Fifty Shades of Pink

Fifty Shades of Grey, this isn’t. There are parallels to be drawn involving primarily the contractual relationship trope and the BDSM theme, if it isn’t already apparent. That is where the similarities end, however. Despite the R-18 rating, I would consider Love and Leashes to be much less intense and provocative but rather more fun and heartwarming. After all, this film is meant to coincide with this year’s V-Day which takes place in just a couple of days. Hence the more upbeat and romantic vibe, this is definitely a case of love being slowly unleashed.

Jung Ji Hoo is your average salaryman working in a 9 to 5 job. Unbeknownst to his co-workers, however, he has another side to him - one that involves a fetish for BDSM. One day, due to a mix-up by the delivery service, a female colleague finds out his secret. What transpires subsequently involves a whole lot of awkwardness and embarrassment as well as the resulting suggestive intimate moments, before eventually leading to something more profound.

Directed by Park Hyun Jin, who also co-wrote the screenplay adaptation with Lee Da Hye, the source material is the Naver webtoon entitled The Moral Sense conceived by Gyeoul aka Winter, which was serialised from 2015 to 2018. The original score was composed by Kim Hong Jip and Lee Jin Hee, with Lee Sun Kyu playing the guitar. Principal photography took place from April to July 2021.

What I Generally Liked

Running at just under 2 hours, I thought the film was rather entertaining and eventful. The concept is refreshing, by Korean or even Asian standards, for a mainstream production distributed globally by Netflix. You don’t often come across BDSM-themed romance as the main feature of the story and in this case, the subject matter was handled in a very tasteful and mature manner.

For me, the main takeaway from the film has more to do with the relationship dynamics in terms of the emotional connection between two individuals rather than purely the explicit nature of the BDSM acts themselves to be manifested as a comedic effect or cheap thrills. I particularly appreciated the nuances drawn from the eventual growth of both leads and the organic evolution of their relationship. Additionally, the film explores elements of office politics and gender discrimination that are very much borne of a deep-rooted patriarchal culture.

Given the involvement from Netflix, the film unsurprisingly delivers reasonably high production values. I’ve enjoyed the overall quality of the visuals presented and the set designs, while the accompanying music score nicely complements the ambience of the scenes.

My first time seeing both Seo Hyun and Lee Jun Young in lead roles and they gave a pretty decent account of themselves in their portrayals of Jung Ji Woo and Jung Ji Hoo respectively. I haven’t read the webtoon but I do think they managed to personify their characterizations the way they were intended to be convincing and relatable to viewers, to a certain extent.

The ML is just adorable, almost like a puppy who loves playing with whips, handcuffs and candle wax. The FL, on the other hand, is like a deer caught in headlights. At first, anyway, as she gradually gets a hang of the whole situation. In fact, her transformation from the down-to-earth girl next door to a dominatrix behind closed doors is quite remarkable.

For the most part, the film comes across as quite lighthearted but things do get a tad serious in the final third, where we get to observe a bit more substance in the portrayals of both leads as they finally deal with the repercussions of their actions. I honestly feel that Seo Hyun generally did more of the heavy lifting in this film.

Final Thoughts

As a feature length film that is meant to be mostly a romance comedy, I think the scope of the storytelling is quite extensive. Perhaps certain aspects could have been fleshed out more, such as the respective backstories of the leads and interactions with the people around them but I honestly think those aren’t particularly major issues. For all intents and purposes, and without giving too much away, I was rather pleased with the final outcome and closure to their story. Suffice to say, all’s well that ends well.

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Wuxia’s most pleasant leading maiden

Maiden Holmes is about romance (60%), solving cases (30%) and political intrigue (10%).
It has elements of light humour (50%), moderate seriousness (40%), thriller (9%) and angst (1%).
The one key quality that it has in abundance, in my humble opinion, is Wuxia’s most pleasant FL (100%).

What’s great:
The FL - She’s calm, level-headed, intelligent and smart. She demonstrates a certain quiet resolve and mental resilience, yet also displays tender affection and emotional vulnerability. The character is sensibly written to be relatable to the viewers, rather than an unrealistic Mary Sue or the usual insufferable whiny, clingy and ridiculously idiotic damsels in distress.

Chen Yao – Her portrayal of the character Su Ci, an individual who possesses much inner strength and insecurities, struggling with a heavy burden of her past, is nothing short of amazing. Her down-to-earth demeanour coupled with such low-key and soothing voice, adds emotional nuance to her depiction. This is in stark contrast to the helium-inhaled high pitched hysteria of the spoilt princess stereotypes. Being her second gender bender role of the year (the other being My Unicorn Girl), her version of the crossdresser is one of the best for the historical genre this year – realistic without being unnaturally pretty (In A Class of Her Own) or unusually weird (The Heiress).

Romance and OTP – This is not intense sacrificial love the likes of which most have observed in Love and Redemption. The romance is endearingly adorable and charming that warmly culminates in a near-perfect chemistry that is further enhanced by countless steamy kisses between the OTP.

The OST – I truly enjoyed the entire soundtrack of this drama, from the opening to the closing credits, and especially throughout the numerous MV scenes in between where the songs and the BGM added such beautiful layers ever so subtly into the emotional scenes. The playlist comprises the following songs:

斯琴高丽 (Si Qin Gao Li) – 倾城小时光 – Qing Cheng Xiao Shi Guang
崔子格 (Cui Zi Ge) – 镜花水月 – Jing Hua Shui Yue
叶炫清 (Ye Xuan Qing), 李行亮 (Li Xing Liang) – 望归人 – Wang Gui Ren
崔子格 (Cui Zi Ge) – 是我非我 – Shi Wo Fei Wo
陈瑶 (Chen Yao) – 生根落地 – Sheng Gen Luo Di

The ML – Played by the up-and-coming young star in his very first drama role, Zhang Ling He. He is extremely raw and lacks obvious experience yet he manages to imbue the character of Prince Qi with a charming enthusiasm and youthful exuberance that enlivened the exciting chemistry he shared with Chen Yao’s Su Ci throughout the show. It certainly helps that he exudes charismatic appeal to his boyish good looks and witty personality that serves to endear him to the viewers.

The support cast – Comprising the second couple and a sidekick, these lovable characters join the OTP to complete the band of loyal friends in their pursuit of justice and happiness through their adventures together.

What’s not so great:
The action choreography – There are many action sequences and much martial arts proficiency depicted throughout. However, the choreography is sub-par, in comparison with many of its peers in the genre. It’s certainly not the worst but it is painfully obvious especially to avid followers of the martial arts choreography.

Cases and investigations – Romance takes central stage at the expense of more compelling cases and mysteries, which in turn, diminished the attention on investigative prowess and case solving. Viewers who initially tuned in for this sub-genre would no doubt be left dissatisfied with the lack of captivating and thrilling investigative plot.

Comparisons:
This show is not as heavy and intense as Under the Power in terms of case solving and the villainy of the antagonist but the romance here holds its own against Tan Song Yun and Ren Jia Lun. It fares much better against Miss Truth in terms of storytelling, pacing, acting and overall plot which is straightforward and uncomplicated without the angsty love triangle. It doesn’t quite reach the lofty standards set by full-fledged detective dramas such as Ancient Detective, Detective Dee and The Four, but then again the romance there doesn’t match up to this drama.

Overall:
Maiden Holmes is a light hearted romance with the titular protagonist who is more Nancy Drew than Sherlock. This show is not meant to be taken too seriously. Just sit back, relax and have fun with this heartwarming series. I certainly did.

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Operation: Blue Lightning

Operation: Special Warfare is a co-production between CCTV, Penguin Films, Bona Films, Xiaoyao Films and Ram Films. This big budget production that involves extensive use of modern Chinese military hardware and facilities was filmed in Northwest China, including a segment at Taklamakan desert in Xinjiang.

Directed by Liu Ting and based on the original screenplay written by Duan Lian Min, himself a former member of the Chinese military, having served as a platoon commander. He has written many military-themed novels and screenplays as well as directed dramas and films of similar genre for which he has won numerous accolades. He is currently attached to the Political Department of the Chinese Navy serving as a director and screenwriter for military productions.

The drama follows the journey of young recruits of the newly-formed anti-terrorism special forces of the People’s Liberation Army, called the Blue Lightning. Central to the narrative is the growth of both the individuals and the collective as the new recruits come of age during their experiences of military training and real life combat situations.

As with any military-themed C-dramas, expect a fair amount of jingoistic propaganda and patriotic flag-waving which is par for the course when the production requires extensive support from the military and CCP during the filming process and to get the greenlight for distribution release. In addition to action and adventure, the drama features youth themes, slice-of-life elements and subtle hints of romance. There is some violence and gore but nothing too terrifying for viewers.

What I Enjoyed

Usually modern C-dramas tend to be lengthy with too much fillers. The military-themed ones are a hit or miss, case in point My Dear Guardian which turned out to be a little bit too fluffy for my liking. This one, however, manages to avoid all those pitfalls. It’s only 35 episodes in length instead of the usual 40+ episodes, doesn’t contain nearly as much fillers as most others though they are still present, and on the whole is more intensely dramatic rather than fluffy or comedic in its storytelling approach. Throughout the course of the drama, I did not really feel bored at any point in time because the drama surprisingly incorporates quite a number of interesting sub-plots and side stories to the main narrative at a very engaging pace, with a nice balance of action, drama, introspective and emotive moments.

This production showcases a number of modern military hardware in greater detail than I have ever encountered. How accurate or up to date they are, I have no idea, but I feel pretty convinced. For the most part, based on my little research, the depiction is consistent with the standard equipment used, such as the QBZ-95 (or Type 95) automatic assault rifles favoured by the PLA as well as their commando sub-units. Additionally viewers will get to observe countless UAVs and armoured ground vehicles on display in the drama, which I find quite fascinating.

In terms of the technical aspects, the action planning and choreography, as well as the special effects are worthy of mention. This drama showcases many action sequences involving firefights, explosions, as well as both armed and unarmed combat. These scenes are not confined to a single location but take place across multiple venues. One memorable segment features a suspenseful game of cat and mouse across the Taklamakan desert in the dead of night between the Blue Lightning unit and armed terrorists. I’ve also enjoyed the somewhat refreshing depiction of the military training comprising the so-called Devil’s Week competition, sniper competition and squad leader selection tests. That said, certain aspects of the training concerning “physical torture” do appear incredulous. I’m unaware of the authenticity but in a land that invented Shaolin martial arts, I guess anything is possible.

One of the major reasons for watching this drama is of course the cast, which is headlined by Vengo Gao who plays the Captain of the Blue Lightning, Qin Guan. If the drama is about the military, whether in a contemporary or historical context, you can count on this man to deliver an utterly convincing portrayal of the characterization. He not only looks and sounds the part, but his entire being exudes military commander vibes as well. There is absolutely no question whatsoever that without him, this drama would be lacking in so many ways. From the cold, stoic persona to the physical prowess in executing his stunts, Vengo totally slays his role.

Hu Bing Qing plays the FL Ning Meng, one of the young recruits of the new anti-terrorism team. My first time seeing her in entirety instead of previous guest appearances, I think she’s very talented and showcases strong performances particularly during her emotional scenes. I also quite like her nuanced take that helps inject a sense of vulnerability to humanise the role of a female soldier.

The drama’s soundtrack features 5 songs, with the patriotic opening theme being the most upbeat and energetic of them all. My personal favourite is the ending theme performed by Hu Bing Qing herself, the love ballad You and Me. Full listing as follows:

Flaming Lady 烈焰巾帼 - 金志文 Jin Zhiwen
Xiang Yang 向阳 - 黄霄雲 Huang Xiaoyun
You and Me 你和我 - 胡冰卿 Hu Bingqing
My Comrade 我的战友 - 钟强 Zhong Qiang
Fearless 无畏 - 王晰 Wang Xi

What Fell Short

I think the most glaring aspect would be the villains. We are never going to get a C-drama that depicts profoundly layered or morally grey terrorists, because the Chinese military and censors would never sanction it. As far as the powers that be are concerned, stories of this nature are straightforward - good guys versus bad guys are simply portrayed as black or white. Hence in this drama, in relation to the overarching plot concerning the terrorist organisation, S Group, the antagonists are merely written to be the stereotypical one-dimensional cardboard caricatures - bad-tempered, cold-blooded, power hungry and striving for world domination. The terrorist leader is even shown at one point chomping on cigars by the poolside surrounded by bikini-clad femme fatales where the only thing missing is a huge furry cat.

Final Thoughts

I would categorise Operation: Special Warfare as one of the more fascinating and well-produced mature military-themed dramas that I have seen recently. It’s the kind of show where viewers can enjoy with a relaxed mind and without the need to exercise too much brain cells. A final note though - do be forewarned, the subtitles available on WeTV are auto-translated (at the time of writing) and may not be of the usual high quality.

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A different kind of pandemic

Much like how we’re all wearing our face masks to curb covid-infections these days, the folks in Dark Hole are doing the same but for a different outbreak - the kind that turns human beings into mindless zombies/ monsters/ mutants, though with varying effects for each person. So what makes this drama different from other similar stories and should you really be watching it? Let’s find out...

What is it about?

On the surface, it’s another zombie/ monster apocalypse story that draws parallels with the likes of Kingdom, Sweet Home, Rampant, Train to Busan, and even Joseon Exorcist. I haven’t seen #Alive and Peninsula but based on the synopsis and trailers, they appear to share a very similar premise).

But where Dark Hole differs from the rest lie in 3 aspects:
- The original source of the infection is extra-terrestrial
- The method of transmission is via a rather ominous black smoke (as well as bites/ scratches, apparently)
- The intended purpose of all this, which I won’t spoil here (to be honest, I’m not completely sure myself)

It’s an inventive spin on a well-loved and long-established genre. South Koreans sure love their zombies.

The Plot

Far-fetched with seemingly endless sub-plots and countless characters. As far as apocalypse stories are concerned, this one infuses far more elements than I’ve noticed in other dramas. It’s set in modern-day South Korea in the small town of Muji. The scope of the story covers the entire town and in addition to the overarching mystery, we have mini character arcs, of which there are plenty. The notable action takes place at 5 main locations - the forest where the titular chasm lies, the local high school, the hypermarket, the municipal hospital, and one more which I won’t reveal to keep the suspense alive.

Speaking of story arcs, we have plotlines relating to a female police detective with a tragic past who is in pursuit of a serial killer who caused said tragedy; a “disgraced” former police constable with a sad family tragedy of his own which inadvertently resulted in his expulsion from the police force; a scorned female shaman who rediscovers her spiritual powers including the gift of precognition; a high school senior who is a victim of conspiratorial cover up pertaining to her father’s fatal accident, in addition to being bullied by her schoolmates led by a high school dropout who constantly harasses her. It doesn’t end there. Many more secondary characters with their respective mini arcs are featured throughout. The one thing most of them have in common, is their respective tragic backstories.

This drama is certainly not uneventful - the many characters and side stories make sure of that. The screenwriter is trying to interweave all these stories into the main plot but I think somewhere along the way, the overarching story very nearly got completely overshadowed. After a rather promising start with much potential, I found myself getting a little restless around the halfway mark. Having introduced the new characters into the story, their side stories eventually fizzle out without the slightest connotation of how they are connected to the situation at present.

For the most part, the script and characters are adequately written, with the main issue being that too many elements are included. Even for a 12-episode drama, it does feel a little dragged out with too many unnecessary sub-plots and characters. 8 to 10 episodes would have sufficed and probably 3 or 4 characters and their story arcs should have been left out. In the end they amounted to nothing anyway and I found myself hard-pressed to develop much, if any, emotional attachments to.

The Production

Dark Hole is an OCN production and billed as the fifth entry to its Dramatic Cinema Project, which is an initiative by the broadcast network to showcase the essence of well-made genres via productions that combine the format of movies and dramas. I think what this basically means is dramas that are the crème de la crème of OCN productions. I’m not exactly sure if this drama is deserving of that billing but for context, the first four entries to this project are Trap, Hell is Other People, Team Bulldog and Search.

The first ever drama directed by Kim Bong Joo, the screenplay is written by Jung Yi Do. Those familiar with his works would be aware that highly rated dramas Save Me and Strangers from Hell were written by him.

In general this is a decent production with regards to the technical aspects. The down-to-earth action sequences appear realistic while the use of visual effects in particular for “that thing” is appropriately utilized. The production design and use of multiple filming locations are seemingly well rendered. However, there isn’t much of a soundtrack or musical score of note to write home about. The stock music and sound effects used are serviceable for their intended purposes.

The Acting

One of the main reasons I watched Dark Hole, aside from the fact that I love this genre and to ease my bitter disappointment from seeing Joseon Exorcist being cancelled, is Kim Ok Bin. It’s my first time seeing her drama in its entirety. Having caught glimpses of her in The Villainess and other productions, I’m aware of her reputation and credentials as well as recognition of her previous efforts for which she has received a great many acting honours. For this drama, being the FL Detective Lee Hwa Sun of the Seoul Regional Investigation Unit, I have absolutely no complaints with her performance. Understated, nuanced, and charismatic, she is good value for her portrayal and I’m a new fan.

Lee Joon Hyuk is an interesting choice for the role of ML Yoo Tae Han, although at times his character feels more like a supporting role than the lead. I’m more used to seeing him in suits after Stranger 1 and 2, but he was convincing as a decorated soldier in Designated Survivor as well. He gives a satisfactory portrayal of his role here, where he does carry the persona of a likeable character who would be great in a leadership role during times of crisis.

The rest of the cast, including the child actors, give a decent account of themselves. Special mention goes to Oh Yu Jin who plays the schoolgirl Han Dong Rim. My first time seeing this 21 year-old actress, I thought she did a remarkable job in projecting the chilling aura of mystery and eeriness surrounding her troubled and complicated character, which is one of the few in the show that I truly relished.

Overall

In my humble opinion, Dark Hole is not the best in the genre. But if you’re a fan of zombie apocalypse stories or any of the cast or even an OCN follower, this drama might appeal to you despite its flaws. It doesn’t end in a cliffhanger and I doubt there would be a sequel or continuation to the story, therefore providing viewers with a closure where everything is neatly wrapped up.

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Homecoming

Hometown is a psychological thriller that revolves around three main characters; police detective Choi Hyung In, convicted mass murderer Jo Kyung Ho, and his estranged sister Jo Jyung Hun. The premise is based on the preliminary investigation of a murder case which escalates into the search for a missing schoolgirl and subsequently the mystery surrounding the abduction of her classmate. Both events spark an explosive chain of events with wide-reaching implications for their family, friends and the community they belong to.

Originally an OCN production, it was eventually broadcast by sister channel, TVN. Directed by Park Hyun Suk (Stranger 2) based on the screenplay by Cho Hyun Hoon. Initially credited via his pseudonym of Joojin, the screenwriter was removed from the production credits altogether once his real identity had surfaced which resulted in controversy and public backlash due to his past sexual harrasment case. Choi Seong Gwon is engaged as the composer for the drama.

What to watch out for

The story is set in 2000 with a re-telling of events taking place in 1999 and frequent flashbacks to multiple timelines in the 1980s, particularly to a terror attack on a bus terminal in 1987. The storytelling is non-linear for the most part, which utilises parallel and converging plots based on the shared narrative of the three POV characters.

The eponymous hometown refers to the fictional town of Saju which is located in Gyeongsangnam or South Gyeongsang province. Nearly all characters in this drama speak the distinctive Gyeongsang dialect, as opposed to the central dialects (Seoul or Gyeonggi) that most viewers are perhaps used to.

Elements of mystery and horror are present throughout but, rather than outright terror and fright, the drama projects an overall eerie, ominous and psychologically disturbing aura. By the time the halfway point is reached, if not earlier, viewers should be quite aware of the direction of the story.

Expect trigger warnings in the form of drug references, abuse and bullying, as well as some violence resulting in depictions of blood and gore in certain scenes.

What I Liked

I enjoyed the storytelling approach which feels distinctively neo noir in terms of the visual language, compelling dialogue and the variety of complex characters written in the screenplay. We have the hard-boiled detective who does the nitty gritty legwork, the charismatic yet sinister psychopathic mass murderer and the frantic family member of the victim. Add to that an extremely detailed worldbuilding and a whole host of intriguing side characters ranging from the questionably dubious to the downright bizarre that make their truly disquieting presence felt.

The first 8 episodes of the drama felt the most captivating for me. This is largely because of the mystery surrounding the events at play and the infusion of a rather horrific scene that reeled me in right from the start. It is also during this stage that I found myself still able to sufficiently keep track of the happenings which connect the dots to the grand scheme of things.

The cast is, without question, absolutely outstanding. Yoo Jae Myung’s portrayal of Regional Investigation Unit’s Detective Choi Hyung In is utterly convincing. He made me believe that he truly is a seasoned yet somewhat traumatised cop, in a gripping performance that is reflective of his experience in the industry.

Likewise Uhm Tae Goo delivers a compelling depiction of convicted killer Jo Kyung Ho. This is my first time watching him and what a talent he is. The most nuanced of the main leads, his subtle interpretation of the intricately written role and the delicate articulation of his lines through a deceptively calm demeanour and soothing voice literally enthralled me into a false sense of security.

The drama also features the award-winning Han Ye Ri, fresh from making her Hollywood debut with the critically acclaimed Minari for which she garnered 4 nominations. She provides another fine performance through her captivating portrayal of Jo Jung Hyun, a woman struggling to break free from the burden of truth and her tormented past that threatens to overcome her seemingly bleak and hopeless existence.

I truly enjoyed the brilliant original score composed by Choi Seong Gwon. This is not easy listening music for relaxing with a glass of wine but the kind that elevates the sense of foreboding and completely immerses the mind into the dark and ominous atmospherics throughout. The soundtrack also features two OSTs performed in English that actually sounds more contemporary than the retro settings of the drama.

유라 Youra - Remember
문수진 Moon Sujin - Hide and Seek

What I Didn’t Appreciate As Much

As riveting and morbidly entertaining as this drama was, I would have preferred for the “supernatural” aspects to be the main focus and potential for driving the story development. This would have provided a different spin and a breath of fresh air to the genre. However, although the story takes a more familiar course, the sense of unpredictability still remains and even culminates in a rather surprising and unexpected outcome.

Speaking of unpredictability, either the rationale behind certain plot points or much-needed connecting scenes were sacrificed as part of efforts to induce viewers’ intrigue and suspense as well as, in my case, confusion. Perhaps this was also attributed to the shorter duration of the drama, at 12 episodes. A number of key events shown, particularly from episode 9 onwards, were never fully or properly explained. Without giving spoilers, let’s just say that viewers will have to formulate their own hypotheses as the story unfolds because ultimately the ending does not provide clarity for all the questions asked.

Adding to the air of uncertainty is the countless switching of timelines, sometimes captioned for viewers’ benefit but at times they occur unannounced. It certainly doesn’t help when the disparate scenes are acted by different sets of actors that I end up having to pause and rewind simply to ascertain who exactly these characters are.

Conclusion

On the whole, Hometown is a very good drama with high production quality and a top tier cast whose performances are deserving of praise. The slightly over complicated narrative, uneven storytelling, somewhat surrealistic setting and arguably lack of logical clarification particularly during the final quarter may give rise to bewilderment for some viewers, as it did for me. This perhaps hints at the drama's selective appeal, particularly for those who are fans of the genre rather than the casual watcher. Notwithstanding the issues, I still had an enjoyable (and moderately spine-chilling) time watching this absolutely binge-worthy drama.

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Renascence Means Revival

There is a reason for this show to be titled Renascence. It’s about vengeance fulfilled, doomed love revived..... and bad editing redeemed (at the very end).

Renascence is adapted from the graphic novel, “The Cry of the Phoenix that Reached Ninth Heaven”, but deviates somewhat from the original plot, according to a number of readers. This is a serious historical drama with sombre themes, intense acting, and a largely experienced cast and crew. Director Liu Hai Bo helmed the exceptional The Rise of Phoenixes while the supporting cast comprises some notable veterans. Even the leads like Chen Zhe Yuan had performed so well in Handsome Siblings. I don’t know much about Li Mo Zhi but looking at her filmography, she seems experienced enough leading dramas, so I had a really high expectation on this one.

In most historical C-dramas, we dread the tragic or open endings while constantly hoping for a happier and positive outcome. Here, we were continuously worried that the conclusion, in any form, would not even be given to us.

What went wrong?
The EDITING, primarily. The show was cut from the originally planned and filmed 70 episodes to 36 episodes. We know why it needed to be cut (new industry regulations, I would think rather than censorship reasons), but why 34 EPISODES CUT, only heaven knows. This affected the entire storytelling and pacing, as well as creating plot holes large enough to inspire viewers to glean invaluable answers from various BTS footage. There were scenes that didn’t make sense, characters that appeared from nowhere and story arcs that suddenly concluded without warning (or concluded too quickly without much satisfaction gained).

There were some acting and casting issues with various characters but that would be nitpicking so I’ll leave it at that.

What went right?
The ending, obviously. Fortunately the producers didn’t destroy the one thing left for viewers to hang on to – a happily ever after ending that mostly ties up the loose ends, which thankfully wasn’t edited out. There were real fears that we would only be shown 30 seconds of that, if at all. Although the final episode did feel somewhat rushed, it’s the closure that counts, and what an end it was!

Chen Zhe Yuan is another redeeming factor for this show. His acting was on point, and he delivered a totally different character in Prince Su here as compared to his previous effort – he was restrained and stoic in comparison with his more carefree and laidback character in Handsome Siblings, and that’s due to his versatility and range. His emotional scenes were convincing, and there were many. Although he doesn’t come close to Cheng Yi - who does anyway? - he did deliver a commendable depiction of the tormented lover who had to see the love of his life abandon him to marry his own brother. Twice.

Initially I wasn’t too convinced with Li Mo Zhi as the FL. I felt Eva Cheng was better suited to lead but, she proved me wrong by gradually growing into her role and showcased such remarkable character development as the show progressed. At exactly the halfway mark (ep. 18, 24:05), she dramatically and majestically turned into an epic badass, giving off serious Zhao Yao, Shen Lige, Chu Qiao, Fu Yao vibes in the process. This was truly the pivotal moment where our completely transformed FL was finally unleashed. It’s interesting to note that Li Mo Zhi bears such an uncanny resemblance to Chen Chiao En (Joe Chen). At times I felt like I was watching the Taiwanese drama queen on screen.

The many plot twists were major talking points throughout the show. New conspiracies and machinations kept coming while numerous villainous characters were introduced and deliciously evolved at frightening frequency. The remarkably fast pacing was no doubt a result of the reduced episodes and lack of fillers, which isn’t entirely a bad thing if only they hadn’t cut the important details out as well. Even till the final stretch of episodes, still the screenwriters kept cramming as many new side plots as possible. This drama truly never ceases to amaze at nearly every turn.

The OST here is outstanding. I’m glad the music wasn’t affected by the editing in the show. The opening theme, in particular, is very good. Track list as follows:

1.叶倾君 - 金润吉 (Ye Qingjun-Jin Runji)
2.涅槃 - 陈哲远 & 李墨之 (Nirvana-Chen Zheyuan & Li Mozhi)
3.春知 - 刘美麟 (Chun Zhi-Liu Meilin)
4. 一诺 - 晏紫东 (Yinuo-Yan Zidong)

It’s worth mentioning how captivating the Emperor’s voice has been in this drama. As commented in the discussion board, he was voiced by a notable voice actor, Bian Jiang (边江) who also dubbed Wang Yi Bo in The Untamed.

Confusing elements?
Concerns and confusion were regularly voiced out by viewers regarding the “soul switching” and usage/ abuse of the bodies in question. The horrendous editing and resultant plot holes, as well as the inclusion of an amnesia arc, all added to the uncertainty of what exactly is going on and WHO the FL actually is. With the plot of the drama deviating significantly from the novel, it was left to the screenwriters to then devise an alternative outcome to the story.

My take on this is that from Day One, it had always been Mo Xin who took over Mo Wan’s body. She did lose her memories at one point, but it was still the amnesiac Mo Xin in Mowan’s body. The person whom Prince Su was attracted to and fell in love with (again) had always been Mo Xin in the guise of Mo Wan. And so it proved, right to the devastating end…although I wished it could have played out a little differently without that tragic sacrifice…

Overall
Regardless of the problems this drama faced, and the confusion it caused because of the poor editing, I still enjoyed Renascence very much. The unpredictable twists and turns in the plot kept things interesting, and because everyone was informed of the impending happy outcome at the end, it balanced out the (minor) angst and frustrations from certain events in the show. I would recommend that you give this show a chance, enjoy it for what it is and really suspend disbelief for as long as you can (hopefully till the end).

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Love and Redemption

Rurouni Kenshin: The Beginning is the fifth and final instalment of the live action adaptation of the Rurouni Kenshin manga series by Nobuhiro Watsuki. This film series finally ended after nearly a decade, having begun in 2012 when the first film was released.

This finale features the origin story of Himura Kenshin aka Battosai set during the Bakumatsu - from just before the Hamaguri Gate Rebellion to the end of the Boshin War. Notwithstanding the rather spoilery film poster, fans of both the live action and manga series would have already been made aware of the momentous event that had taken place in Kenshin’s past which went on to shape his future, culminating in his present state as depicted in the preceding four films. However, the true account of what actually transpired has finally been chronicled and presented in this film.

At its very heart, this is a tale of love and redemption between the two main characters, Himura Kenshin and his first love, Yukishiro Tomoe. Personally, I do believe that one major benefit of knowing the outcome prior to watching the story unfold is that rather than anticipating the conclusion and/ or fearing the potential for an impending tragedy, viewers are able to focus on the subtleties of the storytelling while appreciating the development of the characters and nuances of the portrayals.

Among all the films in the series, this instalment is perhaps the most serious and compelling. It plays out more like an actual historical than a manga adaptation and explores much emotional depth and character evolution of its two leads. There is hardly any moment of levity and lightheartedness, in contrast to the earlier films. Even the action sequences for which the film series is famed, is very much subdued where significant portions of the swordplay is presented in the style of a vignette, complete with evocative instrumentals. Although there are two boss fights, they are not as thrilling as those in the other instalments.

Production wise, the quality levels remain consistent as one would expect of the same production team led by screenwriter-director Otomo Keishi. The cinematography is exquisite, showcasing the beauty of the seasons where autumn transitions to winter in the countryside, as well as the framing of poignant scenes shared between the leads in their humble abode. Camerawork and editing for the numerous sword fights and stunts remain exceptional, as has been the case throughout the series.

In terms of the acting, both Sato Takeru and Arimura Kasumi are perfect in their portrayals of Himura Kenshin and Yukishiro Tomoe. No one else can play Kenshin at this point and I can’t imagine someone else in the role of Tomoe. As much as I enjoy seeing Kenshin and Kamiya Kaoru (Takei Emi) together, the connection between Kenshin and Tomoe feels more absorbing. Theirs is a delicate love borne of turmoil and conflict that eventually nurtures and heals the soul. I was honestly blown away by their scenes together, especially towards the heartbreaking ending.

Rounding off the supporting cast, Eguchi Yosuke is back as Saito Hajime but with long flowing hair and without the cigarette dangling from his mouth (for the most part). Araki Towa has a bit part, playing the younger version of Yukishiro Enishi while Takahashi Issei provides an intriguing depiction of Katsura Kogoro.

I would rate this film as my second favourite of the series, with Rurouni Kenshin: The Legend Ends as my top favourite. It may not be as action packed, fun-filled or give off steampunk vibes as the others, but I’ve thoroughly enjoyed the character-driven emphasis and nuanced approach to the performances and storytelling, where viewers finally get to see how Battosai evolves from the killer to the pacifist. There is a tinge of melancholy now that the live-action series has come to an end, but what an eventful ride it has been.

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Winner Takes All

Squid game is a South Korean children’s playground game that was popular back in the 1980s. It is similar to hopscotch but with a more expansive playing area and team-based approach. It forms the basis of the game setting that is featured in Squid Game.

Production Details

The drama is written and directed by the award-winning Hwang Dong Hyuk, known for critically acclaimed films The Fortress and Silenced. Jung Jae Il, who is known for composing the score for Okja and Parasite, serves as the music director. Produced by Siren Pictures exclusively for Netflix, this is a pre-produced drama with all 9 episodes released worldwide on 17 September 2021. It is given an R-18 rating and contains sexual references, nudity, and violence. Strobing effects present in certain episodes (especially episode 4) may cause discomfort for photosensitive viewers. Other trigger warnings include scenes of violent deaths, as well as gratuitous blood and gore.

Premise and Plot

456 participants competing in a “Hunger Games meets Battle Royale” series of challenges modelled after traditional South Korean children’s playground games for a chance of winning the jackpot of 40 million won, rising up to 45.6 million won with the elimination of all other participants right to the last person standing.As for who the organisers are and the reason for the competition, all shall be revealed as the story unfolds..

The story revolves around the points of view of a number of characters who share one thing in common - they are in serious need of cold hard cash to resolve their respective predicaments. Central to the core narrative is the main character and protagonist, Seong Gi Hoon, a gambling addict down on his luck who is facing debt problems and child-custody issues, as well as dealing with his mother’s deteriorating health.

What I Liked

As expected of a Netflix original series, I enjoyed the production quality and values, unique set designs and costumes, exceptional cinematography especially during some of the stunning choreographed action sequences and the game or challenge settings.

The cast is outstanding, comprising veterans in Lee Jung Jae, Park Hae Soo, Heo Sung Tae, Kim Joo Ryung and Oh Young Soo, among others. The newcomer Jung Ho Yeon gives a decent debut performance complete with the North Korean accent. I was pleasantly surprised to see brief appearances by Gong Yoo and Lee Byung Hun. Even with limited screen time, their charisma absolutely shines through to light up the production.

The edge-of-the seat thrills and suspense plays out in a riveting pace. This drama is well worth the binge because it is as captivating as it is addictive to consume in a single seating. Moments of extreme tension are aplenty along with the heart-wrenching emotions which are deftly interspersed amidst the high-octane action sequences throughout. I particularly enjoyed the epic final showdown between the finalists in the concluding arc of the drama.

The music score composed by Jung Jae Il is sublime, along with classic compositions used courtesy of the Budapest Scoring Orchestra and Big Band. They include The Blue Danube by Johann Strauss II, Trumpet Concerto in E Flat Major by Franz Joseph Haydn and Tchaikovsky’s Serenade for Strings. A cover of Bart Howard’s Fly Me to the Moon also plays a major part as the BGM for one of the more stunning game sequences in episode 1.

What Could’ve Been Better

As much as I enjoyed the drama, I thought 9 episodes were somewhat overlong. 6 or 7 episodes would have made the storytelling more compact and compelling. A significant portion of the drama was taken up by the story-building of the main character as well as four other major supporting characters. I appreciated the respective backstories of tragic circumstances and such but those components impacted on the pacing of the more engaging aspects a little bit. In addition, the final episode did feel dragged out unnecessarily.

The characterization of the ML Seong Gi Hoon (no 456) wasn’t convincing to me, although I accepted it as part of the drama’s depiction of “character growth”. How an irresponsibly hopeless father, unfilial son, and washed-out gambling addict suddenly developed a moral compass, sense of righteousness, and leadership traits came across as somewhat unrealistic.

Overall

Notwithstanding the qualms I had and as long as expectations are tempered, Squid Game represents great entertainment value complete with a sufficient dose of suspense, thrills and excitement in a nicely packaged production that makes it the perfect binge-worthy viewing experience for an evening at home.

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All you need is love

Sisyphus: The Myth is an intriguing drama. The thrilling teaser that was released late last year stoked the flames of excitement for many avid K-drama viewers. Coupled with a cast that’s headlined by bankable stars the likes of Cho Seung Woo and Park Shin Hye, it became one of the most talked about and highly anticipated shows for 2021. When it finally aired, however, it polarised opinions here in MDL and left a number of viewers’ expectations somewhat unfulfilled, to the extent that the ratings steadily declined to the current score hovering at around 8.

There are those who continued to enjoy the show, for various reasons, and I happen to be one of them. Allow me to share my (spoiler-free) thoughts and then you can make your own decision on whether or not to embark on what has largely been a fun-filled escapist roller coaster ride.

What is it about?
In a nutshell, a woman from the dystopian future of South Korea travels back in time in the hopes of altering the course of history by preventing the seemingly inevitable fate that befell the country, the looming catastrophe of nuclear war. Central to this mission is the man who invented the time travelling machine. These two characters are played by Park Shin Hye and Cho Seung Woo respectively.

The drama contains a mix of science fiction, action, drama, and romance genres imbued with themes of revenge, redemption, remorse, love, friendship and familial bond. The director is Jin Hyeok, who notably helmed The Legend of the Blue Sea,The Master’s Sun and City Hunter, among others. The screenplay is written by the husband and wife team of Jeon Chan Ho and Lee Je In, for only their third production.

This show is jointly produced by Drama House and JTBC, and has been publicized as the network’s 10th anniversary special drama. Its title is derived from the ancient character from Greek mythology, King Sisyphus of Corinth, and is completely pre-produced with principal photography having taken place toward the end of 2020.

What’s great about it?

The Production Values
As expected of a JTBC production, this drama is very well made. I love the cinematography (in particular the indoor lighting), the many gorgeous scenic views of both Seoul in the present time and the vast landscape of the dystopian future. The set designs for various settings are quite exemplary while the special effects (CGIs, firefights, and pyrotechnics) are considerably top tier for a show of this nature.

The Acting and Cast
In my humble opinion, the leads are fantastic and I have absolutely no complaints. While Cho Seung Woo fully embodies the character of Han Tae Sul, the same goes for Park Shin Hye’s Kang Seo Hae. They deliver very strong performances in their portrayal of deeply flawed and emotionally scarred individuals. These are the types of roles that perhaps mature actors with adequate professional and life experiences are better-equipped to articulate and convey convincingly, which is very much the case here.

It’s interesting to note that unlike Cho Seung Woo’s other more serious roles, especially that of Hwang Shi Mok in Stranger, here his Han Tae Sul is much more comedic and mischievous with a copious dose of flamboyance and swagger. Despite possessing similar social awkwardness, this character is remarkably more fun while his ingenuity in getting out of tricky situations bears an uncanny resemblance to the MacGyver persona.

Such nuanced characterization is depicted by the other veteran supporting cast as well, notably Sung Dong Il, Kim Byung Chul, and Kim Jong Tae. Kim Byung Chul in particular surprised me with his depiction of Seo Won Ju. Despite being slightly OTT, I suspect he had the time of his life being “unleashed” from his usual more understated roles. Here he plays “dual characters” where his versatility is quite commendable.

Special mention goes to the young actor Lee Joo Won, who plays the young version of Seo Won Ju. This kid truly gave me goose bumps with his chilling portrayal.

The Action
For the most part, the choreography has been outstanding. From the numerous unarmed combat sequences to the firefights involving some pretty impressive military hardware. It’s not often that we see plenty of intense (and at times, logic-defying) gun battles in a non-military drama so this aspect of the production is indeed praiseworthy. Other forms of action include a lot of hard running in chasing (and being chased by) a multitude of characters.

The Romance
This particular theme is so beautifully and convincingly conveyed. It helps immensely that Cho Seung Woo and Park Shin Hye abundantly possess such wonderful chemistry which is poignantly manifested amidst the ensuing intrigue and mayhem. The pairing of Han Tae Sul and Kang Seo Hae, in many ways, makes a lot of sense. They are each plagued by a traumatic past and rendered seriously flawed, emotionally damaged, and are now fighting against the odds to change their fate.

What could’ve been better?

The Science
I love the concept here about time travelling to the past in order to change the future which gives me vibes of The Twelve Monkeys where the premise is quite similar. However, I do feel that the science as depicted in the show is super messy. Many technical aspects are open to interpretation and left to the viewers to fill in the blanks, as the story progresses. It’s a process of trial and error where we discover new things during every episode. The finale is quite possibly the most mind-blowing of all.

The Screenplay
A parallel narrative and converging plot format is used to tell the story, which includes numerous flashbacks and flashforwards by various major characters in multiple timelines - the past, present and future. Sometimes title cards are used to indicate the date, but not when the scene is obvious. It can get a little disorienting unless viewers pay close attention to the details.

How and why certain events transpire are quite convoluted and require too much deductive reasoning to derive a sense of what the answers could be. The credibility of certain characters is questionable while quite a number of the sequences appear utterly ridiculous and fantastical, despite the sci-fi tag. The seemingly lack of logic in certain respects of the overarching plot has led me to strongly suspect the screenwriters were high on recreational psychoactive substances as they were writing this.

Overall
The sooner viewers suspend disbelief and forgo questioning how the technology works by accepting the science as it is, the less confusing the show would appear to be. Regardless of the perceived weaknesses resulting from the flawed execution of the concept, I found myself enjoying the wild and, at times, exhilarating ride once I shut down my cerebral process and went instinctive. I would advise you to do the same for this is the only way to truly appreciate Sisyphus: The Myth. And if you do decide to watch this, be rest assured - the ending is very much a happy one, for everyone (kind of).

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The wind rises in Luoyang

2021 has not been a particularly prolific year for detective investigation and wuxia themed C-historicals. The only one that I had completed this year would be The Imperial Coroner, which was quite good for a low budget web series. There were probably a couple others that I recall encountering but nothing large-scale in terms of the budget and prominence… until Luoyang came along. This is a highly anticipated production for several reasons.

> It is headlined by Wang Yi Bo, Huang Xuan and Song Qian. WYB obviously has his immense popularity and fanbase, but I also think he is a talented actor who has much to showcase if given the right script. The critically acclaimed and award-winning HX needs no further introduction while SQ is no stranger either with a fanbase for her music productions and acting honours in recent years as well.

> One look at the source material for the adaptation tells you pretty much what to expect. The story is based on Ma Bo Yong’s eponymous novel. For those in the know, Ma Bo Yong is the author of The Twelfth Hour in Chang’an, from which The Longest Day in Chang’an is adapted, as well as The Wind Blows from Longxi which is currently being adapted to a drama.

> Ever since the teaser appeared earlier this year, expectations have been soaring, judging from social media responses and even here on MDL. I was super impressed from what little had been shown because it looked very much the top quality content that it promises to be.

Luoyang is directed by Xie Ze, who helmed Jun Jiu Ling this year as well as the high profile Yang Mi fantasy, Legend of Fu Yao. Qing Mei serves as scriptwriter, after her interesting work on The Eight last year. Principal photography took place entirely at Hengdian World Studios between November 2020 and March 2021. This iQiyi co-production is big budget which reportedly involved in excess of 5,000 sets of clothing and modeling accessories, as well as more than 15,000 sets of props. These efforts were meant to accentuate the prosperous scenes of Luoyang during the heyday of the Tang Dynasty.

The story is set during the interregnum period of the short-lived Wu Zhao Dynasty, itself a part of the great Tang Dynasty. At this time the imperial capital was relocated from Chang’an to Luoyang. The fates of three unrelated individuals are intertwined as they cross paths during investigations into a mysterious murder case which puts them on a collision course with an enigmatic secret organisation that has nefarious designs on the reign of China’s only Empress regnant, Wu Zetian.

What I Liked

The production quality. Specifically the art direction, set designs, action choreography and most obviously the money well spent on the sheer numbers of extras. From the first minute of the first episode, you could tell immediately this is top-tier content. Luoyang actually resembles a real city, rather than merely a production set. The huge crowd of inhabitants walking the streets exude a metropolis feel to the bustling city centre. Although this was filmed at Hengdian, you simply couldn’t tell because the production team managed to mask the obvious very well indeed. The action sequences of the choreographed martial arts moves, the coordination of mass fighting and the frenetic street chases are absolutely superb entertainment. Meanwhile, the inner palaces and the throne room settings are gloriously opulent and majestic, thanks in large part to the visual framing of the scenes. The general appearance of this drama is reminiscent of The Longest Day in Chang’an, with the exception of a more polished colour grading and less grain in the overall visuals.

The premise and the plot. The Tang Dynasty and Empress Wu Zetian historical settings are favourites of mine. The infusion of an intriguingly extensive overarching mystery with a profoundly conspiratorial connotation and no lack of convoluted twists makes Luoyang all the more enthralling. It is complex, fast paced, eventful and unpredictable - it’s truly been a while since we had such a smartly-written mystery. The reveals are timed to perfection without letting the cat out of the bag too early or being underwhelming to adversely detract from the gripping nature of the storytelling. The story continuously builds and engages right to the climactic ending.

The main characters and portrayals. Huang Xuan plays the gritty investigator Gao Bing Zhu, the perfect ancient iteration of the hardboiled detectives in crime noirs. This is a deliciously layered and multifaceted role that suits the range and depth that he possesses. In fact, most of the powerfully emotional moments in this drama feature his scenes. Wang Yi Bo is the stoic but brilliant engineer and scion of a prominent house of imperial engineers, Baili Hong Yi (aka Er Lang). In many respects, this character is an exact replica of his Lan Wangji in The Untamed. I actually prefer his brooding interpretation here compared to the playful character in Legend of Fei where he just can’t stop smiling. Making up the dynamic trio is Victoria Song Qian’s female inner guard, Wu Si Yue. This is an interesting character who is the only one of the three leads that initially embodies the values of justice and professionalism in her conduct, whereas the other two have their own vested interests and personal motivations. It’s safe to say that Song Qian’s performance here indeed warrants the tag of strong and relentless FL.

Of the supporting characters and cast, I have to mention a number of performances that have left quite an impression on me. The veteran Yong Mei plays Wu Zetian in what has been a uniquely refreshing take on the iconic historical figure. Most depictions hitherto have been utterly colourful, fashionably stylish and, of course, hugely intimidating. Her version is understated, subtle and nuanced. Whilst the image appears less menacing and even motherly, given the twilight years of her reign, I still feel the ominous undercurrent that threatens to burst into life beneath that deadly calm exterior. Despite the limited screen presence, Zhang Li deserves credit for her portrayal of Yao Niang, particularly during one of the scenes of acting masterclass between her and Huang Xuan.

The drama features a total of six original songs in its soundtrack. My personal favourite is the contemplative ending theme by Huang Shifu, Longing of Heart. Full listing as follows:

长风送 Chang Feng Sang - 宋茜 Song Qian
心念 Longing of Heart - 黄诗扶 Huang Shifu
无关 Wu Guan - 汪苏泷 Wang Sulong
笑黄梁 Xiao Huang Liang - 李振宁 Li Zhenning
天机 Tianji - 李常超 Li Changchao
风起洛阳 Wind from Luoyang - Winky诗 Winky Poem

What I Didn’t Like

The somewhat trippy camerawork, particularly for the action sequences. The cinematography has been somewhat inconsistent in this respect, although it does progressively improve. I do understand that it is a stylistic choice in the way the fight scenes are presented, to immerse viewers into the atmospherics of the scenes. The quieter and emotional moments, on the other hand, are generally better framed.

I did not appreciate the melodramatic aspects of the plot pertaining to FL’s brother persistently attempting to marry her off or frequently constraining her investigative efforts. Likewise the story arc relating to a certain side character and his unhealthy obsession with a long-lost childhood love interest.

I need to rant about one character in particular, Liu Ran. Somehow a majority of C-historicals seem to favour this particular characterisation. The whiny, clueless, and besotted airhead who constantly annoys by ceaselessly crying out for the object of her affections. In this case, I think I’ve heard the name “Er Lang” being called out hundreds of times throughout the whole drama. Usually such characters would eventually experience tremendous growth but not so here. Her trajectory remains constant right to the end, unfortunately. However, I do not blame Song Yi for the portrayal. She could only make do with what she’s given and I know she has a lot more substance than that.

The last thing that irked me - the ending. Without spoiling it, let’s just say that while the story does achieve closure, the final outcome isn’t ideal. There is a huge room for improvement in this aspect but I fear this is as good as it will ever get for us viewers.

Final Thoughts

All things considered, Luoyang is most definitely one of the better C-drama productions and investigation themed historicals of the year that shouldn’t be missed by fans of the genre and for those interested in trying their hand at C-historicals. At only 39 episodes in length, the storytelling is brisk, intense and coherent which is very well-suited for the binge.

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The Ballad of Li Chang Ge

The drama tells the story of Li Chang Ge (Chang Ge is transliterated as “Long Song”, hence the title of this drama), a princess of the great Tang who after inadvertently getting embroiled in the vicious court politics of the royal family, ends up on a journey of self discovery during her self-imposed exile. Along the way, she discovers the true meaning of friendship, love, justice and sacrifice for the greater good.

When I first heard about this production and read the synopsis some time early last year, and based on the cast involved, I fully expected it to be a romance-driven “light” historical featuring popular young idols. I then came across the trailer towards the end of 2020, which totally changed my perception - the drama looked every bit the dramatic and potentially epic production it was rumoured and publicized to be, while the outstanding OST songs by powerhouse performers sensationalized it even further. Since then my expectations were exponentially raised and I had been patiently waiting for it to air. Having completed it months later, I’m happy to declare - my expectations are utterly fulfilled!

Production

The Long Ballad is adapted from the China Animation Golden Monkey Award and Golden Dragon Award-winning manhua Chang Ke Xing by renowned writer Xia Da. It is directed by prolific HK director Chu Yui Bun who has notably helmed dramas such as Singing All Along, Noble Aspirations I and II, Ashes of Love and Skate into Love. Due to legal proceedings over intellectual property issues between the writer and the publishing company, this historical fantasy manhua remains incomplete, thus paving the way for the award-winning screenwriter Chang Jiang to develop the screenplay and, in particular, the ending to the story. She has a formidable portfolio of works comprising The Advisors Alliance, Growling Tiger, Hidden Dragon, Secret of Three Kingdoms and Novoland: Eagle Flag. As a result, what we get is a very well produced and executed historical drama.

Technical Aspects

The drama features extraordinarily innovative visual presentations. In particular, the transitioning of ALL battle scenes from live action to manhua and donghua formats. Although not everyone is pleased with this and would prefer to see real action, I actually found it to be quite refreshing and artistically delivered. Additionally the usage of “monochrome against colour” juxtaposition to re-create memory flashbacks in certain scenes is creatively rendered.

Cinematography for the most part is quite exceptional, where overhead photography of the cityscape of Chang’an is featured, and some immersive camerawork for certain scenes particularly at Liuyun Abbey, and the cherry blossom valley in the grasslands. The indoor cinematography and the effective use of lighting ensures that the scenes depicted are never dim or dull. The use of soft filters and vibrant colour palettes provides a generally pleasant and vivid viewing experience.

The CGI effects are sparingly applied, although principal photography took place in Hengdian. While certain blips are exposed, on the whole it has been adequately presented. The horse-jumping at the bridge scene isn’t the most realistic, for instance.

Because this drama isn’t a full fledged wuxia, the fight choreography depicted is more grounded and practical. That said, there are demonstrations of “martial prowess” by the likes of the Taoist priestess Madame Jing Dan and the roving swordsman Situ Lang Lang in one of the more breathtaking moments of action. On the other hand, I can’t really comment on the action scenes on the battlefields, since they were not depicted as live-action. But generally there’s more than enough fight scenes to make up for the lack of massive sieges and battles.

Story and Characters

Despite being historical fiction, certain events and characters depicted are based on actual historical records of 7th century Tang Dynasty. The Xuanwu Gate incident, Emperor Taizong, the war between Tang and the Ashina clan of the Eastern Turkic Khaganate, among other depictions. The elements of both fiction and reality are seamlessly interwoven and thrillingly executed over the course of the entire 49 episodes. The drama has a very lively start and the pacing of the storytelling has largely been brisk and engaging. Multiple locations are showcased which sustains the momentum of the plot and provides viewers with a variety of scenery to savour. From the Tang Dynasty’s imperial city of Chang’an to the frontier city of Shouzhuo, the preceding Sui Dynasty’s ancient capital of Luoyang, the grasslands of Mongolia and the Northern Desert of Mobei.

There’s no question that the quality of the storyline is very good, which is attributed to the excellence of the source material and screenplay. However, as much as this drama is plot driven, it is also made that much more compelling by the depth of its central as well as supporting characters. I quite like the way most of the characters have been written. Apart from having sufficient character development, in particular Li Chang Ge, Li Le Yan and Hao Du, the interactions and chemistry between everyone in general are realistically and convincingly portrayed. This applies across the board to all the political factions as well as those without affiliations. I also think that the portrayal of women in this drama is deserving of praise. The major female characters are multidimensional and each of their respective story arcs is very satisfyingly fleshed out.

Cast and Acting

This is the fourth time I’ve watched Dilraba Dilmurat, having seen her in Swords of Legends, Liu Shan Men and The Flame’s Daughter. She delivers a commanding performance here and I think she has improved markedly since the last time I’ve seen her. Her portrayal of the FL made me even more invested in her character and thus her journey of redemption. The same feeling applies to Zhao Lu Si, whom I last saw in Dating in the Kitchen. This young lady is very versatile indeed and it is especially gratifying to see her infuse the character of Li Le Yan with so much believability and relatability.

As far as Wu Lei is concerned, many people seem to still view him as that baby-faced teenage bodyguard in Nirvana in Fire who has never really grown up to adulthood. Since NiF, I’ve seen his gradual development in productions such as The Imperial Doctress, and Fights Break Sphere. He has indeed matured into a fine young man with well defined chiselled features and his casting for the role of Ashile Sun is on point, where he gives a fine overall performance. My second time seeing Liu Yu Ning since Ultimate Note, he seems to excel in very similar roles - the stone-faced and distant sort of characters. However, his portrayal as the misunderstood and rather pitiful Hao Du is nothing short of commendable. It took a while but I eventually warmed up to his characterization. I saw a bit of Alen Fang in Jiu Liu Overlord (which I didn’t complete) previously and I think appearance-wise he does suit the character of Wei Shu Yu the way it was meant to be portrayed.

It’s worth mentioning the notable performances of the supporting cast in the form of veterans Geng Le, Cheng Tai Shen, Lu Xing Yu, and Yang Ming Na in the roles of Li Shi Min (Emperor Taizong), Advisor Du Ru Hui, Governor Gongsun Heng and Princess Yi Cheng respectively. Special guest stars who deserve acknowledgment are Sa Ding Ding, (the renowned singer who also contributes a track for the OST), Liu Hai Kuan (of The Untamed fame) and Richards Wang (In a Class of Her Own), for their memorable appearances as Taoist Priestess Madame Jing Dan, swordsman Situ Lang Lang, and King of Mobei Yaoluoge Pusa respectively.

Soundtrack

As usual, my habit of compiling the track listing for posterity. This drama has some of the most unforgettable songs ever composed and performed for a historical production. Featuring powerhouse singers Zhou Shen, Sa Ding Ding, Zhang Bichen and Jin Wen Qi. In addition, the lovely second couple contributes a song each.

Cocoon 繭 by Zhou Shen 周深
The Direction of Light 光的方向 by Zhang Bichen 张碧晨
If Return 如若归来 by Sa Dingding 萨顶顶
Falling Sand 落砂 by Jin Wen Qi 金玟岐
I Wish You Were My Long Lasting 多麼願你是我恆久的歌 by Zhao Lu Si 趙露思
A Love Like Before 一愛如故 by Liu Yu Ning 刘宇宁

Overall

Well made, well executed, well acted. The Long Ballad is a drama well done. If you’re a C-historical fan, do yourself a favour and get this on your watchlist asap. If you’re not a regular watcher of this genre but are intrigued by the premise, this drama would represent the perfect starting point in watching your first historical C-drama. As an added bonus, don’t worry about the curse of the C-historical for this one. Rest assured, you may enjoy it with a peace of mind.

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Experimental Science

Intriguing plot… innovative concept… poor execution… but great music. This sums up for me the entire experience of watching this drama and why I rated it a 7. For more details, please read on…

LUCA: The Beginning is based on the premise of scientists creating a new species of mankind by integrating the DNA of several different animals that makes this breed of humans stronger, faster, more resilient to the ravages of time and nature, along with superpowers to boot. These experiments are backed by a shadowy entity, called “The Establishment”, with seemingly unlimited resources and broad influence that stretches far and wide into the upper echelons of government and subsidiaries in various industries. One such subsidiary fronts itself as a “Church” where its mysterious cult following is headed by a villainous woman who styles herself as the prophet for the second coming of “Messiah” – the new human hybrid. Enter Zi-O, the first of such hybrids.

The drama chronicles Zi-O’s journey from being a lab experiment to escaping the clutches of this cult while adapting and finally learning what it truly means to be human. Along the way, he encounters the intrepid policewoman Gu Reum, with whom he shares a connection to their past. Armed with the knowledge of the synopsis and having seen the captivating trailer, I started this show fully expecting a similar approach to Scarlett Johansson’s Lucy. It turned out rather differently, with mixed results.

The drama is decently-produced, reasonably well acted for the most part, but the plot and characters are quite inconsistently and illogically written. The special effects are nothing to write home about but generally well-rendered, in a minimalist manner, and mainly used to depict Zi-O’s electricity-charged superpower, and pyrotechnics for certain scenes. The production team is led by the hugely experienced director Kim Hong Seon, no stranger to dark thrillers, who helmed notable shows such as The Guest, Pied Piper, and Voice. The screenplay is written by Chun Sung Il, who mainly specialises in comedy with Chuno being the sole non-comedy tagged production in his repertoire of works. The cast contains a number of familiar faces the likes of Kim Rae Won, Kim Sung Oh, Kim Sang Ho, Park Hyuk Kwon, Ahn Nae Sang, and Jin Kyung. Look out for memorable guest appearances in the form of Lee Won Jong at the very beginning and Jung Eun Chae who had a more prominent role towards the end.

The drama starts out brightly at an engaging pace that’s filled with sporadic moments of thrills and intensity. Both leads’ backstories and shared connection are revealed little by little in every episode via numerous flashbacks. The tags for this show are spot on, where here we have mystery, melodrama, and romance in addition to the science-fiction and action. Watching this turned out to be quite an attritional viewing experience from around episode 3 onward and a pretty wild ride overall in what has been an emotional roller coaster, beyond what I had initially anticipated. It’s the kind of show where the good guys persistently get outwitted, take the (numerous) hits, fall down, get back up and repeat. Over and over again, like the wash cycle of a washing machine.

The scenario of our leads being incessantly chased by the same team of bad guys and the FL consistently getting beaten up and having her head bashed against the wall does get tedious up to the halfway point. As it turns out, for a normal female human without the additional exotic DNA, her skeletal structure is in no way less durable compared to the human hybrids because she emerges unscathed every time with nothing more than superficial wounds. As for the ML, given his inexperience in combat and lack of control over his superpowers, he ends up being constantly overpowered by the battle-hardened and ruthless professionally trained villains.

The pace slows down for three quarters of an episode just past the midway point where the FL temporarily ceases to suffer needlessly and, together with the ML, attain some much-deserved rest, among other questionable events that transpired. The momentum picks up again soon after and reached its zenith in the business end of the show where action, tragedy and more plot twists blended to produce the impetus for a thrillingly breath-taking and bitter conclusion to Zi-O and Gu Reum’s story arc as well as the overarching plot. Many viewers felt that the ending is an open one with a possibility of a second season but personally for me, it represented adequate closure where we allow ourselves to write our own epilogue to this whole affair.

I feel that the storytelling would have been more compelling with less episodes. The backstories and the plot set up dragged out more than was necessary, and included too much of the ceaseless running around and fighting (getting beaten up, more like) and meaningless sub-plots with unfulfilled romance undertones. Even with 12 episodes, certain character arcs remained unexplained and plot holes were littered throughout.

As far as the acting is concerned, Kim Rae Won and Lee Da Hee each gave a commendable portrayal of the main characters which were quite poorly conceived, in my opinion. The individual character development, (excessive) pain, and agony along with superfluous misunderstandings between them were frustrating. In particular the FL Ha Neul Ae Gu Reum (why they came up with such a long fictional name in the first place is beyond me) was written to be infuriatingly lacking in any common sense, or even the street-smarts as befits a police detective of her experience. This character continuously places her life and the lives of others in danger, and favours brawn over brains. The depiction of her taking on swarms of villains alone in unarmed combat throughout the entire show is utter nonsense and unrealistic.

The villains are an eclectic mix of characters. For me, Park Hyuk Kwon nailed it with his version of the unscrupulous and conniving NIS official Kim Cheol Soo. Whether as a protagonist or antagonist, he’s always enjoyable to watch due to his versatility and range. The award-winning Kim Sang Ho, as usual, is one of the best supporting actors in the industry. His characters are always layered and brilliantly portrayed, as is the case recently in Sweet Home and now here in this drama as the conflicted cop, Choi Jin Hwan. Jin Kyung’s cold blooded false prophet, Hwang Jung Ah, is rather theatrical and OTT at times but quite convincing especially when spouting sermons from the pulpit. Ahn Nae Sang’s role this time is a little more understated, as the lead scientist Ryu Joong Kwon. Kim Sung Oh’s Lee Son is largely one-dimensional with the stoic and cold exterior, except for that singular moment of tragic loss, a clichéd plot device, that he experiences towards the tail end of the show. Other than that, his main role is simply to inflict physical pain on others. Jung Eun Chae’s Attorney Jung is a scene-stealer, despite her limited guest role, and is actually rather fun to watch.

One of the very few pleasing aspects of this show which is done right, is the soundtrack. I thoroughly enjoyed every song in the album, in particular both the original and acoustic versions of the hauntingly evocative song, Your Eyes. Track listing as follows:
1. Sun Woo Jung A - Your Eyes
2. Jemma - LUCA
3. Lee Da Hee - Your Eyes (Acoustic)
4. KLANG - Gone

This show had so much potential to begin with, being based on a concept that is both innovative and refreshing. The entertaining and riveting start was unfortunately proven to be a false dawn. The production is hampered by the lack of quality screenplay and the resulting downward spiral of the storytelling finally culminated in a hugely incredulous and dissatisfying end.

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The Changing Times

Fascinating, riveting, inspiring, and poignant. In my humble opinion, Our Times truly is a remarkably compelling and vividly presented drama that is very much deserving of attention and praise. It isn’t without flaws but it is still a worthwhile viewing experience as far as C-dramas are concerned. With a douban score of 8.3 at the time of writing, the rating certainly reflects the growing acclaim for this drama.

Production Details

Brought to us by the production team of the popular drama Hikaru no Go, notably Liu Chang and Zhuo Yue Pao Mo who serve as main director and screenwriter respectively. Both of them specialise in slice-of-life, coming-of-age and friendship dramas including their collaboration on Somewhere Only We Know. In addition, Liu Chang helmed Dear Missy while Zhuo Yue Pao Mo had written the script for the highly rated My Huckleberry Friends, among others. This drama is co-director Ma Yiming’s directorial debut while five other screenwriters are involved namely Xu Yitian, Nan Difu, Hu Liping, Wang Shumin and Chen Xiao.

The screenplay is adapted from the novel Our Times (我们的时代) which was recently published in 2019. Written by Wang Qiang (王强), reportedly a leading figure for business novels in China, Our Times is a trilogy that focuses on chasing dreams, and the ups and downs of the new generation of entrepreneurs who ride the IT Internet wave from 1990 to 2018.

The Narrative

Our Times is set in China of the early 1990s against the backdrop of burgeoning economic growth and rapid IT development. The story spans the better part of the decade across multiple locations including Beijing, Shanghai, Guangzhou, Foshan and Hong Kong (along with Illinois in the US). It focuses on the points of view of four main characters - university classmates and tech researchers Xiao Chuang and Pei Qin Hua, as well as their respective love interests Xie Hang and Tan Yuan. Combining slice-of-life with romance, bromance and light melodrama mainly within the workplace setting, the drama explores relationship dynamics between families, friends, lovers and co-workers as well as themes of office politics, industrial relations, the virtues of self-sacrifice, redemption and the courage to evolve in the pursuit of aspirations and happiness amidst the vicissitudes of life.

The storytelling is progressively paced and satisfyingly engaging with hardly a dull moment or substantial fillers. I particularly enjoy the seamless fusion of certain lighthearted instances along with subtle hints of levity as well as introspective and bittersweet scenes interspersed throughout with predominantly heartwarming undertones.

For a premise of this nature, there is no lack of angst and dramatics which is to be expected where the majority of these arcs are rather promptly and neatly resolved. My main issues with this drama stem from the script or adaptation of the source novel for certain sequences of events and the consistency of the characterization for specific characters. Without giving too much away, I’m not a fan of the noble idiocy trope and the associated extreme self-sacrificial acts of altruism in lieu of open and sincere communication to resolve issues… BUT, it’s quite a relief that the resulting grievances turn out to be somewhat short lived and do not detract from what has largely been an engrossing viewing experience.

It’s worth mentioning that elements of patriotism and nationalistic vibes in the plot are quite noticeable as far as locally-produced PCs versus international imports are concerned, but I think the historical representation is quite balanced to accurately reflect the growing trends of computing technology as well as the political sentiments in the era.

A couple of interesting facets to the plot - it’s not purely about computer designs and programming because a substantial proportion of the entrepreneurial efforts is focused on the marketing and sales aspects. Furthermore, the technology referred therein isn’t just about mainframes and personal computers but also emerging entertainment gadgets such as the LD and VCD technology. The transition of “old tech” to the technology that we are acquainted with, especially for viewers familiar with the era, is depicted with the perfect dose of realism.

The Production Quality and Technical Aspects

This is a well-made production in terms of the overall values, quality, and technical execution. The direction is generally commendable, despite discernible “contrived moments of acting” at certain points. The editing, scene transitions and sequencing of the narrative progression appear cohesive and relatively seamless. In terms of the cinematography, I appreciate the decent camerawork as well as the warm palettes and degree of colour grading applied which provides a cinematic feel to the production. Also on the subject of visual language, I quite like the inclusion of 90s stock footage in certain filler frames or B-reels throughout, which provides viewers with a sense of the atmospherics.

The art direction is superb through the use of authentic set designs and props that enhance the realism of the depiction. From the very first moment of this drama, I was hit by the wave of nostalgia arising from the overwhelming 90s pop culture references. From Sally Yeh and George Lam Cantonese songs to posters of a very young Chow Yun Fat, Andy Lau and countless others plastered all over the walls. The influence of Hong Kong in those days is made abundantly clear in this production. Other references to the time period include the huge mobile phones (aka “tai ko tai”), VHS player and video entertainment outlets, the cassette tape player and, of course, the computers themselves - the classic 486 PCs complete with the large monitors or Visual Display Units. The costuming aspect is quite realistic in general. For the character of Xiao Chuang, however, his dressing comes across as somewhat peculiar for a person with his background but it does reflect his flamboyant demeanour and swagger.

Cast and Characters

As the story unfolds and we learn more about each of the main characters, I find myself utterly immersed and invested in their characterization and growth through the multitudes of varying circumstances and events that they experience. In particular the two male leads, Xiao Chuang and Pei Qing Hua. Despite being infuriating at times to a certain extent, towards the conclusion of the story the maturity and wisdom that they eventually attain provide a palpable sense of redemption and achievement. Tan Yuan is interestingly written yet extremely believable and is my favourite female character in the drama. Xie Hang, on the other hand, feels a little inconsistent in places through her actions and behaviour. Nonetheless, each of the four characters possesses its own distinctive qualities and characteristics that combine well to fit the overall development of the story.

My second time seeing Wu Lei this year after The Long Ballad, he has certainly come a long way since Nirvana in Fire. I wouldn’t exactly call this his breakout role but it does feel that way. Such an exceptional portrayal of Xiao Chuang where his versatility in range truly ran me through the gamut of emotions. I honestly think his performance is the strongest among the cast largely because of his significant and dramatic character arc. As for Neo Hou, he showcases a hugely different side to his portrayal in Psych-Hunter and Lost Tomb 2 where he plays a complete boy scout here - pure, idealistic and noble to a fault - and he absolutely slays this role. Earnestly believable and endearing as Pei Qing Hua, he embodies the role effortlessly indeed. Wu Lei and Neo Hou together make this one of the best bromance partnerships in C-dramas.

My first time seeing both Julia Xiang and Mao Xiao Hui, where their performances are indeed worthy of praise. Julia’s portrayal of Tan Yuan is realistic and relatable where I can’t help but to root for her throughout. Her bubbly personality is the complete opposite of Neo Hou’s down-to-earth Pei Qing Hua but somehow this opposites attract type of relationship culminates in a convincing and organic chemistry that builds up naturally over the course of the story. Xiao Hui’s Xie Hang is the most understated yet nuanced of the female leads. There are so many layers to her character that she delicately brings to life in a slow-burn manner. As one of the two OTPs, Wu Lei and Xiao Hui share some of the most moving moments in the drama amidst the trials and tribulations that they both face.

As for the supporting cast, the veterans comprising Wang Xin Jun, Gai Hai Peng and Wen Zheng Rong deserve mention for playing Tan Qi Zhang, Lin Yi Min and Luo Li Hua respectively. Leewei, as Lydia (Xie Hang’s mentor at Interflow), delivers a powerful interpretation of an intriguing character despite her limited screen time. Wang Meng Li’s investigative journalist Shu Zhi Hong is another interesting characterization that probably deserves a side story or spin-off of her own.

Music

Fei Peng serves as music producer while Japanese composer Akiyama Sayuri composed two ending themes for the production, which are my favourites out of the total of five OSTs including the remake of Sally Yeh’s original, Walk Back to the Wind. Full listing as follows:

呼啸的风 Howling Wind by 侯明昊 Hou Ming Hao (Ending theme)
毫不保留 Without Reservations by 余佳运 Yu Jiayun (Ending theme)
潇洒走一回 Walk Back to the Wind by 孟佳 Meng Jia
一盏灯 A Light by 王栎鑫 Wang Lixin
燃烧的时代 The Burning Era by 袁野 Yuan Ye
谁能明白我 Who Can Understand Me by 林子祥 George Lam

Final Thoughts

Our Times presents an unforgettable journey of discovery by its captivating characters that is filled with beautiful romance and compelling camaraderie, while granting viewers a profound insight into the giddying heights of technological transformation and socio-economic transition in modern China back in the 1990s.

In case you’re wondering about the ending, there will definitely be a second season. The final episode ends on a cliffhanger so stay tuned for the sequel to wrap things up and, hopefully, give our four main characters a fitting closure. All things considered, it has been an incredibly absorbing and insightful viewing experience indeed and I absolutely recommend giving this drama a watch.

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Miss Sassy

Miss S is headlined by the effervescent Ma Yi Li in what has been her passion project from the get go. She certainly said as much during her interview in Singapore late last year when promoting this drama, which draws many parallels to her real life persona. Being a Shanghai native, the setting of this production albeit in a much different era, she is able to draw upon her many years of experience portraying strong willed, independent and feminist roles in playing the highly vivacious titular character.

Billed as the remake of the Australian series, Miss Fisher’s Murder Mysteries which in turn is based on author Kerry Greenwood's historical mystery novels. Miss S probably feels more like an inspired loose adaptation of the screenplay to cater for Chinese audiences rather than an outright faithful retelling of the original version, although the intricacies of the plotlines and cases do feel awfully similar. The flavour, atmospherics and light-hearted humour are very much “Shanghai-nese” in comparison to the gritty outback setting of the original series.

For the uninitiated, Miss Fisher’s Murder Mysteries is about the female lead character setting up shop as a private investigator with a penchant for, you’ve guessed it, solving murder mysteries. While she solves a number of seemingly unrelated cases, there is an underlying conspiracy surrounding the death of her younger sister. In Miss S, the main character is the flamboyant, stylish and wealthy socialite, Su Wen Li (hence Miss “S”). For the most part, the murder cases are quite straighforward and nothing too “heavy” or thought provoking. This is more Murder She Wrote than How to Get Away With Murder.

No effort was spared as far as the quality of the production is concerned. Filmed entirely at the magnificently constructed Dream Bund Film Park which is part of Hengdian World Studios, the art direction and costumes are the two major defining technical aspects very much worthy of high praise. The mansions, automobiles (including that outrageous red convertible), in addition to the countless props, are reflective of the opulence and grandeur of 1930s Shanghai. The translation of the Mandarin title 旗袍美探, Cheongsam Beauty Detective, is most appropriate as it features exquisite cheongsams (qipao) worn by Su Wen Li and the female characters that reflect the beauty of the iconic dress. Likewise the tailored suits and uniforms make the men appear extremely dapper indeed. Shanghai’s French Concession is always depicted as the epicentre for glamour and style back in the day, and it is no different in this drama.

The award-winning Ma Yi Li, playing the lead role of Su Wen Li, injects a lot of fun and sassiness in her somewhat OTT characterisation. She has invited a whole host of well-known and very capable supporting and guest cast to this project. Vengo Gao plays her “love interest” and investigation partner, Inspector Luo. Perhaps it’s the experience and maturity of these two actors plus the fact that they are friends off the set, because the chemistry between them really does sizzle. His character is one that exudes wit and charm in equal measure.

Michelle Dong is involved as Su Wen Li’s bff, Dr Liu. Being the complete opposite, her character is down-to-earth and much more subdued but no less intriguing. Her portrayal here is reminiscent of her role in another Republican drama, The Case Solver. Yao An Lian has a prominent role but with much less screen time as the antagonist, Ding Ru Shan. Having seen him in The Long Ballad and The Rebel recently, this actor showcases much versatility and range in his varied roles.

Every featured case involves countless notable guest stars. Look out for appearances by Zhang Jing Tong, Zhang Yu Qi, Ren Luo Min, Xu Rong Zhen, Zhang Rui Jia, Zhang Xiao Qian, Xie Xin Tong, Chen Li Na, Huang Yi Lin, Huang Xiao Ge, Liu Yu Qi, and Cai Wen Jing, among many others.

The original score composed by renowned music director, Xie Nan for this production certainly captures the vibes of the era. Meanwhile, the emotional connection between Su Wen Li and Inspector Luo is fittingly expressed through the sentimental ballad by Saji, Peep. Track listing as follows:
Peep 窥望 by Saji 萨吉
Confusion 迷惑 by Ye Xuanqing 叶炫清
You Know 高嘉朗 by Gao Jia Lang 高嘉朗

Miss S is a light and easy watch that is infused with enough wit and humour to make it a worthwhile experience. It isn’t a groundbreaking, compelling procedural or overly complicated to make sense of, nor does it take itself too seriously. I had as much fun and enjoyment watching all 15 murder cases spread over 34 episodes as the entire cast did performing for this production.

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The Bad Kids

Juvenile Justice is a character-driven legal thriller revolving around Shim Eun Seok and her appointment as a judge of the Juvenile Criminal Settlement Division of the Yeonhwa District Court. Her profound hatred of juvenile delinquents provides the backdrop of her approach to dispensing justice upon the minors charged in the court of law as she presides over a variety of deeply complicated and convoluted cases.

The drama is rated R-18 in South Korea due to references to drugs, suicide, physical and sexual violence. Elements of social commentary are present that explore the judiciary statutes, investigative authority, politics and education system. The complexities of the human drama is provided by the respective backstories of the juvenile offenders in terms of their difficult family backgrounds and dynamics, as well as the suffering endured by the victims and their own families.

The screenplay is written by Kim Min Seok for what is his first drama project. Although credited as an original screenplay, it purportedly draws parallels to several high profile cases that have occurred recently in South Korea; the 2017 kidnapping-murder case of an elementary school student in Incheon, the 2018 Sookmyung Girls' High School test paper leak in Gangnam, the 2020 Daejeon middle school student rental car theft accident, and the 2018-2019 Incheon Metropolitan City sexual assaults.

Directed by Hong Jong Chan with Kim Tae Sung (Happiness, Snowdrop, Inspector Koo) serving as composer. Principal photography took place in May 2021 primarily at Jeonju District Court located in Jeollabuk-do, which serves as the Yeonhwa District Court. Other filming locations include Dongseong-ro Spark in Daegu, Dongseong-ro Spark and Misa High School in Gyeonggi-do, and Seoul Women’s University.

What I Liked

There are three main aspects that have impressed me immensely.

Firstly, high praise goes to the overall production values, specifically the mood-inducing cinematography that establishes the noir vibe to the entire visual tone of the production. This fits perfectly to a narrative that delves extensively into the dark subject matter of violent crimes, together with the slow burn and gritty storytelling approach. In fact, a huge portion of the drama takes place at night where one of the more memorable moments included snowfall in its scenes. I’ve also enjoyed the framing of Shim Eun Seok’s contemplative moments in her office through low-key lighting that accentuates the evocative atmospherics throughout the story. There’s no question that a lot of money went into this production and it is apparent for all to see.

Secondly, the exceptional acting in this drama. Particularly Kim Hye Soo’s portrayal of the lead character, Shim Eun Seok. This is quite possibly her strongest performance in recent memory which I believe surpasses her role of Jung Geum Ja in Hyena and perhaps aided tremendously by the characterization that feels very much designed with her in mind. This is the epitome of intensely hard-boiled and ultra bad-assery without so much as breaking a sweat. The emotive expressiveness of her unflinching piercing gaze that punches right through any suit of armour is as intimidating as it is effective.

Other members of the cast that impressed me would include Lee Sung Min as Kang Won Joong, the Chief Judge of the Juvenile Criminal Settlement Division of the Yeonhwa District Court. Initially giving the appearance of the typical annoyingly loud and abrasive boss, he gradually settles into this extremely layered and grey character who is torn between his personal ambitions and protecting his family.

I also have to mention Lee Yeon. My first time seeing this 27-year old lady in what is truly an incredibly remarkable yet unsettling depiction of an extremely unhinged teenage boy! It’s the kind of performance that leaves an indelible imprint in your psyche for years to come. The drama also features a number of familiar faces in the supporting roles including Lee Jung Eun as Chief Judge Na Geun Hee, and Kim Mu Yeol (currently in Grid) as Division Judge Cha Tae Joo. Yeom Hye Ran (The Uncanny Counter), Yoo Jae Myung (Hometown) and Kim Joo Heon provide noteworthy guest appearances.

Thirdly, I was captivated by the intrigue of certain cases. Going into this drama I was anticipating a more “common” or “garden-variety” type of crime committed. After all, how much trouble could kids really get into, I thought to myself. Well, I was proven very wrong because some of the crimes manifested belong to the psychologically disturbing and immensely macabre category. The one that caught my attention from the get-go has to be the first case while the second case provided a fascinating insight into juvenile rehabilitation facilities.

What I Didn’t Like

My biggest issue is with the screenplay. I think Kim Min Seok was trying to weave too many themes and sub-plots into a 10-episode production, most of which finally play out in the final 2 episodes. I can’t say for sure if this drama is merely providing social commentary or perhaps the screenwriter is attempting to convey a statement or message that raises public awareness. Or it could simply be heavily dramatized fiction that’s intended to wow (or shock) viewers.

Whatever the case may be, the end product becomes something of a contradiction for me. It’s not ok for other people to abuse their authority but when it comes to the protagonist, it’s perfectly fine. It’s not a big deal for other cases to reach a dissatisfying conclusion but when it involves the lead’s tragic backstory, then justice must be fully administered at all costs. Judiciary bosses with years of experience are a bunch of noobs in comparison with the junior judge for they do not comprehend the spirit of justice, which justifies acts of insubordination. Finally, that sense of self-righteousness and moral high horse that comes complete with the speech gets repeated several times, only to be refuted by hypocrisy when convenient.

My interest in the second half kind of waned because the focus was lost amidst the tonal shift of the narrative, firstly to the politics of education and by-election campaigning, then finally to Shim Eun Seok’s complex backstory. This aspect wasn’t properly fleshed out but instead given the brief flashback sequence, alongside elements that eventually become inconsequential in the form of the ex-husband and mother-in-law who contributed nothing of significance apart from melodramatic angst.

Final Thoughts

The biggest positive for me is Kim Hye Soo’s performance which I hope would garner her at least a nomination for this year’s Baeksang. Juvenile Justice ended up being a mixed bag for me but all things considered, I would recommend this drama predominantly for the well executed technical aspects rather than the plot trajectory and didactic social critique.

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