, Choi Myung Bin. Out of all the child actors I’ve seen this year, and there have been many, I do think that her portrayal of both Lee Hwi and Dam Yi is the best. Of course, at 13, she’s considered quite mature but her duality in depicting two vastly different characters, one of whom is male, sold it for me.
The soundtrack is very good, and I wouldn’t expect anything less. If there is romance involved, one can be sure that the music will no doubt play a major part in tugging at the heartstrings with emotional love ballads, of which there are plenty in this production. In this aspect, TKA definitely does not disappoint. My personal favourite is the main theme by LYn, which gets significant airplay via the infusion of countless MV scenes of the lead couple.
LYn (린) - One and Only (알아요)
Ro Woon SF9 (로운) -No Goodbye In Love (안녕)
Baek Z Young (백지영) - IF I
SUPER JUNIOR-K.R.Y. - Shadow of You (그림자 사랑)
An Da Eun (안다은) - I Believe
VROMANCE (브로맨스) - Hide and Seek (숨바꼭질)
Haeyoon (해윤) of 체리블렛 Cherry Bullet - Full of You (티가 나)
Room for Improvement
As much as I have waxed lyrical about the positives, TKA is not without its flaws but on the whole they aren’t overly detrimental to the storytelling. I think at times, particularly midway through the story, the fluffiness probably receives slightly more attention than is perhaps necessary. As a result, cuteness overload features prominently as fillers, where the leads behave out of character and out of place with the setting. Adorable but ridiculous at the same time.
Rowoon, portraying the ML Jung Ji Woon, has the physique to match the action scenes well. His chemistry with Park Eun Bin, as the only CP in the drama, is quite apparent and their scenes together are pretty convincing. My only gripe is the emotive aspects of his performance. Park Eun Bin appears the more superior performer and it truly does show, IMHO. The same goes for the other supporting cast of Nam Yoon Su and Choi Byung Chan as Lee Hyun and Kim Ga On respectively. I’m actually rather intrigued by the character of Kim Ga On, who I wish could have been more fleshed out because despite the potential of his backstory, his character arc never fully materialises into something more than the stoic persona throughout.
As far as the other supporting characters are concerned, Lee Pil Mo as King Hyejong, the FL’s father, appears somewhat inconsequential to proceedings before eventually becoming a mere plot device to the overarching plot. The character of the psychotic Prince Chang Woon who has a penchant for unmitigated violence, played by Kim Seo Ha, is clearly a cliche and written to be nothing more than an OTT antagonist. He comes across as a cartoon character whose only job is to provide angst and cringe. Meanwhile, Jung Chae Yeon has the unenviable task of playing the annoying airhead and occasional comic relief, Noh Ha Kyung. That said, the character is rather pitiful and I actually feel sorry for her in the end, which is a credit to the actress’ interpretation of the role.
Overall
The pros outweigh the cons, and I have absolutely enjoyed Park Eun Bin’s performance here. The story also provides an acceptable closure, much better than I had initially anticipated. The King’s Affection ranks as one of the better produced romance sageuk that I have seen this year.
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