The Uncanny Heroes

The Uncanny Counter tells the story of a crew of demon hunters who protect regular folks from malevolent spirits. These selfless and intrepid individuals, called Counters, have been bestowed with supernatural powers by the high council of the spiritual realm of Yung and are each partnered with a spiritual being who mentors and guides their every action in investigating and combating paranormal threats on Earth.

Helmed by director-screenwriter Yoo Seon Dong, who is no stranger to the supernatural/ horror genre with previous works such as Vampire Prosecutor 2, Arahan, and Musudan. He currently directs the popular action-comedy Bad and Crazy. Adapted from the first season of the webtoon Amazing Rumour (경이로운 소문) by Jang Yi (장이) based on the screenplay by Yeo Ji Na (ep. 1-12), Kim Sae Bom (ep.14-16) and director Yoo Seon Dong himself for one episode (ep. 13). There was much speculation regarding the change in screenwriters during the drama’s run, the result of which may have impacted the fluctuations in the viewership ratings and audience feedback particularly towards episode 13. Nonetheless the director and original screenwriter Yeo Ji Na are slated to return for the sequel season, scheduled to be released in 2022. Kim Woo-geun served as music director and had composed the opening theme for the title sequence.

The Uncanny Counter has the distinction of being the highest rated OCN production in terms of viewership ratings, in the history of the TV channel (at the time of writing). In addition, actress Yeom Hye Ran won best supporting actress at the 57th Baeksang for her supporting role here. Originally planned for 12 episodes, 4 additional episodes were added due to the explosion in popularity of the drama, which also resulted in the drama being re-broadcasted by sister channel TVN as well as selected for distribution by Netflix upon the conclusion of its initial television broadcast. The sequel, The Uncanny Counter 2, will be based on the serialized second season of the webtoon which was recently published in June 2021. Principal photography took place mainly in Gyeonggi-do, with Neowiz Pangyo Tower and Haenggung Mansion cafe used as the filming locations for Taeshin Group HQ and Eonni’s Noodles restaurant respectively. The communications earpiece used by the Counters are Samsung Galaxy Buds series wireless earphones in mystic white.

What I Absolutely Loved

The premise of the drama, the overarching story, the interweaving plotlines, the respective character arcs and the fusion of diverse elements. Being an action packed supernatural mystery with themes of slice-of-life, melodrama, politics, chaebols, police investigation and corruption, this is one of the most enjoyable dramas that I’ve watched in recent memory. Although I have not read the webtoon, the basis of the setting is not overly complicated to comprehend. The concept of demons/ evil spirits, the heavenly/ spiritual realm and emergence of superpowered beings are presented in a coherent and straightforward manner within the context of multiple POV characters as well as complex plotlines that converge in due course.

The pace of the storytelling is brisk and engaging while the action and dialogue segments are balanced in proportion. I was never bored or confused throughout the entire series. Despite the original idea of fighting demons isn’t uniquely groundbreaking, how this drama distinguishes itself from others of the same genre is quite innovative. Think Ghostbusters and Taxi Driver with a tad of Bad Guys and Sell Your Haunted House, and perhaps even a wee bit of Karate Kid.

In terms of the production quality, I truly have to commend the action choreography and application of “wire-fu”. This may not be a wuxia but there’s a healthy amount of physics-defying stunts - breathtaking at times and a whole lot of fun most of the time. I noticed a combination of MMA moves and parkour stunts infused in the sequences as well, which adds to the variety for good measure. However, a forewarning for the squeamish - this drama contains a fair amount of blood and gore. The horror aspect isn’t nearly as terrifying or brutal as the depiction of violence, which can be disturbing for viewers who do not appreciate the sight of blood and brutality. The special effects are well rendered, particularly for the pyrotechnics involved, as well as the visual effects and CGI for certain “magical scenes” and the colourful “territorial shifts” that form part of the Counters’ unique abilities.

The well written main characters and the fantastic cast who brought them to life. When the source material is so intricately developed, it simply makes the worldbuilding that much easier to envision and execute. The characterisation is very nicely conceived which adds depth to the storytelling, dimensions to the plot and endear them to viewers in ways that enrich the whole production.

My second time seeing Cho Byeong Kyu immediately after Hot Stove League, I must first comment on his youthfulness. Portraying a highschool teenager here at the age of 25, he completely pulls it off, with or without the perm. Then there’s the acting. He showcases a lot more of his range in his role as the ML So Mun where he is undoubtedly the MVP of the show. Yeom Hye Ran is worthy of her Baeksang award because of her touching performance as the motherly Chu Mae Ok. Yoo Joon Sang and Kim Se Jeong round off the members of the Counters as Ga Mo Tak and Do Ha Na respectively. Each of them provides a compelling depiction of the gamut of emotions in their character development from the traumatic backstories to the present day where the entire team exudes so much camaraderie on display that they are simply a joy to behold.

Of the supporting cast, Ahn Suk Hwan is superb as the supportive and comedic Choi Jang Mool, the financier. Lee Hong Nae’s stoic portrayal of Ji Chung Shin is very intriguing and fits well with the persona of the antagonist of the narrative. Choi Kwang Il is just as riveting to watch here as he was in Hometown, this time playing the mayor Shin Myeong Hwi. His versatility is truly remarkable and he is convincing whether as a politician or as the head of a chaebol. Moon Sook plays the elderly Wi Gen, the ML’s spiritual partner who radiates the warm and loving goodness of a halmeoni. I feel that she and ML share the most interesting partnership among the Counters and their respective partners. Not forgetting as well Kim Eun Soo and Lee Ji Won as Kim Woong Min and Im Joo Yeon, the ML’s childhood BFFs, who provided some of the more touching moments in the show.

What I Didn’t Appreciate As Much

Highschool bullying is abundantly featured in this drama. It’s not a theme that I particularly enjoy watching and it does feel excessive especially during the first half of the story. This is not the garden variety bullying but falls into the highly brutal and savage category. That said, I do understand the necessity of enduring such hardships as part of the ML’s character building. However the graphic nature of the depiction eventually becomes a little too disturbing to stomach.

As far as the side characters are concerned, I would have loved to see more development for Choi Yoon Young’s Kim Jung Young. She’s clearly a decent actress but her role here is somewhat subdued and rather one-dimensional. Lee Chan Hyung’s Kwon Soo Ho is quite fascinating but lacks significant screen time that the character perhaps merits.

Regarding the change in screenwriters with the director taking over the writing for episode 13 that resulted in the backlash by the majority of viewers, I can see their point. Certain events that transpire in that episode do not seem to make a lot of sense, which unfortunately represent a blip in what has been exemplary writing for the most part. Aside from one frustrating major scene, a couple of plot points simply do not quite provide the required satisfaction to their conclusions. Fortunately the remaining 3 episodes reverts to normal service and delivers a stirring finale that this production deserves.

Final Thoughts

The Uncanny Counter comes highly recommended by many and I absolutely concur. It is deserving of the plaudits for being one of the highlights of 2021’s offering of K-dramas. There is much to enjoy and even love about this OCN production. And the good news? Season 2 is coming so hopefully we will get more of the same quality in technical execution and storytelling.

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Dances with Wolves

Originally known as Hunter, this drama was re-titled to The Wolf Hunter which is consistent with its original Chinese name, 猎狼者. It is neither focused on the animal nor about hunting it. The “wolf” here (狼 or ‘lang’) is a metaphorical representation of poachers, and the term is used frequently throughout the drama.

I’m just going to say this right off the bat. To me, The Wolf Hunter is one of the year’s best C-dramas. In terms of the production values and design, screenplay, cast, action choreography, cinematography, and the absolutely stunning vistas of the breathtaking untamed Xinjiang wilderness and natural landscapes where principal photography took place. There are countless beautifully framed shots and scenes littered throughout that watching this drama for the scenery alone is quite worth it.

Having said all that, the drama is not without its flaws. There have been reports that the drama was scaled down from 12 to 8 episodes, purportedly to cut out the more violent and gory scenes. Whatever the reasons may be, certain editing issues and scene transitions that affect the continuity of the story development are clearly noticeable. The drama unfortunately also lacks a compelling original music composition as part of its soundtrack to match the grandeur of the visuals. Last but not least, I wanted to catch more glimpses of the furry wildlife that the rangers are protecting but, to no avail. Sadly, all I got were horses and sheep.

Notwithstanding the gorgeous visuals, this drama may not appeal to everyone because of the inherently dark nature of the story.

The drama is set in China’s Northwestern frontiers of Xinjiang where regions of vast deserts and mountains can be found. The narrative is based on the struggles faced by local law enforcement (the police and auxiliary force of rangers) in protecting the abundant wildlife in the surrounding nature reserves from unscrupulous poachers whose illegal fur trading activities have been running rampant for years with little regard for the law.

The plot centres on the titular character, Wei Jiang, as he overcomes the burden of guilt from his past (along with PTSD) to wreak vengeance upon the very same group of poachers who had brutally murdered his partner 5 years prior to the events of the present day. It is a simple story which is conveyed in a no-nonsense, raw, gritty and visceral manner that explores themes of retribution, redemption, family, and friendship. The tone is sombre with atmospherics that at times feel dismal and dark. The depiction of violence is balanced with the presence of psychological suspense. Some elements of slice-of-life are also added into the storytelling.

As a psychological thriller, the drama succeeds in delivering palpable tension and suspense. There are many such moments that are akin to a Mexican standoff where you just don’t know what is going to happen next. The action sequences are quite expertly executed as well, with scenes of gun battles, car and horse chases, close range melee in both the great outdoors and enclosed spaces. The dialogue, delivered as a live recording instead of the usual overdubbing, is compelling and realistic.

Kudos to the production crew for not only providing authentic gear and equipment, but also for achieving the right look that convinces me the actors really do belong in the actual setting. Everyone looks weathered and rugged, with the right amount of facial hair and sunburn to match their equally ragged outfits.

In terms of the acting, I thought that the main cast are exceptional and fit perfectly into their respective roles. Qin Hao needs no introduction as the consummate mastery of his craft clearly shows in his portrayal as the lead, Wei Jiang. I’m quite impressed with Yin Fang who plays the second lead, policeman Qin Chuan. He is relatively new in dramas but rather prolific in films where I’ve last seen him in Operation Red Sea. There are a number of familiar faces in the supporting cast which I found rather amusing. Notable mentions include Sui Yong Liang (Young Blood), Zhao Wei (Tribes & Empire), Yin Zhu Sheng (TRoP, Ever Night) and Qu Gao Wei (NIF2, Tribes & Empires). These experienced actors certainly raised the quality levels of the production. I won’t elaborate further on who plays which character so as not to spoil the intrigue but suffice to say, everyone has done commendable work as far as the acting is concerned.

On the whole, The Wolf Hunter is a compelling drama that’s comparable to Western productions and it gives me vibes of The Revenant, True Detective and Fargo. With only 8 episodes at an hour’s length each, the storytelling is compact and tight while the portrayal is utterly convincing. This is one of the few C-dramas that contain absolutely no useless fillers, illogical plot holes or unrealistic characters (and cast, for that matter). This drama is absolutely recommended viewing.

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Don't Get Mad, Get Even

When this drama first appeared on my radar, my initial thoughts were of Robert De Niro’s Taxi Driver. It turned out not too different and the themes definitely give off similar vibes for me. Although dark, violent and gritty, it is also ADDICTIVE, COMPELLING and POIGNANT. Taxi Driver is one of the year’s best and must-watch dramas.

The Story

Taxi Driver is based on the webtoon, The Deluxe Taxi by Carlos and Lee Jae-jin. It’s about a team of people who work together in running a deluxe taxi service, Rainbow Taxi company, that provides “additional services” which entails a mix of rescuing people, dishing out vengeance on deserving bad guys and delivering (street) justice - not necessarily in that order - for victims of (especially violent) crimes who have been so wronged, exploited, downtrodden and tormented to the point that they are ready to end their lives just to escape their tragic circumstances.

Every single member of team avengers carry their own chilling backstories - crimes committed against their loved ones where the perpetrators never truly received the punishment that they duly deserved, no thanks to the failings of the local police and judicial system. It is this tragic past that motivates the team to do what they do - seek justice for those who experience the same trauma that they themselves had gone through.

The drama features the general format of case-based procedurals presented in mini story arcs which run for 2 to 3 episodes. There isn’t any overarching plot or underlying conspiracy per se but the story does evolve in the final third where the direction of the team changes course significantly.

The Production

For a SBS production, I was surprised by both the production values and the raw grittiness being depicted. This is a quality drama which doesn’t skimp on budget. The action choreography of men and machines (including the number of vehicles destroyed in the process), set designs and props used, the various filming locations as well as the technical aspects of directing, cinematography and screenplay all contribute to making this drama a top-tier production.

At around the episode 11-mark, the screenwriter was changed due purportedly to creative differences with the producers. I’m not sure whether this is attributed to Lee Ji Hyun taking over from Oh Sang Ho or because the evolution of the story begins at this point, but the change in the overall tone of the drama is quite noticeable. Suffice to say, the amusement factor was no longer present because things became profoundly serious indeed heading into the finale.

The Main Cast & Characters

I have truly enjoyed Lee Je Hoon’s performance here, in what is his best work to date (I have yet to watch Move to Heaven where some viewers claim his portrayal is even better). I haven’t read the source material but I think it’s fair to say the story revolves around his character, hence the drama being titled Taxi Driver. Compared to his singular focus in Signal and bits of what I had seen in Where Stars Land, he gives us so many more different sides to his titular character of Kim Do Gi in this drama.

Think of Denzel Washington’s Equalizer, Liam Neeson’s Taken, Mel Gibson’s Mad Max and yes, even Robert De Niro’s Taxi Driver. Elements from each of these iconic characters all rolled into one irresistible combo. Perhaps his background as a former Special Forces operator has afforded him combat proficiency, coupled with extremely mad driving skills as well as an uncanny ability to blend into any given environment like a chameleon. In any case, what we end up with is Rainbow Taxi company’s employee of the month, every month! This man doesn’t just mete out physical punishment on the villains, he does so without them even realising before it's too late - via utterly convincing undercover and infiltration missions to search and destroy the target from within. Efficient, effective, lethal. Lee Je Hoo executed this portrayal to perfection. However, if there is any criticism of this character, personally for me it would have to be the logic-defying fight scenes when he alone takes on a whole horde of assailants. The plot armour for the ML is very apparent, amidst the very well choreographed sequences.

It’s my first time seeing Esom and truth be told, I’m quite impressed. Little wonder she’s been nominated for acting honours in the past because she exudes talent. For the most part, her character Kang Ha Na subtly projects determination that’s borne of stubbornness, and takes a while to warm up to (at around episode 12 for me) but that’s down to the way it’s written as part of the underscored tension between the prosecutors and our band of avengers. I appreciate her nuanced interpretation of the role and she pretty much showcased her impressive range by delivering those intense emotional scenes really well, it must be said.

Pyo Ye Jin plays my favourite character in the show, Ahn Go Eun. She steals the scene every time she appears on screen and I think that’s not only due to her immense charisma but also her characterization. There are several highly charged scenes particularly in the Udata story arc that enables her to fully flesh out her character, in addition to the rather charming but quirky role that she’s already assuming. She is definitely one to keep an eye out for, and I’ll be looking forward to her future projects eagerly.

Rounding off the main cast is Kim Eui Sung who plays the owner of Rainbow Taxi company, Jang Sung Chul. There’s not much else that can be said about this veteran award-winning actor that hasn’t been said before. Having seen him in Six Flying Dragons and Mr Sunshine, this man is the real deal and his portrayals are often flawless. He gives a very decent account of his role here, which is perhaps somewhat more subtle compared to his previous works.

The Side Characters & Guest Stars

It would be completely remiss of me not to highlight some of the insanely superb performances by the diverse cast of guest actors. Taxi Driver, for me, is made particularly compelling because of this eclectic ensemble. Without them, this show just wouldn’t be the same. I honestly believe it’s a combination of pure joy of acting and the ingenuity in the script that manifests in these “perversely entertaining” story arc characters.

Cha Ji Yeon as Baek Sung Mi certainly deserves a mention. This interesting yet complicated character oozes class, style and villainy in equal measure. It’s not often that we get female mobsters, especially a memorable one at that, in a K-drama. Her lieutenant, Goo Seok Tae who is played by Lee Ho Chul, looks like he came straight out of a Bond movie as the evil mastermind’s oversized bodyguard. This is one character that you will come to despise as the story develops, and for very good reasons too.

Tae Hang Ho plays the uber-violent jeotgal factory owner Park Joo Chan almost too convincingly. Out of so many fight scenes I’ve seen in dramaland, the ones involving him are frighteningly vicious and unforgiving. The top prize for the most disgusting villain (to me anyway) goes to Baek Hyun Jin’s Park Yang Jin. This vile sociopath may appear unbelievably exaggerated but make no mistake, the severity of his crimes and misconduct are pushing stratospheric levels.

The Themes

On the face of it, Taxi Driver is dark and violent. The first half in particular incorporated much black comedy as well. The crimes depicted are not for the faint hearted, with references to subsets of violence, notably sexual abuse, physical assaults, and exploitation. White collar crimes are represented in the form of fraudulent acts, voice phishing, and blackmail. Toxic corporate culture is also vividly portrayed. There are times that I personally find it hard to stomach some of the portrayals of suffering and trauma inflicted on the victims.

I think the most disturbing aspect for all the crimes featured is the fact that they are very real and are currently happening all around us. We may or may not be aware of their existence in our neighbourhood but it would be extremely naive to think otherwise. It’s an extremely visceral and realistic part of the world that we live in, and this drama truly shines the spotlight on all of such elements right before us.

On a more positive note, the depiction of camaraderie among our team of avengers is a joy to behold. Everyone has his or her own strengths, weaknesses and fears, and together they accomplish so much more than any of them individually could. They are each other’s pillar of support, both mentally and spiritually.

Music

There are 2 songs in particular that I really love, which were beautifully integrated into the drama. Pyo Ye Jin’s rendition of the soulful jazz piece, A Walk, which plays during one of her more poignant moments where she stares pensively into the distance from the backseat of the taxi. Kwak Jin Eon’s A Gloomy Letter hauntingly evokes a profound sense of deep sorrow through his richly layered vocals in his slow ballad. Maybe I’m just drawn to evocative and sad songs…

Anyway, full OST listing as follows:

1. YB – SILENCE
2. Kwak Jin Eon – A Gloomy Letter
3. Pyo Ye Jin – A Walk
4. Cha Ji Yeon – All Day
5. Simon Dominic – RUN AWAY
6. Sanha – Moon Light

Overall

Taxi Driver is arguably compelling and essential viewing. As dark as its themes may be, I honestly believe viewers can glean a thing or two potentially life saving survival skills from this drama. This deluxe taxi service might be fictional, but the crimes depicted do not get any more real that what is seen here. I find myself rooting for the team to wreak vengeance upon these truly horrible evildoers during every episode. Although deep down I know it’s probably morally and ethically wrong, I can’t help feeling a deep sense of pleasure and gratification from the street justice being dispensed. Long story short, watching this drama will evoke many emotions and feelings, with nary a moment of boredom. And the best part? I absolutely love the perfect ending.

Fun Facts:
1. The model of car used as the deluxe taxi is the 1996 Hyundai Dynasty.
2. The deluxe taxi faces off against the dreaded White Truck of Doom and “history was created” in that scene.

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Ganbare!

One of the best medical dramas that I’ve seen in recent memory, this has been an absolute viewing pleasure. Not a single moment felt dull, slow or tiresome. This unequivocally goes right into my all-time favourite productions.

Tokyo MER: Hashiru Kinkyuukyuumeishitsu chronicles the events surrounding the newly established Tokyo Mobile Emergency Room (MER) medical team. This team of medical professionals comprises doctors who function as field surgeons as well as an anesthetic specialist, professional nurses and an engineering technician. Their sole directive is the rapid deployment in emergency response, usually for large scale crises involving numerous casualties, in the Tokyo Metropolitan area. The MER refers to the specialised vehicle that functions as an EMS ambulance, transport and ER where it not only houses the team and medical supplies on their missions but also a sanitized operating theatre. This set-up is an initiative by the Governor of Tokyo as part of her political campaign for the PM’s office.

This TBS production was helmed by Aya Matsuki, Shunichi Hirano (Nihon Chinbotsu: Kibo no Hito), Maiko Ouchi, and Masahide Izumi. The original screenplay was written by Tsutomu Kuroiwa, notable for having written numerous highly-rated dramas, one of which that I’ve seen and also enjoyed is Unsung Cinderella: Byoin Yakuzaishi no Shohosen. The original score was composed by Kei Haneoka, Tatsuhiko Saiki, and Miki Sakurai. The upbeat and heartening theme song, Akira was written and performed by four-member pop-rock group GReeeeN which plays during the end credit sequence. The medical and surgical procedures were guided by Kitasato University Hospital Emergency Critical Care and Disaster Medical Center.

The first Japanese drama produced for Disney+ channel, it had won a total of five awards at Japan’s 109th Drama Academy Awards (第109回ドラマアカデミー賞), including Best Picture, Leading Actor for Ryohei Suzuki, Supporting Actor for Kento Kaku, Supporting Actress for Nanao and Best Director for all four directors involved. In addition, a spin-off drama was spawned while a sequel movie is planned for 2023.

What I Loved

First, a disclaimer. I’m neither a medical expert nor do I possess extensive knowledge on the subject. Therefore I won't comment too much on the accuracy of medical procedures applied. My observations are based purely on my enjoyment of the dramatisation and depiction.

Just wow. I had a lot of excitement and fun watching this episodic procedural that focuses mainly on on-site medical emergencies and disasters, with an overarching political theme, underlying mystery and social commentary subtext on the ideals of the Japanese healthcare system. It’s evocative, provocative, inspiring, heartwarming, fascinating, intense… What a thrilling rollercoaster! The script is wonderfully crafted because it blends all the storytelling elements seamlessly to present an incredibly immersive, engrossing and pulsating viewing experience. The frantic and frenetic nature of the agency and urgency in the storytelling, the catharsis at the end of every episode that follows the suspense, tension and emotions imbued into the sheer variety of extreme emergency situations that progressively becomes more challenging as the story unfolds. Let’s not forget as well the tremendous inspiration drawn from conquering the overwhelming odds to emerge triumphant over adversity - it compels you to jump up and shout ganbare at the lifesaving heroes of the MER team!

None of the positives would have been justly presented were it not complemented by the commendable production quality and technical execution. Fantastic cinematography throughout, particularly the excellent camerawork, in framing the well-choreographed action sequences, and the convincingly-guided surgical skills on display. The coordination of massive numbers of extras involved ranging from the disaster victims to the collaboration between rescuers of the fire department, police, and medical personnel. The varied set designs and special effects may not appear as high-budget or expansive in detail but are nonetheless decently manifested to convincingly encapsulate the realism of the atmospherics. Likewise the music in this production truly is on another level. I love the rousing qualities of the multifaceted dramatic score that enhances each crucial moment in the story.

There is a reason so many of the cast won acting awards - their performances in this drama absolutely justifies their accolades. My first time seeing Suzuki Ryohei, this man encompasses the qualities necessary in connecting viewers to a character they could root for. His portrayal of the ML Kitami Kota is remarkably stirring, to say the least. Altruistic, charismatic, down-to-earth yet energetic and motivational, watching him in action is simply a delight. He is undoubtedly convincing in appearance, speech and manner akin to a bona fide member of Médecins Sans Frontières - the volunteer doctors who serve in disaster and war zones.

Among the supporting cast, Nanao’s Kuramae Natsume is my favourite side character and as one of two nurses in the team, she delivers a sparkling portrayal of depth in characterization and emotional range despite the limited role. Kaku Kento’s Otowa Nao, the bureaucrat with questionable motives, provides a compelling demonstration of character development behind the persistently cold exterior and grim facade throughout the entire drama. His interactions and the hint of romance with Sato Shiori's adorably sweet Kitami Suzuka is rather endearing.

Nakajo Ayami’s Tsurumaki Hina is another supporting character that experiences massive growth in her trajectory from being an inexperienced and prejudiced resident doctor to a mature member of the MER team. Phuongchi's transfer nurse from Vietnam, the bubbly Hoang Lan Minh has poignant moments of her own as well. Their amazing camaraderie and team dynamics are indeed the captivating highlights of the show. Ishida Yuriko’s Akatsuka Azusa, the Governor of Tokyo, is worthy of mention for her version of the ambitious, driven and charming politician who has to manoeuvre the political minefield brimming with unethical, corrupt and scheming rivals.

What I Didn't Like

One significant event that transpired in the penultimate episode, Final Chapter Part 1, which I wish would have occurred differently. Although it sets up the climax for the finale, this remains the single aspect which dampens somewhat the positive vibe of the story.

Final Thoughts

Regardless of my complaint about that singular event, for the most part there isn’t much else to criticize about this drama, IMHO. Perhaps a slightly bigger budget would have provided a more cinematic feel to the visuals or higher quality production designs but for what it’s worth, it does the good things very well with a great cast and loveable characters. It not only manages to sustain my interest but injected a lot of life into the storytelling to flesh out the enthusiasm and excitement. I was emotionally invested all throughout and I believe it definitely deserves more viewership than it currently has.

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Distorted Reality

Dr. Brain is a character-driven story about one man’s quest to unravel a profound mystery through highly experimental science that delves deep into the far reaches of the human subconscious and beyond the boundaries of reality. Simply put, the main character boldly goes where no one has ever gone before, in a metaphysical sense. Watching this drama feels akin to consuming magic mushrooms because I find my entire cerebral cortex utterly immersed into the warped and psychedelic nature of the storytelling.

Co-produced by Kakao Entertainment, the company that owns popular streaming platform Kakao TV, Dr. Brain is promoted as an Apple original series. It is the first Korean-language series to debut on the American platform, where the global premiere on 4 November 2021 coincides with the launch of Apple TV+ in South Korea. Principal photography took place at Daejeon while Daejeon University was used as the setting for the Brain Science Research Centre.

The drama is an adaptation of the Kakao-Daum webtoon Dr. Brain by Hong Seong-hyeok, which was serialized in 2016 (Season 1) and this year (Season 2). The source material is a sci-fi thriller based on the premise that the brain is able to live on for 37 hours after death.The titular character harnesses this knowledge by tapping into the brains of the dead to seek clues or answers for solving mysteries. I haven’t read the webtoon but I can attest that the narrative stays true to the basis of this pseudoscience. I get similar vibes of Flatliners (both versions of the US film) where things quickly escalate out of hand when folks volunteer as test subjects for their own experiments. I find the plot immensely intriguing, complex and suspenseful. The first episode is extremely slow burn where the backstory of the ML is painstakingly established but once the overarching mystery begins to take shape and the mind-blowing action sequences kick off, particularly from the second episode onwards, there’s no turning back after that.

The quality of this drama is top tier, in terms of the production values, technical execution and the reputable production team as well as the critically acclaimed main cast. Kim Jee Woon, the multiple award winning filmmaker and celebrated auteur, serves as director and screenwriter. The influence of his unique stylistic approach extends over the masterfully executed cinematography, which presents some of the most gorgeous visuals seen this year in K-dramaland. I love the cinematic grading, neo noir outlook of the night scenes, and beautiful application of colours, especially in the “mind warped” segments. In terms of the direction and tempo, the director deftly balances the transitions between the quieter introspective and emotional moments with the intensely frenetic parts. Despite the short format of 6 episodes, the storytelling does not feel constrained while the tension as well as plot points are allowed to breathe without giving the impression of being rushed.

The original score is composed by Lee Sung Hyun aka Mowg, another stellar name attached to the production who comes with a long list of achievements and prestigious awards. The music is a blend of suspenseful, evocative and deeply emotional instrumentals that encapsulates the essence of the drama and connects very well to the varied scenes. Elements of contemporary electronic music and orchestral renditions are incorporated into the soundtrack as part of the eclectic BGM.

The cast is headlined by Lee Sun Kyun, fresh from his appearance in Parasite, for which he garnered major acting honours and critical acclaim. He plays the titular character in a performance which he delivers with consummate conviction where he showcases such impressive range that matches the depth of characterization. He not only has to portray an extremely intelligent scientist but also an emotionally dysfunctional man who literally goes through hell and back in both the real world and the surreal state of the human psyche. Add to that his affinity with a particular feline, a truly surprisingly absurd yet incredibly entertaining aspect of the drama.

Park Hee Soon is an actor who won the hearts of many through his compelling performance in the recent Netflix drama, My Name. Here in a supporting role as the side character, Lee Kang Moo, he is much more understated and has limited screen time. Seo Ji Hye, recently seen in Crash Landing on You and Dinner Mate, portrays police detective Lieutenant Cho. She has slightly more screen time than the rest of the supporting cast and gets involved in a number of high octane action sequences. She certainly looks the part and provides a decent account of the rather limited characterization. I would have liked to know more about her character but the focus is very much on the ML, hence the lack of significant character development for the people around him. The same applies to the character of Jung Jae Yi, his wife, played by Lee Yoo Young who almost spends the entire time being comatose, were it not for the numerous “flashback” scenes.

All things considered, along with the well written and executed ending, I would consider Dr. Brain a hugely satisfying entry to the K-drama psychological thriller genre. Kept on the edge of my seat once I was hooked, I simply could not stop watching and anticipating the conclusion to the ML’s search for the truth. My only qualm - I wished it was longer. This is truly one of those productions where I’m hoping for a second season.

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The Patriot

Poignant, riveting, suspenseful, thrilling, emotional, shocking, heart wrenching, and extremely gratifying. The Rebel is one of the best C-dramas I’ve watched this year or any year, for that matter. In terms of the production quality, technical execution, performances of the cast and music, this drama is close to perfection. It’s not flawless by any means, for there are some quibbles here and there but it’s good enough for me to give it a 9.5 rating.

Based on the novel, The Traitor (叛逆者) by multiple award winning and prolific author Bi Yu (畀愚), The Rebel is set during the Republican era primarily in Shanghai while certain arcs transpired in Hong Kong and Chongqing. Spanning the course of more than a decade, from 1936 to the creation of the PRC in 1949, the story revolves around the main character of Lin Nan Sheng during the tumultuous period of the Chinese civil war between the Nationalists (Kuomintang) and Communists, as well as the second Sino-Japanese war. It chronicles his personal growth as he matures from a naive young military recruit to an experienced intelligence operative, while charting the trajectory of his “journey of self-actualisation”.

This drama features espionage, war and romance with certain elements of slice-of-life, socio and geopolitics, while exploring themes of family, friendship, betrayal, and sacrifice. It exudes vibes of The Infernal Affairs (HK, 2002) and Decoded (2016) due to the counterintelligence aspects involving sophisticated networks of covert activities operating within a complicated web of deceit and subterfuge as well as via trademark spycraft, notably undercover agents, double agents, coded transmissions and assassinations, among many others. A number of viewers have also made direct comparisons to Fearless Whispers (2020) due to the romantic entanglements between the leads who stand on opposite sides of the great political divide.

This drama may not be universally lauded because of the subject matter, which is not everyone’s cup of tea. Aside from the usual tragic endings, Republican era dramas in general are associated with Communist propaganda and jingoism. In this case, such concerns are magnified because of its intended release to coincide with the Chinese Communist Party’s centenary celebrations on 1 July 2021. Additionally, there are those who might not even appreciate the appeal of the slowburn nature of the storytelling or the lack of action-packed choreographed sequences.

However, the masterful delivery of the entire production based upon a compellingly written screenplay makes this drama arguably one of the best of the genre. The overarching plot is cohesively structured and integrated seamlessly with the intricately woven subplots and character arcs. The simmering pace - imbued with many an eventful moment, palpable tension and unpredictable twists and turns - is consistently sustained through linear storytelling via multiple points-of-views, albeit the emphasis always remains on the main protagonist. The exceptionally well constructed major characters are brought to life by the outstanding stellar cast, who deliver profoundly compelling interpretations of immense character developments as the drama unfolds. As far as the flag-waving is concerned, the subtle and layered approach is conveyed by these multifaceted characters seemingly with various shades of grey.

The attention to detail in the overall production design and art direction is exemplary in this joint production between iQiyi and CCTV. Principal photography took place entirely at the famous Shanghai Film Park in Shanghai, which wrapped up filming in August 2020. The ready-made filming locale oozes Old Shanghai atmospherics, along with the electric trams and the countless Buick cars on display. The use of interior props such as the antiquated rotary-dial telephones, vintage radios, gramophones and telegraph, to name a few, all give credence to the authenticity of the depiction. The exquisite costumes are equally worthy of praise, where the ladies appear elegantly dressed in fashionable qipao while the men are smartly attired in military uniforms or bespoke suits. These aspects enhance the general sense of realism which are visually framed by the excellent cinematography, as can be seen throughout the drama.

The main cast is certainly deserving of at least a nomination for acting honours, whether it be for Golden Eagle, Feitian or Magnolia Awards. In preparation for the main role of Lin Nan Sheng, the critically acclaimed Zhu Yi Long lost a massive amount of body weight and reportedly weighed a mere 64kg during filming. In addition to his efforts and dedication to his craft, his immense talent undoubtedly shines through in his portrayal of the evolution that his character undergoes in the drama. He very much reminds me of a young Tony Leung Chiu Wai here, in terms of the acting and the looks, where his characterisation is both understated and nuanced.

The award-winning Tong Yao plays the love interest, Zhu Yi Zhen. Although credited as the female lead, her character does appear to be more of a supporting role and, at times, somewhat overshadowed by the dynamic performance of her leading co-star. In fairness, she possesses less overall screen time and I have enjoyed Tong Yao’s interpretation of the role, as an independent, strong willed and fearless revolutionary in the face of adversity and challenges. The character also undergoes tremendous development and together with Lin Nan Sheng, they both showcase such convincing chemistry and connection with each other, even when they are far apart. It is almost a surreal and spiritual kind of long-distance relationship that transcends physical boundaries. Her uncanny resemblance to Zhang Zi Yi makes her screen presence with Zhu Yi Long unintentionally appear as though Leung Chiu Wai and Zhang Zi Yi are the main leads for this drama.

This production is further elevated by the presence of experienced veterans Wang Zhi Wen and Wang Yang, who play Gu Shen Yan and Chen Mo Qun respectively. Without these two distinguished actors, the drama would not have been as credible, evocative and visceral. Chen Mo Qun, in particular, emits such a powerful aura not unlike say Darth Vader to the point that I would actually include him as one of my favourite “villains” of C-Dramas. These two actors should have their own spin-off Republican drama, seriously.

It’s my third time seeing Zhu Zhu since Qin Dynasty Epic and Breath of Destiny. Despite being perfect for the role of Lan Xin Jie, I sometimes do feel that she’s typecast as a sultry seductress and femme fatale type of characters. She is amazingly versatile, a quality which hopefully garners her more varied roles in future projects. The rest of the supporting cast represent good value for their depictions, particularly Zhang Zi Xian and Dai Xu who give a decent portrayal of the unscrupulous Wang Shi An and the suave Zuo Qiu Ming respectively.

I cannot emphasize enough how incredibly fitting and beautiful the soundtrack for this drama is. The original score featuring piano pieces by the celebrated Chinese pianist, Lang Lang expresses the mood and emotion of pivotal scenes in the drama. In particular, the signature theme, Tchaikovsky’s The Seasons, op. 37a: VI. June "Barcarolle" is played throughout. OST listing as follows:

1. Zhu Yi Long, Lang Lang - The Rebel (main theme)
2. Ayanga - Shadow Behind
3. Sara - Candid
4. Lang Lang - The Seasons, op. 37a: VI. June "Barcarolle"

Having espoused the positives, there are certain issues I noted but which does not diminish the overall quality of the production. Firstly, towards the tail end of the drama, there is a somewhat melodramatic undertone involving “misunderstanding and contract marriage tropes” that gradually builds up to briefly occupy some screen time. However it does eventually get tied up during the final phase of the story. Secondly, in the parting scene at the Hong Kong pier, the overdub process must have been overlooked during post-production because two distinct pieces of music were inserted, thus ruining what was supposed to be a deeply emotional moment. Last but not least, I do feel that the unexpected manner in which the final action sequence plays out creates unnecessary confusion, as the story transitions to the ending.

All things considered, The Rebel is a top-tier production that probably does not but should receive the appreciation and recognition that it truly deserves for the quality of the production, writing and acting. With a Douban rating of 8.3 at the time of writing, the numbers speak for themselves. I have utterly enjoyed the worthwhile experience of being immersed in this fantastic drama and if you do decide to give this a try, perhaps you would be too.

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Contemporary Love Poetry

More than a thousand years and two lifetimes later, our star crossed lovers finally reunite, this time under happier circumstances in modern day China. Or is it really? Without spoiling the fun and suspense, here’s a spoiler-free look at what all the hype is about and whether it’s worth your time to check out…

The Narrative

Forever and Ever is the official sequel to One and Only, having premiered two weeks after the latter had ended its airing in late August. The lead actors and characters remain the same, namely Ren Jia Lun and Bai Lu reprising their roles of Zhousheng Chen and Shi Yi respectively. Since their epic love story concluded during the Northern and Southern Dynasty era, their second incarnation sees them assuming completely different personas. Zhousheng Chen has become a renowned chemistry professor and scion of a prominent industrialist family while Shi Yi (minus the surname) is now a celebrated voice actress.

This drama primarily features their love story, in a contemporary setting, as well as the trials and tribulations that they both have to overcome before finally achieving their happily ever after ending. The challenges that they face come in the form of Zhousheng Chen’s own family.

The Production Details

Although it is the sequel, Forever and Ever actually completed filming before One and Only. Based on the second (and main) part of the novel, One Life, One Incarnation – Beautiful Bones" (一生一世美人骨) by novelist and screenwriter Mo Bao Fei Bao (墨宝非宝), who additionally served as the screenwriter. The young director Shen Yang, who was not involved in the prequel, helmed the production. Tan Xuan remains as the music director for both dramas.

Principal photography this time took place in Shanghai, Zhenjiang, the county of Wuzhen and the historic city of Xi’an. This drama is notable for being the 7th and final entry to iQiyi’s Sweet On theatre for 2021 that focuses on premium short format series and romance-centric content. Unlike One and Only, Forever and Ever’s main characters are dubbed by the actors themselves.

What I Loved

This drama shares the same excellent production quality and technical execution as O&O. Aside from the slightly warmer colour palette and softer filters applied, all other aspects remain top-tier. The editing is one of the best you’ll ever see in a C-drama production. Likewise the original score composed by Tan Xuan that complements the various atmospherics of the scenes as well as the exquisite cinematography. Needless to say, the production designs appear as immaculate as the classical structures of the filming locales selected. This is very much apparent at the Zhou family estate in Zhenjiang, the couple’s traditional mansion and the surroundings of the Wuzhen canals.

The performance of the cast is compelling. I’ve already waxed lyrical about Ren Jia Lun and Bai Lu in my review of O&O so without replicating similar superlatives, I’m pleased that their delivery meets my expectations. There are a number of new characters in the story that caught the eye. Ci Sha as the charismatic Mei Xing in his first ever production. Similar to the monk in O&O, he represents the swoon-worthy wingman in the modern setting with his suave and charming characterization. My personal favourite supporting character this time around is Zhou Wen Xing, played by Wang Rui Xin who is another relative newcomer to the industry. She has one of the more significant and emotional character arcs in the story which she portrays with absolute purity and believability.

I love the music for the production, perhaps even more so than O&O due to the outstanding accompaniment of the BGM score in scene transitions as well as the poignant ending and couple theme, Continue Writing by Shan Yichun. Bai Lu provides a rendition of Heartbeat, her character theme while the same opening theme of O&O is used for the title sequence, the hauntingly enthralling instrumental version of Unworried (Wuyu).

Continue Writing 续写 by Shan Yichun 单依纯
Give to You 给你给我 by Buyi Mao 毛不易
Heartbeat 心动 by Bai Lu 白鹿
Freeze Frame 定格 by Yan Renzhong 颜人中
Unworried 无虞 by Mimi Lee 李紫婷, Jing Long 井胧

What I Thought Was Lacking

First, a disclaimer - I haven’t read the literary source so this is purely my thoughts on the drama production and not on the novel itself.

The plot lacked depth or perhaps its essence was not fleshed out by the adaptation. At around the halfway point of the drama, I began to accept that although supposedly based on the main portion of the source content, this sequel actually plays out like a tribute to O&O by virtue of the extended storyline of the main couple. In other words, F&E feels more like a combination of overlong MV scenes, aesthetic travelogue and live-action vignettes that are interwoven into a cinematic and surreal tapestry of vivid dreamy moments. Each frame is gorgeous to look at but you don’t really comprehend the significance of what is happening.

The storytelling leaves much to be desired. Just as it was in O&O, F&E is character driven by the powerful performances of Ren Jia Lun and Bai Lu. However, the premise and plot of O&O were clearly defined to tell viewers what are at stake and for whom. In F&E, aside from a few major characters, there seem to be many other characters just passing through without adding any seemingly tangible value to the plot. The Zhousheng family tree itself is confusing enough with its cousins and second cousins, marriage and remarriage, half-siblings, servants who share the same surname, the so-called elders who appear intermittently to discuss “family affairs” (I’m still not exactly sure what they’re manufacturing or trading, to be perfectly honest). The rather underdeveloped and, at times, perplexing toxic sibling-rivalry that culminates in a bitter contest for control over the family’s business. All these events transpire amidst Peking opera performances in the background and the daily family breakfast at the Zhenjiang family estate that resembles a tour group buffet meal for tourists at a zen retreat.

Controversy in the Adaptation

Debates were raging in the drama page revolving around criticisms of the adaptation and also Ren Jia Lun’s “no-kiss/ intimacy” policy that purportedly resulted in the screenplay being changed to accommodate this policy thus adversely altering the core characterization of the ML, Zhousheng Chen.

Personally I’m perfectly fine with the leads not having enough or any explicit intimate scenes. The romance has to feel right and realistically sync with the conviction of the chemistry, regardless of how often they share deep kisses between them in bed and in public, or not at all. Ren Jia Lun and Bai Lu are adept at selling their romance at an emotional and spiritual level that transcends physical boundaries, which they both did so well in O&O.

Regarding the novel’s iteration of Zhousheng Chen, who is supposedly different in terms of personality and his interactions with Shi Yi, I can’t comment on which one is better since I’m only aware of the drama version. But, I have enjoyed Ren Jia Lun’s interpretation of the role. It’s eccentric and a little quirky, for sure. But I thought it fits his persona of an inexperienced and erudite researcher who eventually undergoes a tremendous growth in his evolution as a man and his affectionate love and respect for Shi Yi.

Final Thoughts

Should one watch O&O before watching this? Not necessarily and even the references from the prequel are extremely vague. However, you would most definitely appreciate F&E much more if you start the journey from O&O, which I did. Forever and Ever is a kind of homage and fan service to One and Only that alleviates the tragic suffering and fulfills its promise of giving viewers the happily-ever-after closure that Zhousheng Chen and Shi Yi truly deserves. Enjoying the sweet romantic moments and not losing brain cells over the overarching plot that develops in the background would be my advice going into this one.

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Fear of the unknown

This drama tells the story of Li Jia, a young man whose family is afflicted with a genetic mental health disorder that has caused the deaths of his mother and brother. Although this condition is hereditary, he searches desperately for a cure that will save him from suffering the same tragic end. His search takes him to Hong Kong where his idol, a renowned expert in the field of psychiatry, seemingly has a way to treat his affliction…

Thus begins Li Jia’s journey of healing and hope. Along the way, he forms strong bonds of friendship. He even experiences love for the first time in his life. Together with his new found friends, they repeatedly encounter strange and unusual occurrences that seem to intertwine with each of their lives.

The Journey Across the Night’s very intriguing premise plays out very slowly but surely, with some dramatic and thrilling moments at the conclusion of multiple story arcs or chapters throughout the 26 episodes. These chapters are “mini-mysteries” that focuses on unexpected incidents affecting various peculiar characters and gets resolved within 4 to 5 episodes, while the overarching plot concerning Li Jia and his affliction eventually reaches its zenith in the final episode.

The screenplay is generally quite good. The major and supporting characters were well written while the main plot and the various sub plots were neatly interwoven. The way that they intersected with the various characters were smoothly transitioned without appearing awkward or contrived. The mini story arcs were particularly engaging and very creative, especially the one about heterochromia and red velvet. That plot twist at the end wasn’t exactly unexpected but it somehow fits with Li Jia’s narrative in the whole show, so kudos to the writers for not being predictable.

The main cast did a fine job with their portrayal where the friendship as well as romantic themes were fully depicted. I particularly enjoyed the bromance between Li Jia and Shi Cheng played by Joseph Zeng and Zhou Cheng Ao respectively. Cherrie Ngan’s Zhang Cha Cha experienced tremendous character growth as well, which is fortunate as I was initially a little annoyed with her immaturity. Having seen Joseph Zeng in Heavenly Sword and Dragon Slaying Sabre last year, I thought his acting range has improved immensely in this drama where he had to portray “more than one role”. The most interesting character for me is actually Xiao Si, brilliantly acted by Feng Jian Yu. Even as a support role with diminished screen time and totally no dialogue at all, Xiao Si aroused the most curiosity and that dramatically poignant scene undoubtedly evoked a whole myriad of emotions. The HK veteran Lawrence Ng did a decent but unremarkable job of portraying the show’s “mild antagonist”, Chen Ming Xuan.

I really enjoyed the entire OST (track listing in the comments board) and felt that the music really is appropriate for the rather dark subject matter that the show dealt with. The opening theme Dark Night Rose (Joseph Zeng) projected the essence of the show while during the funeral scene where the Cantonese song Listen to the Wind (Rao Wei) was played captured the mood of the moment perfectly. My personal favourite is actually the hauntingly beautiful ending theme sung by Feng Jian Yu (who plays Xiao Si).

26 episodes for a modern C-drama is usually about right. However, there were noticeable pacing issues at certain points. I felt that the chapter on green nails was a tad overlong, while the Halloween sequence dragged on for a bit. But probably what irked me the most was the rushed ending. The most important part of any drama, aside from a strong beginning, and the writers didn’t do justice to the entire show with that dissatisfying ending.

Overall, this drama is an acquired taste. Not everyone is into this theme and genre, especially with such slowburn evolution, no less. I would say that I savoured certain moments in this drama and appreciated the premise of the story as well as the way the cast acted out their roles. This is most definitely not a light and easy watch, and probably not the kind of show meant for binge watching. It’s thoughtfully written and induces some form of introspection at various stages. I would recommend that you watch the first episode to see if this fits your current viewing mood.

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Why Indeed

Why Her is a character-driven suspenseful legal drama with romance undertones that explores top attorney Oh Soo Jae’s ambitious rise to prominence as well as her subsequent journey of redemption and finally search for the truth within the cut-throat world of South Korean politics and corporate culture that are mired in corruption all the way to the upper echelons of power. The storytelling includes themes of noona romance, love triangle, revenge-justice, courtroom drama, office politics, corporate mergers and acquisitions, criminal investigations as well as friendship and youth within a university setting. In short, this drama is reminiscent of shows like How to Get Away With Murder, The Good Wife (US and South Korean) and Law School, to name but a few.

Park Soo Jin (Dr. Romantic, The Hymn of Death) and Kim Ji Yeon co-direct this SBS production while the screenplay is written by Kim Ji Eun who specialises in melodrama/ makjang, aspects of which are manifested to an extent in this drama as well. Park Se Jun (Melancholia, Mouse, Vincenzo) serves as music director.

The soundtrack features 6 love ballads, which is indicative of the general atmospherics to be expected. My personal favourite is Sohyang’s cover of Vincent. Full listing as follows:

Vincent by Sohyang (cover of the original by Don McLean)
Beautiful by DOKO
What About Us by Hajin
I Will Love You by K. Will
I'm Here by So Jung
Where in the Fog by Ga Ho


What I Enjoyed

The lead actress, Seo Hyun Jin. Amazingly this drama represents the first work I’ve seen of her in what has been an eventful career that she’s had so far. I’ve become a huge fan because she is beyond phenomenal. She exudes class, charisma and gravitas to pull off such a stunning portrayal of the immaculately stylish and powerfully intimidating FL, Oh Soo Jae. Her wonderful performance here embodies perfectly the indomitable spirit, depth of character, emotional complexity and delicate vulnerability of the characterization the way it was perhaps designed to be. The character may not be without its faults, being shrouded in grey mist through actions and motivations but Seo Hyun Jin’s masterclass is certainly as near flawless as it could possibly be. I daresay without her presence, this drama perhaps would have been found lacking in its execution on so many levels.

This drama goes into the no. 1 spot - at the time of writing and unless something else comes along that dislodges it - of the most complicated drama of 2022 for me. To give viewers a taste of what to anticipate, a brief summary of the content (this list is by no means exhaustive)…

Push-pull noona romance and subtle hints of a love triangle
Murder and crime mysteries, including one that spans a decade
Politics revolving around the Presidential race and ministerial appointments
Corporate mergers and acquisitions
Various judicial wranglings
Longstanding hidden identities and secrets
Vengeance, retribution and justice sought by multiple parties

Expect intense power dialogues, heated confrontations, beast-mode slaps, shocking twists and reveals, among the many plot devices infused into the story, and a dash of makjang for good measure as well.

Production quality is commendable which is reflected through the ambience of the drama smoothly transitioning between mellow romantic sequences, powerful scenes of face-offs, and profoundly evocative atmospherics all throughout. The settings of the various arcs are generally well rendered, including the Seojung University Law School campus, TK Law Firm, and Hansoo Group corporate office. I also liked the framing of certain scenes that come across as symbolic of the state of affairs for which they allude to, which is testament to the excellent cinematography in this drama.

In addition to Seo Hyun Jin, the performances by the ensemble cast are on point, for the most part. Heo Joon Ho delivers a memorable portrayal of TK Law Firm’s chairman, Choi Tae Guk. Of the supporting cast, Kim Chang Wan’s understated Director Baek Jin Ki is also worth a mention, as is Lee Kyung Young in his third drama appearance this year as another antagonistic character, Chairman Han Sung Beom.


What Could’ve Been Better

I feel that the ML Gong Chan, played by Hwang In Youp, could have been better written. In fact, at times I think the entire romance aspect had more potential than was ultimately executed. The connection between the FL and ML is one of the major plot points of the story but is made unnecessarily tumultuous, for instance with the presence of a third party competing for the FL’s attention. The actor himself perhaps demonstrated a rather limited scope due perhaps to the character design which did not allow him to articulate the role even further.

Somewhere at the midway stage, the plot languished somewhat which threatened to derail the entire narrative. Too much time was spent meandering around certain side stories. Fortunately the drama eventually picked up the pace towards the closing stages of the second half to a rousing end. The presence of numerous interconnected arcs and subplots also contributed to the confusion and unevenness of the storytelling and character development, which require significantly more attention to details and effort to piece together the various threads.

I feel the need to rant about a certain plot device that transpires in episode 14. Without spoiling it, let's just say that for the sake of giving this drama a grand finale with another spectacular "twist", the screenwriter resorted to creating an unbelievable scenario that came out of nowhere. Totally unnecessary and which could've been written differently in a number of ways, in my opinion.


Final Thoughts

Despite some issues in the execution and character design of the ML, I actually enjoyed Why Her more than I thought I would. Much of this is attributed to Seo Hyun Jin who carried this drama and without whom, the story would perhaps have fallen flat. If you’re in the mood for highly complex storytelling with complicated plotlines and convoluted dynamics, like I was, then this is the kind of drama that fits the profile.

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Pride and Prejudice

The Red Sleeve refers to the official hanbok worn by the court ladies of the Joseon Dynasty, in which its sleeve cuff has been dyed crimson red. I’ve watched many sageuk dramas over the years but this is the one production in which I’ve truly taken the time to appreciate the beauty of this simple traditional Korean clothing, the hanbok. It comes in many iterations and colours in this drama that does justice to the appropriately named title.

This drama is a “faction” sageuk (mixing facts and fiction) that heavily romanticizes the life story of King Jeongjo and Royal Noble Consort Uibin Seong, as well as their ensuing romance, through a narrative that spans a number of decades. Countless other real life historical figures are present in this drama but the events that transpire, including the depicted themes, are very much fictionalised.

The only MBC sageuk released this year that is directed by Jung Ji-in and Song Yeon-hwa, it is based on a screenplay written by Jung Hae Ri (The Emperor: Owner of the Mask) that is adapted from the 2017 novel, The Sleeve’s Red Cuff by Kang Mi-kang. This is a live-shoot production which began in May 2021 right through to 21 December 2021, with principal photography taking place entirely at the famous Yongin Daejanggeum Park. Initially planned for 16 episodes, an additional 17th episode was added due to overwhelming popularity reflected in the ratings spike during its run. Prolific composer Noh Hyeong Woo serves as music director.

In the recent 2021 MBC Drama Awards, The Red Sleeve took home a plethora of trophies including Top Excellence Awards for stars Lee Jun Ho and Lee Se Young, the Lifetime Achievement Award for Lee Deok Hwa, the Best Couple Award, the Best Supporting Actor Award for Jang Hye Jin, the Best New Actor award for Kang Hoon, and the Best Screenwriter Award.

What I Liked

The story. I won’t comment on the accuracy of the history or the presumably anachronistic nature of the storytelling and characterization (which is present in various forms in most, if not all, faction sageuk anyway). For the most part, I’ve enjoyed the many elements and themes incorporated in the story that makes the drama eventful, engaging and interesting. In addition to the usual court politics involving power struggles between different factions, there is a strong focus on the cultural background and role of the Joseon court ladies aka Gungnyeo (literally "palace women"), a Korean term referring to women waiting on the king and other royalty in traditional Korean society. I think the last time I’ve seen such similar emphasis was in Jewel in the Palace several decades ago.

Even the romance feels quite extraordinary - the depiction is ahead of the times because there is a profound feminist tone to the trajectory of the FL and the push-pull relationship dynamics of the leads. Most historical dramas reflect the sense and sensibilities of the setting which lean heavily on repressive hierarchical structures and Confucian teachings, particularly on women. Here, the FL draws many parallels to Jane Austen's Elizabeth Bennet. Independent, resilient, cool-headed and sensible.

The production values. This drama is one of the most beautiful sageuk productions I’ve seen in a while. There isn’t much to complain about because every technical aspect is very well executed and plain to see. The cinematic visuals, gorgeous cinematography that involves a variety of framing techniques to breathe life into the atmospherics. Praise of course goes to the art direction of the set designs and the beautiful costumes. Unsurprisingly the women outshine the men in terms of fashion. The action is few and far between but no less decent, with one major battle sequence occurring during the first half of the drama.

Although the drama starts off with lightheartedness, it eventually settles on a consistently more serious tone. I didn’t particularly enjoy the moments of levity which I found jarring when interspersed among the intense moments but fortunately they did not last very long. I think the dramatic tension is much better portrayed and credit goes to the cast for the delivery. My first time seeing Lee Jun Ho and what a performance from him as King Jeongjo aka Yi San. He basically grows into the role where the momentum progressively builds as the story unfolds. He imbues the character with a remarkable duality with such finesse which gloriously reflects the range that he actually possesses. I honestly thought at times he steals the limelight from Lee Se Young who plays the FL and love interest Sung Deok Im. That’s not to say she underperforms because her role which reflects the uncharacteristic modernity in the characterisation is richly layered and complex in and of itself. However, IMHO, her interpretation isn't at the same level as Lee Jun Ho's nuanced articulation, especially in the second half of the drama.

The SML Hong Deok Ro is played by Kang Hoon. Among all the characters depicted, this is quite literally the most theatrical. I really have to applaud his performance because it well and truly matches the dynamic character trajectory as it is written into the sequence of events in the plot. One bit of astonishing cliche lies in his character developing facial hair, in part to manifest the passage of time but mainly to afford him a more nefarious facade. In contrast the ML remains clean shaven, young and handsome amidst the transformation around him. Quite the juxtaposition there.

Veteran actors make up the bulk of the supporting cast to deliver some of the more dramatically compelling moments. I have truly relished the performances of Lee Deok Hwa, Park Ji Young, Kang Mal Geum, Jang Hye Jin and Jang Hee Jin, despite their limited amount of screen time. Lee Deok Hwa certainly demonstrates the gravitas for the role of King Yeongjo while the others provide the perfect display of women with substance and mettle.

The music in The Red Sleeve is exceptional, a key aspect which most viewers should come to expect of a sageuk by now. The original score complements the entire production by subtly enhancing the ambience of many powerful scenes with its orchestral BGM. Likewise the soundtrack, featuring a total of nine original songs of which most are love ballads. My personal favourites are I Wish and Let Go of Your Hand.

Whee In (휘인) - I Wish (바라고 바라)
Ben (벤) - Star That Never Sleeps (잠들지 않는 별)
Jeong Sewoon (정세운) - You Are My Miracle (네가 나의 기적인 것처럼)
Minhyun (민현) - I'll Spend All My Days With You (모든 날을 너와 함께 할게)
Shim Gyu Sun (Lucia)(심규선) - It's Beautiful At Last (비로소 아름다워)
Jeon Sang-geun (전상근) - I'll Take One Step Back (내가 한 걸음 뒤로 갈게)
XIA (준수) - I'm Still (네가 불어오는 이곳에서 난 여전히)
Lee Seon-hee (이선희) - Let Go of Your Hand (그대 손 놓아요)
Lia (ITZY 리아)- I'll Light It Up Like A Star (밝혀줄게 별처럼)

What I Liked Less

The plot is quite straightforward yet holds much potential, especially with the infusion of a huge dose of fictional elements such as the emergence of an underground sisterhood of court ladies. The political aspects involving the grandfather, King Yeongjo and other factions vying for power initially appear quite intriguing as well. However, as the story progresses, each of these fascinating arcs falls by the wayside rather too quickly.

I wanted to witness more of King Yeongjo’s infamous tyranny but he comes across as an endearing yet senile old man engaged in a repetitive and destructive cycle with his grandson, Yi San. Reproach, incarcerate, forgive, then release him, and this sequence repeats another three to four times. Not that I blame him entirely because Yi San continuously partakes in pointless subversive activities through the secret organisation, Deongdukhoe, that produces little to no meaningful accomplishments apart from sabotaging his own legitimacy as Crown Prince.

Both the ML and FL share a repetitive cycle laden with angst of their own as well, which involves Yi San frequently expressing his love for Deok Im only to have his affections rejected time and again. The FL’s mental fortitude appears to be in a constant state of flux judging from her reactions each time she rebuffs Yi San’s advances. In any case, I understand and empathise with her wish for independence from regal constrictions and the vagaries that would no doubt ensue if married to the King. This miserable state of affairs takes up quite a fair portion of the later half of the drama.

Final Thoughts

The Red Sleeve is an enthralling watch mainly for the quality of its production and technical execution. The visuals are an absolute feast for the eyes while the performances of the extensive cast is quite exceptional. Despite my issues with aspects of the narrative, there is no doubting the intensity of the chemistry between the two leads. The bittersweet ending is somewhat consistent with historical records, although personally I wished that the story would have ended at an earlier and more positive juncture. All things considered, the pros outweigh the cons and if you are in the mood for a well-produced and well-acted romance sageuk, then this might be worth checking out.

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As the rooster crows and the candle blows out...

...the grave robbers must cease all raiding activities and quickly leave the tomb. Such is the golden rule that all members of Mojin Xiaowei, one of the four major tomb raiding sects, must abide by.

Candle in the Tomb: The Lost Caverns is the direct sequel to Candle in the Tomb (2016), as far as the chronology of the Candle in the Tomb series’ web dramas are concerned. However, an entirely different cast has taken over from Jin Dong and Chen Chiao En, who headlined the first drama, and will continue with three more sequels in addition to this one, namely The Worm Valley (currently airing, at the time of writing), Raiders of the Wu Gorge and Kunlun Shrine. This, of course, excludes the timeline continuity of the numerous film adaptations, as well as prequel drama adaptations that have either already aired or presently in the pipeline as future projects.

Directed by Fai Zhen Xiang, who had helmed two earlier adaptations (The Weasel Grave and The Wrath of Time) and has directed The Worm Valley. He is certainly no stranger to the action adventure genre and his experience does shine through in his third foray into the series. Yang Zhe, who wrote the screenplay for Medical examiner Dr Qin, heads the screenwriting team comprising eight others. Principal photography took place amidst the vast rugged expanse of Shenmu county in Shaanxi province, bordering Inner Mongolia and situated across the Yellow River.

The plot is adapted from the second volume of Ghost Blows Out the Light (鬼吹灯) novel series written by Zhang Mu Ye. Set in 1982, Shirley Yang, Hu Ba Yi and Wang Pan Zi, close companions and tomb raiders of the Mojin Xiaowei sect, travel to Shaanxi to explore the mysterious Longling Maze in search of the legendary Book of Dragon Bones which holds the secret to finding the elusive Dust Bead, the key to lifting an ancient curse.Compared to the 2016 prequel, the plot development feels more riveting and faster paced while the action is more suspenseful and thrilling as well.

The production quality is unquestionably top notch. The cinematography is truly worthy of praise in terms of the immersive views of the beautiful Shaanxi landscape and the majestic Yellow River, as well as within the massive subterranean maze where a major portion of the exploration takes place. The proper application of lighting along with the steady camerawork and excellent editing ensure that scenes in the tomb are never too dim while the action sequences are not choppy. The set designs are equally impressive, from the authentic town setting in Shenmu to the gloriously furnished underground tombs.

There are plenty of visual and special effects on show that are generally well rendered. Certain stunts involving wirework do appear somewhat awkward but for the most part, are quite decently performed. I love the variety of BGM that infuses distinct flavours to suit the atmospherics in different scenes without overpowering them in the process.

One of this series’ strengths, which is evident in this drama, is how fact and fiction intertwine seamlessly as part of the detailed worldbuilding. The fusion of mysticism, folklore, ancient history and real world concepts such as Taoism and Feng Shui all combine intricately into a compelling narrative. In addition, the elaborately designed traps and mechanisms featured in the storytelling adds immensely to the thrill. How technically accurate any of it is, I’m not entirely sure but the intrigue is certainly captivating.

Another aspect that impresses me is the authenticity and depth of the characterization.. Casting experienced mature actors and getting them to appear haggard with actual sunburn and minimal makeup. Dialogues between the various characters that are logically written and spoken with regional dialects do add to a greater sense of realism indeed. The only gripe I have is the English speaking parts which seem rather contrived and unnatural.

The new cast, in my humble opinion, fit their roles perfectly. It doesn’t take long to warm up to their portrayals because aside from the individual brilliance, they display such convincing chemistry with one another.

Pan Yue Ming’s Hu Ba Yi is slightly more down to earth compared to Jin Dong’s charismatic version, but he does possess a laidback and understated old school charm that grows on you. Zhang Yu Qi, who earlier in her career gained fame in Stephen Chow films, comes across as a more grounded version of Shirley Yang and I honestly appreciate her interpretation of the character. Minimalist yet stylish without the extravagance, she embraces the role convincingly. Together with Hu Ba Yi, their temperament appears to be quite a good match. Jiang Chao takes on the role of Wang Pang Zi with aplomb. I get the feeling that he’s literally portraying himself because he injects much fun and humour into the characterization in an extremely realistic manner. His physique certainly matches the persona as well.

All things considered, I’ve very much enjoyed the viewing experience of Candle in the Tomb: The Lost Caverns. Great entertainment value from an intriguing plot with endearing characters and at only 18 episodes. Despite wrapping up nicely and without a cliffhanger ending, the story does not end here. The tomb raiders’ quest continues in the next instalment where there are more adventures and excitement to be had.

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Corporate espionage with a slice of life

Storm Eye is about a team of dedicated law enforcement officers tasked with investigating criminal activities relating to the potential theft of technological research undertaken by a leading tech company in Shuangqing City. This team, operating under the purview of the Ministry of State Security (MSS), is a collaboration between the provincial government and the National Security Bureau of Shuangqing City. The investigation is primarily focused on the sophisticated web of economic crime orchestrated by a secret criminal organisation with a connection to past transgressions and its current intention to steal proprietary technology from Dinghua Group.

This drama is a combo package with multiple genres incorporated into its premise. In addition to the overarching plot on criminal investigations, it contains side stories and character arcs revolving around slice-of-life aspects of family, romance, and office politics. The seriousness, thrills and suspense are balanced by the emotional scenes, introspective moments and some light-hearted ones too.

This 2019-produced drama features decent production values and a script that’s well above average. There are no discernible plot holes, clichéd plot devices or sudden inexplicable shifts in characterization conveniently added for dramatic effects. The story unfolds at what I would call “engagingly casual and unrushed” pace with a gradual development of the main characters, their backstories and relationship dynamics, where the depth of the plot and the portrayals of the characters are conveyed realistically and convincingly.

Some viewers may feel that the story progression is overly slow-burn and lacking in urgency, but I believe this is attributed to the build up of what would later be revealed as the convoluted grand scheme of the criminal operation. I personally think on the whole the key elements of the plot are relayed evenly over the course of 40 episodes, where the simmering tension throughout finally comes to a gripping climax amidst certain surprising turns of events.

To clear any misperception, it’s important to understand that despite the description offered by the synopsis and tags, this show is not about secret agents and evil villains frantically facing off with guns blazing. There are no outrageous stunts involving high-tech gadgets, parachuting off planes or slick martial arts moves. This isn’t the usual police procedural of cops going after robbers or murderers either. The action scenes are rather limited, it must be said.

This is a smartly depicted drama featuring corporate espionage with emphasis on intelligence gathering, surveillance procedures and undercover infiltrations. It’s worth mentioning the usage of the Sky-Eye system by the MSS involving satellite tracking technology as well as the urban network of CCTVs to apply visual and trait recognition as well as GPS monitoring for tracking potential suspects to aid in their investigations.

The protagonists are intelligent and resourceful while the antagonists are satisfyingly clever and ruthless adversaries with their own counter-intelligence capabilities and complex schemes. Both sides engage in a delicate game of cat and mouse involving much subterfuge and elaborate machinations culminating in an even contest where the battles are won as equally as they are lost in this drawn out war of attrition. The sensible and mature depiction of characters as being very human rather than the typical stereotype caricatures enables us to comprehend their motivations, actions, emotions and insecurities. The narrative is not just about the good guys versus the bad guys or simplifying everything to be either black or white but it is instead represented with a healthy dose of realism where individuals are morally layered with shades of grey and the concept of right or wrong is never perfectly defined.

The characters are very well conceived and realistically written, and comprises several interesting character and relationship dynamics. There are no illogical or exasperating characters while the interactions between the various characters are very organic and there is no dramatic angst anywhere near this show. These characters are brought to life by fine acting of the entire cast, notably a reunion of certain Eternal Love cast members. Another plus point is the fact that the main cast dubbed themselves for this drama. Zhang Bin Bin and Yang Mi lead the cast by portraying the MSS agents assigned to the case. Zhang Bin Bin’s Ma Shang is bright, cheerful and affable. He’s competent at what he does and is able to transition seamlessly into his role of an undercover agent. Yang Mi’s An Jing, on the other hand, is much more down to earth as the team leader of the Shuangqing City Bureau. Together they form a great partnership in work and in rekindling their past romance.

Two people that truly surprised me are Daisy Dai and Lawrence Wang Xiao. Daisy’s characterization of Miao Fei and Lawrence’s Cheng Lei are praiseworthy indeed and both of them demonstrated their impressive range through the development of their characters. The rest of the cast are equally compelling to watch. Wang Dong’s nuanced portrayal of Qiao Xi Chuan and Ning Xin’s Zhou Lian are intriguingly layered characters that I appreciated. Liu Rui Lin’s stoic and stone faced Du Meng takes a while to warm up to while Zhao Wei Lin played the single tropey but rather entertaining character in the show, in the role of the international hitman Bian Fu. I have to mention the veteran cast of actors who played the parents of the leads. Their experience shows and they are superb during the family-oriented slice of life moments which are genuinely heartfelt and convincing. I truly enjoyed all their scenes together and they even had some really amusing story arcs.

The show is far from perfect, however, and I do have major qualms concerning certain aspects. I feel that the inclusion of a tragedy involving a supporting character toward the end is quite unnecessary, and how it transpires is poorly executed. This relates to the choreography of the limited action sequences which, frankly speaking, is mediocre. Questions have to be raised as well on the authenticity of the procedure for making arrests.

The English-speaking segments, in particular the dubbing in general, isn’t great. The accent is quite laughable for the main villain who is the mastermind behind the entire scheme. The dubbing synchronisation for Wang Dong is quite poor but at least the spoken English is better. Zhao Wei Lin is part American so he sounds the most convincing while Lawrence and Daisy dubbed their own dialogues. The inconsistency in the dubbing, unfortunately, is quite obvious and is the one aspect that needs to be improved for future productions of C-dramas.

On the other hand, I’m quite pleased with the musical aspect for this show. The opening theme used for the title sequence is dramatic and martial-themed which fits with the premise of the story. Likewise the four tracks in total that are used with rather appropriately written lyrics. Track listing as follows:
Black Tea 平凡的样子 (电视剧《暴风眼》片尾曲) by Sun Xionglou 韩磊
Ellipsis" 省略号 by Jian Hongyi 简弘亦
Brave Enough 足够勇敢 by Tan Wei Wei 谭维维
It's All OK 都可以 没关系 by Jin Wen Qi 金玟岐

Despite encountering the few blips, I have thoroughly enjoyed Storm Eye particularly for the mature themes depicted and the engaging pace. I believe where the show excels is in the realistic portrayals of its characters and the direction of the story. If you’re looking for a drama with a sense of realism, compelling dynamics and evocative moments with an infusion of some suspense and tension, then consider giving this show a try.

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Dying is easy, surviving is hard

All of Us Are Dead is adapted from the serialized Naver digital webtoon entitled Now at Our School, which was written by Joo Dong Geun and published from 2009 to 2011. I haven’t read the webtoon but it reportedly consists of only nine chapters. Therefore it would probably stand to reason that the live-action adaptation has expanded on its lore, especially when Netflix is involved where the potential exists for a series to be renewed for a second season, depending on the success of the first season.

The drama is co-directed by Lee Jae Gyoo, who won a Baeksang for Damo and directing honours for Beethoven Virus, and Kim Nam Soo. It is based on the screenplay adaptation written by Cheon Seong Il, the screenwriter for Chuno and The Pirates. Principal photography took place from June 2020 to February 2021, which was prolonged due to the Covid-19 outbreak during filming.

In a nutshell, the story revolves around a group of highschool students who are trapped at their school, the ground zero for the onset of a zombie virus outbreak. The drama depicts them fighting to survive both the zombies and virus infection while waiting to be rescued. The rating classification for this production is R-18 and aside from the expected zombie action and gore, certain trigger warnings are present in the form of bullying violence that even borders on sexual assault.

In a recent interview with director Lee Jae Gyoo via the online presentation of the production in South Korea on 26th January, he had intimated that this drama would be uniquely distinct within the K-drama zombie genre that has become commonplace in recent years. According to him, All of Us Are Dead features thought-provoking themes that add a different meaning to a zombie apocalypse, where the focus is on the choices young students make at the boundary between life and death. In addition, the story also provides a satirical take on South Korea's educational system and school space.

What I Liked

I love the K-drama zombie genre and anything closely or even remotely associated in the form of mutants, monsters and the like, complete with the horror, action, adventure tags whether in contemporary, sageuk or fantasy settings. As much as I’ve enjoyed the recently aired Happiness, my preference for zombies leans towards the more feral variety with hordes of them rampaging through the populace annihilating anything and everything in their path, in the mould of Train to Busan (which gets a shoutout in this drama), Kingdom and Rampant. Call me sadistic but I’m all for epic levels of productions with economies of scale in delivering the exhilaration of the action, thrills and suspense, along with all the emotive aspects of human drama as well. Based on what I’ve seen of the depiction of zombies in this drama, it manages to convey all of the above, and has successfully fulfilled most, if not all, of my expectations.

A co-production between JTBC Studios’ Film Monster and Kim Jong Hak Production for Netflix, the quality of the technical execution is beyond doubt. No effort or budget was spared as even a huge four-storey set was constructed as the setting of the fictional Hyosan High School. The money was very well spent indeed as the production design looks top notch with all the nitty gritty details providing an intriguing backdrop to the zombie outbreak. The zombies themselves are deftly manifested in terms of the makeup, special and sound effects, as well as the blood, gore and contortions which complement the extensive range of expertly choreographed sequences.

The cinematography is deserving of praise with the crucial aspect for productions of this nature being the calibre of the camerawork, which for the most part does not let me down (or induce nausea). The well rendered scene transitions are testament to the standard of editing as well, where it’s worth mentioning that the chaotic scenes at the cafeteria and library involving 200 or so extras are reportedly the result of a single-take shooting.

As far as the narrative is concerned, the premise of a school-based zombie outbreak is refreshingly new to me. Some viewers may associate elements of Dark Hole to be of similar vein but personally it really isn’t despite the comparable vibes. While I wouldn’t consider the overall plot trajectory as particularly inventive or groundbreaking, what distinguishes this drama from most others that I’ve seen is the storytelling approach.

In addition to the multiple POV perspectives of the main characters, the screenplay takes its time to explore the origins of the zombie outbreak and motivations behind the actions resulting in the said virus being unleashed on humanity. The depiction of characters dealing with the tragic circumstances in the aftermath certainly elicits an emotional response as well.

True to the director's word, this drama tackles both existing and hypothetical societal concerns which provide added dimensions to the storytelling. Among the thought provoking themes incorporated into the storytelling - unchecked and unmitigated school violence, the ingrained hierarchical social order within a society segmented by wealth and power, the deeply polarised mindsets of the local government and communities in the event of an apocalypse or the aftermath of a mass casualty event. The role that technology plays in binding all these themes together is tackled as well in the form of the ever increasing reliance on and abuse of social media as an outlet that fuels the dissemination of actual and fake news.

The infusion of a number of side stories, character arcs and a narrative that steadily evolves as the drama progresses helped to allay my initial concerns of the story sustaining its momentum over 12 episodes. The dynamic between characters giving rise to various forms of conflicts, teen angst, and even hints of romance contribute towards preserving an atmosphere filled with tension and suspense. That said, I do think the drama could have been slightly shortened without adversely impacting the storytelling.

The main cast is made up of young actors, some of whom were prolific child actors and even critically acclaimed talent as well. Park Ji Hoo, Yoon Chan Young, Jo Yi Hyun, Park Solomon and Yoo In Soo portray the highschool students who are caught up in the ensuing chaos. Featuring roles of varying capacities, these youngsters provide a decent account of themselves through characterizations that are adequately written, for the most part. Lee Yoo Mi is particularly impressive here following her brief appearance in Squid Game, given her experience of being the oldest actress portraying a student and for her captivating portrayal of the antagonistic Lee Na Yeon that actually steals the scenes from the protagonists at times. Meanwhile, I would consider Park Solomon’s affable Lee Soo Hyuk, Jo Yi Hyun’s stoic Choi Nam Ra and Ha Seung Ri’s heroic archer Jang Ha Ri as my favourite characters amongst the students.

The supporting cast come across as being more familiar, where we get to observe Kim Byung Chul (Sisyphus, Doctor Prisoner), Lee Kyu Hyung (Happiness, Voice 4), Lee Yo Mi (Squid Game), Uhm Hyo Sub (King of Tears, War of the Son) , Bae Hae Seon (Happiness, Inspector Koo, HomeCha), Jeon Bae Soo (Stranger, Lawless Lawyer), Kim Jong Tae (The Veil, Sisyphus), and Yoon Byung Hee (Hot Stove League). The more nuanced acting in the drama is provided by these mostly experienced veterans, especially Kim Byung Chul as science teacher Lee Byeong Chan. Utterly intense, sinister, and convincing, unsurprisingly the best performance in the entire drama comes from this award-winning actor. Jeon Bae Soo gets to play the hero this time in a memorable performance as firefighter Nam So Ju.

What I Didn’t Appreciate

When it comes to K-dramas and school students, bullying and violence are par for the course - they’re never far away and will probably remain as a staple trope. It’s infuriating and disturbing to watch at times and seems to be escalating in brutality these days. The scale of the savagery seems to be higher than the actual zombie action itself but it’s something that all viewers of K-content will need to accept and get used to, unfortunately.

The main villain of the story is featured through the gangster wannabe and low-life bully Yoon Gwi Nam, played almost too well by Yoo In Soo. This despicable human thrash has the typical clichéd story arc that stretches far too long, in my opinion, before eventually fizzling out as a mere afterthought.

As mentioned earlier, I think the storytelling would have been better presented if it were slightly shorter, perhaps with 8 or so episodes.Despite the multiple POVs, too much time is allocated to the teen drama at school than is perhaps necessary. I would have liked to have seen Kim Byung Chul’s character more fleshed out in real time rather than merely as a series of flashbacks. The same goes for Jeon Bae Soo’s firefighter who is desperately trying to get to his daughter.

There are numerous annoying characters in this drama, some of whom supposedly supplying the usual ill-fitting comic relief that appears very much jarring to the senses.The tough girl wannabe and her whingeing companion, the cowardly police sergeant, and the bickering couples, to name a few. I think generally the boys are better written than the girls who come across as petty and physically abusive towards their male counterparts, as far as the youngsters are concerned.

Final Thoughts

All things considered and despite its flaws as well as the overly dramatic ending that has the potential for expansion either as a sequel or a side story, I had a great time mainly because of my love for horror and zombies. We honestly do need more zombie stories because there is too much romance, rom-coms and melodrama in dramaland already and simply not enough of the macabre flesh-eating, blood-sucking undead. All of Us Are Dead is not the best in the genre, where Kingdom still reigns supreme, but as a one-time weekend watch it definitely fulfils my insatiable hunger for such content, albeit temporarily.

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The scent of blooming sakura

Yae no Sakura is the 52nd NHK taiga drama that was aired in 2013. It is a biographical depiction of Niijima Yae, also known as Yamamoto Yaeko, famed for her exceptional gunnery skills which she applied to great effect in defending the Aizu Domain during the Boshin War. This momentous event during the late Endo period forever immortalised her as “Jeanne d'Arc of Bakumatsu”. Subsequently during the Meiji era, she then became renowned for helping establish the prestigious Doshisha University in Kyoto, together with her husband Joseph Hardy Neesima.

Released in 50 episodes, this drama is epic in every single aspect. The screenplay is written by 3 screenwriters while 5 directors were engaged to helm this mammoth production. Starring a stellar ensemble led by the charismatic Ayase Haruka who is superbly supported by the likes of Odagiri Joe, Hasegawa Hiroki, and Nishijima Hidetoshi among many other supporting and guest actors.

There is an inspirational backstory to the release of Yae no Sakura. It was chosen as the 2013 taiga drama as its central narrative of loss and hope was felt to be timely in the aftermath of the March 11, 2011 Tohoku earthquake.

Personally for me, I consider Yae no Sakura as one of the most endearing biopics that I’ve ever come across. From the profoundly colourful story filled with numerous illustrious historical figures, the intricate details of the events that unfolded amidst the traditions of the era, to the themes exploring in great depth the changing role of women in the new modern Japan, as championed by Niijima Yae.

This is a big budget and high quality production that features exemplary cinematography, elaborately authentic sets, exquisite costumes, decently-executed action choreography and battle scenes, as well as beautifully shot natural landscapes, among various other aspects. Principal photography took place at Aizu region of Fukushima prefecture and Tsuruga Castle, also known as Wakamatsu Castle, Aizuwakamatsu Castle, and Kurokawa Castle. In the drama it is translated as Aizu Castle. It is a Japanese castle located in Otemachi, Aizuwakamatsu City, Fukushima Prefecture where the major battle between Aizu samurai warriors and government forces actually took place.

This drama is memorable for being the first production in 28 years since Haru no Hatou in 1985 where the actual person on which the main character is based remained alive until the Showa period. Additionally, it was the first time that a video footage of the actual main character of a taiga drama was used in the drama.

The performance of the entire cast is nothing short of remarkable where each of them gave a decent account of themselves. The real star of the show is undoubtedly Ayase Haruka. Her portrayal of Niijima Yae is testament to the immense talent and finesse that she possesses. Her captivating performance here garnered her the 10th TVnavi Drama of the Year 2013 leading actress award, adding to an already accomplished list of accolades. It’s worth mentioning the wonderful performance of the child actress Suzuki Rio, who played the younger version of Yamamoto Yaeko. She was both adorable and compelling in her depiction, despite the limited screen appearance that she had.

Special mention as well of the beautifully performed main theme of the drama, which was scored by the award-winning composer Ryuichi Sakamoto, in what was the first time he had ever composed music for a taiga drama.

50 episodes represent massive viewing hours indeed, but for Yae no Sakura, it was utterly worth every second. This drama presents a truly compelling insight into Japan’s culture and history during the transitioning of the Edo period to the Meiji era. If you’re a fan of Japanese dramas, her beautiful culture and exciting history, I strongly urge you to give this production a watch. It will definitely be worth your time.

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Prescribing a dose of hope

Every so often in drama land, I would come across a gem of a drama that’s so low key, unassuming and totally under the radar. This drama truly is one of those rare gems, and I’m so fortunate and glad to have discovered it. When I chanced upon this show, I thought it was going to be similar to say Doctors (SK), Surgeons (China) or even Grey’s Anatomy (US), but with the focus on pharmacists instead of doctors, which piqued my curiosity because it’s never been done before as far as I’m aware. It turned out to be so much more than that.

Unsung Cinderella is adapted from the manga series "Unsung Cinderella Byoin Yakuzaishi Aoi Midori" by Mamare Arai. I’ve not read the manga but because of how fantastic this show is, I might just be tempted to pick up the manga, which comprises 5 volumes and still ongoing at the time of writing. This is a story about the pharmacist Aoi Midori’s experiences working at Tatsuya General Hospital. Unlike her colleagues including her peers and the higher ranked health care staff such as doctors and nurses, Midori has a big heart of gold and she’s not afraid to show it, even at the expense of crossing the boundaries of expected code of conduct and hospital regulations. She doesn’t treat her patients merely as case files, but she views them as human beings with unique circumstances and who are in need of genuine care and concern, beyond the routine impassive facade and superficial interaction when administering medication. Going beyond her scope of duty in no way diminishes her professionalism, and over the course of 11 episodes we see how her unorthodox approach actually brings added value that benefits those under her care.

Do not be fooled thinking that this drama is purely goodness and heart. From the very first minute in episode 1, I was completely caught off guard by the fast and furious action. Every episode addresses a particular medical condition concerning certain patients and is filled with action packed and fast paced scenes involving life and death situations, before slowing down to focus on the complexities of human drama. This episodic procedural format works very well by incorporating enough urgency and agency that it never gets dull or monotonous, while cases are neatly resolved within each episode.

The overarching storyline and the different cases are very creatively conceived, while the main and supporting characters are superbly written to be realistic and relatable that I cannot help but empathize with them and hence become totally invested in the show. Kudos to Mamare Arai for creating this masterpiece, and the screenwriter for adapting it into this well made production.

The producers couldn’t have selected a better cast for this production. This is my first time seeing Ishihara Satomi in a drama, having seen her in various films over the years and what a talented actress she is. She brings to life the role of Midori and in fact, she does resemble the manga character to a certain degree. Her ability to convey the nuances in the emotional moments as well as her portrayal of a health care professional is utterly convincing to me. Narita Ryo’s Onozuka Ryo is also very interesting as his role is probably the most layered and multidimensional among all the characters, with a depiction of conflicted emotions within a somewhat tortured soul, especially at the initial stages. The many guest stars also add much colour to the production with their respective portrayals of patients and their families who carry the burden of pain and suffering. I honestly thought everybody did such remarkable work, even the child actors for that matter.

Overall, this drama has been an emotional ride personally for me. I hardly ever watch slice of life but this drama has done an amazing job of depicting the despair that patients of chronic illnesses go through, only to emerge with hope and optimism, thanks to our heroine, Midori. The beautifully crafted poignant moments throughout the series certainly bring out a tear or two, I admit. I’m aware that there are concerns or even criticism over perceived lack of realism in certain scenes, which perhaps do have some merit. However, being based on a manga, I understand that this drama isn’t too engrossed in the finer details and technicalities on the roles of pharmacists and hospital administration, and I can accept that. I have truly enjoyed this live adaptation and the performance by the cast. Give this show a chance, and I think you would too.

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