The Good Lawyer

Extraordinary Attorney Woo follows the journey of Woo Young Woo, a brilliant young lawyer who is diagnosed with autism (specifically the previously-known condition of Asperger’s as well as Savant syndrome), as she navigates the challenges of embarking on a legal career, experiencing romance and dealing with complicated familial entanglements, amongst many other real world issues that she faces on an episodic basis.

Aside from presenting insights on the Autism Spectrum Disorder (ASD), the accuracy of which has been and continues to be debated, this drama also showcases plenty of office politics, legal cases, power and relationship dynamics, all nicely packaged in an endearingly feel-good light hearted wholesomeness. Think of The Good Doctor (which also has an autistic lead) but with a massive infusion of Disney/ Hallmark vibes.

An ENA production that’s streamed internationally on Netflix, EAW is directed by Yoo In Sik (Dr. Romantic series, Vagabond) based on the screenplay by the award-winning Moon Ji Won. Noh Young Shim serves as music director. Special education specialist, Professor Kim Byeong Gun from the Faculty of Health and Medical Sciences of Nazarene University, was enlisted to provide consultation on the depiction of ASD for the drama. The characterization of Woo Young Woo was reported to be inspired by the eponymous character of the film Temple Grandin, portrayed by Claire Danes, also diagnosed with ASD. Despite the original screenplay, certain legal cases depicted are based on actual events published as case studies for South Korean law journals.

The success of EAW (in terms of popularity and ratings internationally as well as in South Korea) has not only spawned a webtoon of the same name, with the first volume published in July 2022, but also the announcement of a second season of the drama a week before the finale had aired.

The soundtrack of the drama features 7 songs, including one which is performed by the lead actress Park Eun Bin herself, an a cappella rendition by MayTree as well as Bae Suzy’s contribution in support of the director who had helmed Vagabond which she had starred in. Full listing as follows:

Courage by Jongwan Kim (of NELL)
Imagination (Beyond My Dreams) by Sunwoo Jung-ah
Better Than Birthday by O3ohn
Tilt by Wonstein
It's Not Easy Not To by Suzy
Blue Night in Jeju Island by Park Eun-bin
Flash (interlude) by MayTree

What I Enjoyed

The performance by Park Eun Bin, which is helped for the most part by the characterization and trajectory of the arc. Of course I’m not entirely certain about the accuracy of the depicted ASD, having no prior real life experience and observation particularly of the Savant syndrome. Everything I know is from films and dramas but as far as comparisons go in similar roles, Woo Young Woo had me convinced. I’ve been impressed by Park Eun Bin in each of her previous appearances in The Ghost Detective, Hot Stove League and The King’s Affection. She seems to possess this propensity for tackling challenging or at least out-of-the-box roles and thrive every single time so kudos to her for not only having the courage to do so but also demonstrating her amazing range to the wider audience. She’s one of those actresses that I always look forward to because of the variety that one can expect of her characters and versatility in performance.

I enjoyed the first half of the drama more than the latter half, probably up to episode 10 or so. It had a very strong start that captured my attention immediately, coupled with the intensity of the feels that kept tugging at the heartstrings during each episode. At certain points, especially in episode 8 for me, the “dust kept getting in the eyes”, if you catch my meaning. There was a fine balance between the heavy emotions and moments of levity which was executed to perfection.

The legal cases are generally quite interesting and revolve around the “garden variety” mundane aspects of civil litigation. Nothing mind-blowing, profound or over-the-top but instead witty and conceivable, while at times even charming with regards to the resolution of certain cases. That said, not every case is amicably or neatly concluded which at least affords a sense of realism where not everything in life goes according to plan and you can’t always win, even if you’re one of the good guys.

There are a number of supporting characters that grew on me and provided an awareness of the cast who portrayed them. None more so than Joo Hyun Young as the loveable and fiercely loyal Dong Geurami. Her adorable “bff greeting” with Woo Young Woo is unforgettable and has probably reached iconic status by now. Kang Ki Young as the nice boss Jung Myung Seok is another fan favourite, and mine as well, for his enduringly calm demeanour and all round pleasant disposition. The veterans in the show are worth a mention as well, including Jeon Bae Soo who plays FL’s dad and Jin Kyung as the head of the rival law firm, Tae Soo Mi. Each showcasing their experience and lending a palpable sense of presence to the proceedings.

What Could’ve Been Better

The second half of the show or from around episode 11 onwards. I think it was a combination of the story running out of steam and the lack of meaningful plot development as well as depth to a number of the characterizations for the various supporting characters. Admittedly I lost a bit of the initial spark which somewhat led to a lack of interest in what transpires towards the end. I was also rather dissatisfied with the eventual outcome of certain character arcs, most notably the so-called redemption arc of a certain “villainous/ antagonistic” character whom I shall not name to avoid spoiling. Suffice to say, it is not the closure I had been craving for.

The romance aspect involving the FL, while sweet and captivating at first, in the end became somewhat distracting and overly emphasised. It’s cute but finally became a little too cutesy, which kind of glossed over the complications that such a relationship would have realistically exacted on all parties involved. To be honest, I wanted to observe more growth in other facets of their relationship and not merely their interactions.

While some of the legal cases are based on real life, I was often more amused than thrilled. This is perhaps due to the focus being mostly on corporate-based and civil litigation instead of dealing with criminal cases that involve the more sinister and darker side of the law, but even then do not expect smartly-written legal proceedings and quick-fire courtroom action either. This is still officially a legal drama but in reality the legal aspects are more of a side show than the main content itself.

Final Thoughts

At the end of the day, this is a feel-good drama that is meant to be uplifting and hopeful, rather than being taken too seriously. EAW created an awareness of ASD in general and not just the typical Savant syndrome of genius eccentrics, while the overall performance of Park Eun Bin were the major highlights for me. I really wanted to love the drama as much as I did when it first premiered but in the end I feel that it did not end as strongly as it had started. Certain events and characters were so infuriating and, in my opinion, were not given the outcome that they deserved. Granted, the producers may want to explore further the various characters in the second season but hopefully the writing improves to inject a more believable turn of events and character development. Only time will tell…

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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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Medical Justice

Doctor Lawyer is a suspenseful medical and legal thriller that merges the medical world of cardiothoracic surgery and courtroom atmospherics, against the backdrop of South Korean governmental and chaebol (conglomerate) politics. The screenplay leverages heavily on a revenge-justice narrative that features alternate approaches towards avenging perceived grievances and wrongdoings committed by multiple parties. Despite not being mentioned in the tags, there are certain elements of melodrama that lean towards the spectacular and somewhat amusing rather than the outright overdramatic and toxic angst. Expect an infusion of some romance and love triangle (primarily with supporting characters), a little bit of physical action but a whole lot of thrilling sequences particularly revolving around the surgical theatres and the courtroom proceedings.

Directed by Lee Yong Seok (Haechi, The Village: Achiara's Secret) and Lee Dong Hyun, based on the original screenplay by Jang Hong Chul (Class of Lies), this MBC production is streamed internationally via Disney+. It tells the story of a brilliant thoracic surgeon who loses everything and everyone overnight as a result of powerful forces at play which leads to his reinvention as a defence attorney some 5 years later, hence the title of the drama, to seek vengeance.

This is So Ji Sub’s first drama project since his wedding in 2020, with My Secret Terrius being his last TV drama that aired 4 years prior. The soundtrack features 4 songs, with Chen’s evocative ballad and outro theme An Unfamiliar Day being my personal favourite. Full listing as follows:

Freedom by Lee Chang Seop (BTOB)
An Unfamiliar Day by Chen (EXO)
Fight On by Yoo Hoe-seung (N.Flying)
My Shadow by Leeraon

What I Liked

Fresh from completing Lee Joon Gi’s Again My Life, which ended right before Doctor Lawyer began, there are similarities to be drawn between the two productions. Both are revenge-justice driven legal dramas where the primary antagonist is played by the same actor, Lee Kyung Young, in a near-identical capacity with a pervading aura of invincibility and villainy. Where the two differ is that the latter is a much more compelling, suspenseful and multifaceted drama, in my humble opinion.

This drama is made much more compelling and serious without the presence of mis-placed humour or rigorous attempts at comic relief. The antagonists (inclusive of the primary, supporting and “hidden” ones) maintain several layers of grey throughout which augment the complexities of the characterisation and add depth to the overall schemes and machinations of the various plotlines that make up the overarching story. The main characters, particularly the ML himself, exude an immense likeability factor that’s based on a fleshed out backstory while the absence of any distracting or forced “romantic complications” all contribute to the brisk and eventful storytelling.

Speaking of the storytelling approach, there are hardly any slow or boring moments in the show which consistently delivers exciting cliffhangers in many episodes and surprising twists and reveals towards the business end. These aspects certainly keep things interesting and engaging for the viewers indeed. Although certain plot devices and developments are neither completely unforeseeable nor exceptionally innovative, there is certainly no denying the entertainment value therein. I would also add that at least the cliffhangers are not faked or sensationalised to induce contrived red herrings merely to spike interest (and annoy) viewers.

Aside from my enjoyment of revenge-themed stories, medical and legal dramas are amongst my favourite genres, especially the all-action fast paced variety. This drama has all of the above in equal measure and presented in a low-key edge-of-the-seat style that evokes a certain measure of excitement. The frantic dramatisation of the surgical procedures are particular highlights for me, which are aided by the quality production values that infuse no small amount of realism into these scenes. As a medical genre, this drama is right up there in terms of top notch delivery.

So Ji Sub is a huge pulling factor that attracts me to this drama, coupled with the fact that I had never seen one where the lead actor plays 2 distinctly contrasting professions i.e. a surgeon and a lawyer. As the ML Han Yi Han, So Ji Sub does a fantastic job of blending all the emotions of an aggrieved victim of circumstances and drawing strength from them to exact his plan for revenge, as well as the juxtaposition between a mild mannered, naive pushover and an assertive, confident man on a mission. His portrayal may not be the absolute best and, at times, does feel somewhat subdued but his experience and charisma ultimately provide an aura of respectability and touch of class to the role.

Shin Sung Rok is literally the wild card of the cast, playing the effervescent and slightly manic American-Korean investor with a murky past, Jayden Lee. Think of his character as a more toned down version of the Riddler or even Joker himself (from DC’s Batman). I suspect he had as much fun assuming this role as I had witnessing his controlled histrionics. His interpretation of the character gives the drama a raw edge that allows it to expand beyond the usual scope of revenge themes and injects a bit of fun into the proceedings as well.

My third time seeing Lee Kyung Young this year, after his appearances in Again My Life and Why Her. His portrayal here is reminiscent of his performance as Cho Tae Seob in AML but I do feel that his character of Goo Jin Ki is better written without being as overly superpowered and linear as the former. The antagonistic Goo Hyun Sung is depicted by Lee Dong Ha, another actor who was previously seen in a similarly villainous capacity this year in From Now On, Showtime! Some actors just fit the villain profile perfectly, as is the case with him, but again I do feel the characterisation here is less one-dimensional and has a more evolutionary trajectory to his character arc.

Of the ladies in the cast, Im Soo Hyang who plays the FL Geum Seok Young feels more a supporting role than a main character. That said, even with the diminished spotlight and initial annoyance of her character’s narrow minded stubbornness, she conveyed her emotions very well and shared a convincing professional working relationship with the ML without being hindered by romantic tensions being shoehorned into their dynamic, despite their past history together.

What Could’ve Been Better

As much as I appreciate a positive outcome with complete closure of all threads, I do wish for a slightly different trajectory particularly pertaining to the overarching arc. That said, it's more of a personal preference rather than a fatal flaw of the screenplay. The ending is still good but could've been given a bit more depth and satisfaction, in my opinion.

Lee Joo Bin who plays Im Yoo Na has an interesting side story that focuses on the “love triangle” between her and Jayden Lee as well as Goo Hyun Sung. I’m generally glad that the drama stays focused on the revenge-justice theme instead of being sidetracked but the interactions between this subset of characters are actually rather fun to watch. It could potentially have a spin-off of its own because each character possesses enough backstory to be fleshed out given the burden that they carry resulting from their turbulent past.

The few individual legal cases that are showcased, all of which tie in to the main plotline, actually come across as quite intriguing in their own right. More of those would have been very welcome especially to highlight the details of lesser known medical conditions and the associated malpractice that had exacerbated those circumstances. As a consequence, the legal battles perhaps are not afforded more attention that they truly deserve.

Final Thoughts

Doctor Lawyer is an engaging revenge-driven drama that provides sufficient entertainment value through multiple twists and turns to sustain the 16-episode length of the production. It isn’t groundbreaking content but the smartly-written screenplay that seamlessly blends medical intricacies with legal proficiencies as well as having So Ji Sub as the main lead is certainly worth checking out.

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Red Heart

Bloody Heart aka 붉은 단심 which means Red Heart in hangul, is a “Faction” sageuk that presents a fictional story and set of characters within a pseudo-Joseon setting. The narrative revolves around a young King’s struggles at court against a powerful minister amidst a burgeoning romance with his childhood love.

Themes of love and betrayal as well as vengeance are played out via the premise of palace politics. Some action is present, in the form of sword fights as expected of a sageuk, albeit rather briefly and sporadically sprinkled throughout but the main thrills and spills come from the political machinations and (largely verbal) confrontations amongst the major characters.

Based on the original screenplay by Park Pil Joo, this is the first sageuk drama that she has written, having previously been involved in mostly modern daily dramas. Yoo Young Eun (Queen of Mystery series) helms the production while Choi In Hee, who was recently in charge of another epic sageuk Taejong Lee Bang Won, serves as music director.

Principal photography took place at the indoor sets of Yeoncheon-gun, Gyeonggi-do, Paju-si, and Gyeonggi-do while outdoor shooting made use of Yongin Daejanggeum Park, Mungyeong Saejae Open Set, Mungyeong Gaeun Open Set, Buan Video Theme Park, and Namyangju Studio. Despite the fictional nature of the story, certain characters were purportedly modelled on real life historical figures, namely King Seonjong as King Jungjong, Queen Inyeong as Queen Dangyeong, and Park Gye Won as Park Won Jong.

The soundtrack features a mixture of western classical, including piano concertos, and traditional gugak music as the original score while 6 song compositions make up the full OST album. My personal favourite is the contemporary-traditional fusion outro theme, It’s Red, performed by alt-crossover singer ID:Earth and featuring geomungo (traditional Korean stringed instrument) specialist, Park Da Wool. Full listing as follows:

Rio (RIO) - Asrai
Kim Yeon- woo - Hope Becomes a Star
ID:Earth - It's Red (Feat. Park Da Wool)
Chungha - One Star that Blooms at Dawn
Im Sang-hyun - Let It Flow
Han Dong- geun - Because I Miss You

What I Absolutely Loved

Without a shadow of doubt, the technical execution of this drama. Specifically the direction, acting, cinematography, editing, production design, costuming, filming location, and music. This drama is absolutely gorgeous to watch and to listen to. Hands down one of the best visual representations for a sageuk (or any genre, for that matter) that I’ve ever had the pleasure of viewing. The combination of contemporary and traditional, east meets west gugak-classical fusion of the score blends harmoniously and poetically into the storytelling as well, the end result of which is a theatrical feast for the senses. Seeing and hearing is believing so don’t just take my word for it, experience it yourself!

In terms of the cast performances, two actors impressed me while a few others caught my eye as well. Jang Hyuk is simply being Jang Hyuk - the consummate professional and my favourite of the main cast. He is utterly amazing as the First Vice Premier, Park Gye Won. There really isn’t much left to say about Jang Hyuk that hasn’t been said before about this incredible actor who possesses the gravitas and breathtaking screen presence for this lead role. Bravo!

The characterization of Park Gye Won in itself deserves much praise indeed. It would be a severe understatement to merely express this character as extremely layered for he truly manifests the multifold shades of grey that carefully unravels as the drama progresses. The sheer complexity of the character design is deftly articulated by Jang Hyuk’s undeniable mastery of his craft.

It is my third time seeing Kang Han Na, whom I had most recently seen in Designated Survivor: 60 Days. Gosh, the transformation is stunning! She completely slays her role as Yoo Jung, the FL. Her inspiringly nuanced interpretation of the Royal Consort that exudes such powerful aura and indomitable spirit is nothing short of astounding. Thanks to her performance here, she makes it to my top list of enduringly memorable FLs in a sageuk, ever.

What I Generally Liked

The storytelling approach and the overall trajectory of the plot. Viewers are afforded the opportunity to gradually gain an appreciation for the introductions and backstory of the major characters as well as their motivations. Meanwhile the worldbuilding of this fictional era steadily takes its time to establish itself that eventually immerses viewers into the narrative and the atmospherics.

For the most part, the interweaving subplots and implementation of multiple plot devices are seamlessly incorporated into the overall dramatic tone that remains consistent throughout the entirety of the drama. Additionally, the scene transitions, sequencing and overall pacing largely preserves the intensity of the storytelling. What I also truly appreciate is the fact that there is unreservedly no jarring inclusion of misplaced humour or moments of levity that juxtaposes with the seriousness of this drama.

A number of performances attracted my attention in a variety of roles. This includes Lee Joon, who plays the ML, Lee Tae. I don’t particularly like his character (more on that below) but I do value his contribution to the production. His talents are beyond doubt, as seen in The Silent Sea and Bulgasal, and his portrayal of the tormented Joseon King here is worthy of acknowledgment indeed. That said, I don’t think this is his best performance and to a certain extent, this could be attributed to the characterization.

Heo Sung Tae as Minister of War, Jo Won Pyo is compelling to watch. Since Beyond Evil and the recent Squid Game, this man continues to showcase his versatility in playing diverse roles in a variety of genres. There are even times when I find myself rooting not so much for his character but for the actor behind it, which is a testament to his fine acting. The plaudits would most definitely not be complete without mention of Park Ji Yeon, who depicts Queen Dowager Choi Ga Yeon. The subtle evolution of this character amidst the intricacies of the emotional complexities involved is a credit to the actress’ exceptional quality and conviction in her portrayal.

What Could’ve Been Better

In comparison with most sageuk dramas, what this drama perhaps lacks is the warrior aspect. Granted, the primary focus of the story is on the subtlety of politics and romance rather than all out battles and violent confrontations, but IMHO every sageuk needs a captivating element concerning the way of the warrior which could have been included in a supporting capacity. I think the character of eunuch Jung is probably supposed to fulfil this role but he ends up being more of a, well, eunuch and a messenger/ errand boy. As a result, the action is very much limited and minimal in its depiction, although what little swordfighting is showcased impresses me through the finesse of the choreography. It’s somewhat of a pity, really.

The character design of Lee Tae leaves much to be desired, personally for me. In addition to the constant broodiness and look of utter dejection throughout, this character exudes toxicity, misery and sadness rather than the confidence and charisma that befits a sovereign. Sure, there are mitigating circumstances and he does have his moments, particularly when plotting schemes of entrapment and seduction, while this apparent “character growth” becomes more pronounced in the later stages of the drama.The FL Yoo Jung, on the other hand, stays true to her beliefs and principles as she takes all challenges and obstacles in her stride. Perhaps this glaring contrast in disposition has adversely affected whatever connection that they may have had certainly during their early encounters and subsequent interactions as a romantic couple. I honestly feel Park Gye Won shares a more convincing adversarial dynamic and partnership chemistry with the FL, when they aren’t even a couple, and also in his relationships with both the Queen Dowager Choi and his own wife.

For the final arc, I would have preferred more focus on shrewd political maneuverings and court intrigue rather than a prolonged melodramatic trajectory emphasised by a display of emotional fallibility through inexplicably out-of-character behaviours. This culminates in the presence of significant twists and turns that truly changed the complexion of the initial story that began. Perhaps this was the intention of the writer all along. The truth lies in the title of the drama after all. In any case and despite the emphatic closure provided, the final outcome isn't entirely my preferred ending…

Final Thoughts

All things considered and despite reservations concerning certain aspects of the plot, Bloody Heart remains quite bloody marvellous and would arguably make the list of unforgettable K-dramas in recent memory. The aesthetics alone is worth the price of admission alongside the overall exceptional quality of the cast performances and the technical aspects of the production. Fans of well-crafted sageuk dramas and/ or any of the main cast should seriously consider adding this show to the watchlist.

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Welcome to the freak show!

From Now On, Showtime! is a tale of urban fantasy with traditional shamanistic undertones, slapstick comedy, romantic themes and a touch of sageuk fiction. Some might even consider this primarily a rom-com but personally I feel it’s more comedic with elements of an overarching mystery, some action with a side of romance between multiple couples and a love triangle that develops in the later half of the show.

The drama explores the mysterious origins of magician Cha Cha Woong and his “supernatural stage assistants”, whilst delving into his burgeoning relationship with beat cop Go Seul Hae as they team up to unravel unsolvable crimes.

Initially thinking that the inspiration for the story is drawn from a webtoon, this drama is actually based on the original screenplay written by Ha Yoon Ah who wrote the adaptation for Mystic Pop-Up Bar. Helmed by director Lee Hyung Min (Strong Woman Do Bong Soon, My Dangerous Wife and the hugely popular Winter Sonata) while Jeong Ye Kyung serves as music director of a drama for the first time, having previously been involved in feature films.

A total of 7 songs are listed as part of the official soundtrack, as follows:

Freak Show - Jeon So-yeon
I'll Be There - Andaun
Time - Paulkyte
Eheradiya - Bae Giseong
Fallin - Kim Hee-jae
You You You - Floody
Dandelion Seed - Zitten

What I Liked

This is a wild ride that’s filled with outrageous humour, larger-than-life characters and an unbelievably convoluted yet absurd storyline that spans two lifetimes with approximately 2000 years between them. Showtime! is the kind of show where logic is absolutely not a prerequisite for watching and viewers are best advised to leave their brain cells at the door before embarking on this rather insane adventure.

Park Hae Jin as the magician Cha Cha Woong and the shaman Poong Baek in the earlier lifetime. I’ve always been a fan of his deadpan style of acting and despite delivering the usual, he injects some range here with his depiction of two vastly contrasting characters as well as blending a mixture of adorable quirkiness and endearing charm as part of his eventual evolution in the story. PHJ is quite versatile but I do believe he should participate in more comedic roles because he has a great sense of comedic timing.

My first time seeing Jin Ki Joo in a lead role, she plays the hyper-enthusiastic but naive patrol officer Go Seul Hae. Despite the rather simplistic characterization, she breathes life and a whole lot of fun into the role. Both she and PHJ are great together as crime-fighting partners and subsequently as a romantic couple. We even get to see them in a more dramatic story arc set during their previous lifetime that represents a complete juxtaposition of their present day iteration.

This show wouldn’t be complete without the hardworking “Ghost Crew” aka the secret stage helpers. Together with the spirit general Choi Gum, portrayed by the evergreen Jung Joon Ho, these band of lovable misfits are a joy to watch especially with their numerous antics and interactions.

Around the midway mark and for nearly two episodes, the plot transports viewers back to the ancient “pseudo-Samguk” era that serves up an astonishingly different production - a sageuk. The production values, design and storytelling tone would give most regular sageuk dramas a run for their money because the technical execution and stylistics are truly well on point.

Although not a major component, I do enjoy the brief depictions of horror whenever they appear on screen. It’s one aspect that enriches the supernatural-fantasy themes as well as heightens the ghoulish vibes of the production.

What Could've Been Better

The love triangle is somewhat redundant but not before drawing a bit of ire through the SML, whom I find somewhat irksome. This is the typical alpha male-cum-jock who lacks personality yet possesses a relentless zeal for upstaging others. I seriously do not like this character at all.

I also find that most, if not all, the police personnel written in this drama to be rather eccentric in one way or another. Some of them turn out to have larger roles in the overall plot development but I think as far as supporting characters are concerned, all of them are upstaged by the non-humans of the show.

Final Thoughts

All things considered, I had fun. This show being what it is, it’s hard to be overly critical of the concept and execution. Love it or hate it, it does have its place in the genre. It may not appeal to the sensible as well as those who have neither the patience nor preference for slapstick but if you’re in the mood for some nonsensical entertainment and unabashed humour, this one’s quite worth checking out.

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Déjà vu

Again My Life, at its core, is a political and legal thriller based on the premise of realpolitik power plays, the role of the prosecution, and systemic corruption that stems from the upper echelons of the South Korean political administration.

The drama showcases elements of “time travel/ re-living the past” that lean toward speculative fiction rather than pure sci-fi or even fantasy. Additionally, it features a certain amount of action, cloak-and-dagger intrigue and aspects concerning family relationships and youth/ school themes (briefly in the beginning), as well as friendship/ team dynamics with an extremely slight hint of romance.

The plot centres on Kim Hee Woo’s crusade for justice and perhaps vengeance amidst seemingly insurmountable odds against arguably the most powerful man in South Korea - political supremo and kingmaker extraordinaire, Cho Tae Seob. He does this armed with the knowledge of the past which he re-experiences through an inexplicable turn of event while gathering a close-knit circle of comrades-in-arms who join his efforts.

This drama is adapted from Lee Hae Nal’s (이해날) debut web novel Again My Life (어게인 마이 라이프), that was serialised between 2015 to 2016 and which has also spawned a webtoon series in 2019. Directed by Han Cheol Soo and Kim Yong Min based on the screenplay adaptation by Yoo Jung Soo (Jay), Kim Yul and Lee Byung Hun. Jeon Yeo Kyung provides the art direction while Kim Jong Cheon serves as music director. Martial arts (MMA) and fight sequences are choreographed by Seoul Action School’s Kim Min Su and Lee Soo Min.

The narrative is primarily set in Seoul but principal photography for this SBS production took place in a variety of locations. These include Seoul itself as well as Incheon, Cheonan, Asan, Sejong, Samcheok, Donghae, and Busan. The fictional Korea University depicted is in fact Hoseo University 's Asan Campus. The gym run by Kang Sung Jae is Jochiwon Smoke Boxing Gymnasium. The Gimsan Branch prosecutorial office is the East Sea Research Center of the Korea Institute of Ocean Science and Technology. The exterior of Cheonha Group's headquarters is the SBS broadcasting centre located in Mok-dong. Finally, the Haeundae Doosan towers in Busan Haeundae Marine City is the setting of the epic fight between Kim Hee Woo and Doctor K in the first episode.

A total of 8 songs are listed in the soundtrack, of which my personal favourite is the catchy and upbeat outro theme, Till the End by U Sung Eun which somehow induces me to do a little dance-along whenever each episode ends. The drama also features prominently as its main orchestral theme and instrumental BGM, Gustav Holst’s hymn tune, Thaxted. This is the tune for the widely-known hymn of I Vow to Thee, My Country.

Yoon Do Hyun - What the Ggang?
Sonnet - Bring It On
Park Do Joon - Burn
U Sung Eun - Till The End
GB9 - Alone
HANHAE ft. KISSXS - Shadow
Sondia - Tragedy
Ha Dong Qn - Killing Me

What I Liked

Again My Life is an easy to watch, relaxing drama that exudes “Netflix-and-chill” vibes. It isn’t groundbreaking or original in any sense, for viewers who have watched a sufficient number of similarly themed K-productions. Despite the political-legal thriller tag, the plot lacks the required depth and complexity to make this a truly memorable viewing experience. The inclusion of “time travel” plot device doesn’t really add much more dimension to the storyline either, imho.

HOWEVER… I had fun!

The storytelling is pretty linear and simplistic in that this inherently focuses on good versus evil, embodied by an equally superpowered individual on each side of the divide. There is much scheming and plotting by both camps in the pursuit of their respective agendas but in the end, it all boils down to the final confrontation between the two main characters, which is never in doubt from the get-go. If you’re looking for complicated power dynamics and intricately-woven machinations, then perhaps your expectations would not be satiated by this drama. On the other hand, if you just want the kind of no-frills entertainment that provides eventful thrills at a sufficiently engaging pace and without exhausting brain cells or inducing angsty emotions, you’ve come to the right place.

One of the more positive takeaways from this show is the very well choreographed action sequences, particularly the MMA-inspired hand-to-hand combat scenes. These usually involve the ML fighting against numerous assailants but in a manner that appears more realistic and technical rather than merely fantastical or illogical, which is frequently the case these days. The inclusion of a number of impressive “Boss fights” certainly spices up the entertainment value even further. The nicely presented fighting scenes come courtesy of the expertly rendered camerawork, as part of the overall cinematography which has been quite decent for the most part, in this drama.

This drama features an ensemble cast that is headlined by well known leads, with a number of familiar female actresses as well. Lee Joon Gi plays the righteous and, to a certain extent, omniscient ML, Kim Hee Woo. I’ve been a huge fan for a number of years and despite the limitations of the role here, he still delivers an impactful performance where he even gets to play a teenage version of himself in a brief “back-to-school” arc. It helps immensely that he possesses an abundantly youthful countenance, and a versatile hairstyle to boot, to pull this off. Physically he is also in good form where viewers get to see him executing slick MMA moves and various stunts in his action scenes.

The controversial Lee Kyung Young plays the all-powerful main villain, Cho Tae Seob. Whenever any production requires an utterly believable and compelling antagonist for casting consideration, this man would most likely belong to that top category of candidates to call upon. Not many in the industry could boast such gravitas, screen presence and pervading aura of villainy.

The actresses involved in this project comprise Kim Ji Eun (The Veil), Hong Bi Ra, Kim Jae Kyung (The Devil Judge) and Cha Joo Young (Chimera) who portray Kim Hee Ah, Kim Gyu Ri, Kim Han Mi and Han Ji Hyun respectively. Top billing is given to Kim Ji Eun as the purported FL although her role isn’t considered significantly more profound than the rest of her counterparts who share more or less equal screen time in the grand scheme of things. Despite the initial potential and eventual possibility of a harem, it really isn’t.

Among the rest of the supporting cast, my favourite performance comes from Jung Sang Hoon as the enigmatic Lee Min Soo. The veterans of Choi Kwang Il, Jeon Gook Hwan and Yoo Dong Geun provide no small amount of experience to the production.

What Could’ve Been Better

This drama being what it is, I can’t really demand or expect much more out of the production than what was delivered in the end. That being said, I do think that there are probably three areas that could have possibly provided more personal satisfaction:

1. The romance. I wouldn’t mind seeing the ML fall in love in the process of pursuing justice. In addition, I actually shipped him with Kim Han Mi in lieu of the actual FL.

2. The characterization. Perhaps due in part to the extensive cast, the focus is shared between too many characters. I would have liked to have seen certain characters and their dynamics fleshed out more. As it is, the spotlight shines primarily on both the main protagonist and antagonist.

3. The last 2 episodes progresses much faster than the rest of the drama. Too fast, in fact. A number of details or interactions that would've provided a deeper impact to the storytelling are skipped over in favour of the final showdown between the two leading men where the other characters kind of fall by the wayside.

Final Thoughts

For all intents and purposes, this drama does reasonably well what it sets out to do, which is to provide entertainment based on a tried and trusted formula of a team of good people - led by a charismatic and ultra likeable guy - going against all odds to right the wrongs of the world by bringing the perpetrators to justice, one bad guy at a time. As I mentioned earlier, don’t expect much more; just sit back, put your feet up and chill with the show.

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Living for Tomorrow

Tomorrow tells the story of a select band of Grim Reapers who perform the exact opposite of the Angels of Death’s conventional job description as we know it. They don’t accompany the souls of the dead to the afterlife but instead seek to ensure that the souls remain very much intact in their current lives. In other words, their sole purpose is to prevent folks (who are intent on dying) from dying.

Presented in an episodic format with a series of standalone cases - each story that comes complete with its own unique themes and ambience - against the backdrop of an overarching mystery that spans several centuries in the making. This tale of urban fantasy masterfully blends light comedic undertones with extremely sensitive and serious subject matters, such as the prevailing issue of suicide as well as potential triggers like sexual assaults and violence.

It is not all doom and gloom however as it provides the proverbial “light at the end of the tunnel” by instilling a hopeful and inspiring closure to each featured case that this supernatural team attempts to resolve, at times with adorably hilarious consequences but for the most part, are stirringly emotive.

Based on the 2017 Naver webtoon of the same name by Llama (her nom de plume), this MBC production is helmed by Kim Tae Yoon (his first drama) and Seong Chi Wook (Kairos). The screenplay adaptation is written by Park Ran (What’s Mama) as well as Park Ja Kyung and Kim Yu Jin in what is their first ever drama script. Jo Seong Woo and Won Ho Kyung serve as music directors. Principal photography took place at several iconic locations, amongst others that include Seoul’s Dongjak Bridge, MBC Global Media Center, Yongin Daejanggeum Park, and Jung-gu Freedom Hall.

A total of 5 songs are released as part of the drama’s OST, as follows:

Seunghyup Lee ( N.Flying ) - Red Light
Ahn Da-eun - Don't Leave My Side
Suran (SURAN) - When My Loneliness Calls You
Yoo Hoe-seung ( N.Flying ) - Still love you
Ben - My Only One

What I Liked

Without delving too much into the psychological and mental illness aspects, and having not read the source material, I’m just going to comment on the drama based on its own merits and also the entertainment value that it brings as a webtoon adaptation.

To be honest, this drama is deceptively more profound than I initially expected. It starts off comical and lighthearted before steadily tugging at the heartstrings with the emotions and finally evolving into a full fledged sob story (or stories, for that matter). I usually avoid sad and depressing content, which this drama has plenty of, but I appreciate the way that these elements are conveyed and the overall narrative is one that is ultimately positive even if the viewer has to experience the whole gamut of negativity along the way, if that makes sense. The presentation is powerfully captivating and inducive of no small amount of tears.

Among all the individual cases presented, my personal favourites would have to be the earlier ones involving the singer-songwriter and the old army veteran. That is not to say the others are not as good but rather they are compelling in a somewhat more sobering and gut-wrenching manner. I don’t want to scare people off watching this show but you have to be emotionally and mentally prepared for what is to come.

In terms of the production values, Tomorrow is a high quality offering that utilises many special effects, for obvious reasons and which are decently rendered. I love the aesthetic intro which is accompanied by the stylish opening theme. The costuming aspect is nicely done with a range of contemporary, futuristic and traditional (Joseon) outfits. I particularly like the FL’s styling as well as the overall set-up of the Grim Reapers’ appearances. The classy touch to the design and set-up of their headquarters alongside the more unsophisticated workplace of the Risk Management team provides an interestingly vivid juxtaposition to the roles of the various factions of Grim Reapers in the story.

The extensive cast for this show provides some memorable performances indeed. Kim Hee Sun’s Goo Ryun is a character that possesses more layers than meets the eye at the beginning. There is a remarkable duality in her evolution from being the cold and inexpressive leader of the team to one who is emotionally vulnerable yet enduringly resilient. Rowoon is the biggest surprise for me by showing that since his recent appearance in The King’s Affection, he has grown by leaps and bounds in this show as the ML, Choi Joon Woong. I still think comedy would suit him best but there is certainly potential for versatility and further improvements.

Perhaps the most intriguing portrayal of all is provided by Lee Soo Hyuk as the antagonistic Park Joong Gil. This man would make an excellent villain in any production but he is convincing as an extremely grey character with anti-hero vibes as well. Yun Ji On rounds off the main cast with his depiction of the stoic and deadpan Im Ryung Goo.

Certain supporting and guest cast members are worth mentioning for their unforgettable appearances, including veteran Jeon Moo Sung as the ex-soldier Lee Young Chun, the adorable child actress Noh Ha Yeon, Min Ji Ah who plays Ryung Gu’s mother, and Kim Young Ok as Lee Jeong Mun, just to name a few.

Final Thoughts

I was left breathless at the end of it all. Tomorrow doesn’t really warrant major criticism, in my humble opinion. Perhaps the slight comedic tone might come across as subtly jarring, at least at the start, but that general sense of levity eventually evaporates into something intensely complex and deeply heartfelt, if not agonisingly heart-wrenching. A drama worthy of recommendation but not without due preparation and ample supply of tissues.

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The Legend of Hei Feng-Bai Xi

Truth be told, Who Rules The World (WRTW) wasn’t on the top of my list for highly anticipated dramas for 2022. But you know what? It turned out to be one of the most entertaining dramas I’ve seen for the year. Certain characters in the show even made their way into my list of all-time favourite C-historical characters as well. I’m pleased to say that WRTW has not disappointed and in fact went beyond any initial expectation I may have had going into it.

WRTW is equal parts traditional wuxia, grandiose palace politics, epic warfare and romantic love that are interwoven seamlessly to create an immersive tapestry of a vivid jianghu that transcends the boundaries of the 7 kingdoms. It revolves around the relationship between two renowned martial artists, Hei Feng Xi and Bai Feng Xi, as they navigate the treacherous world of ancient politics and pugilistic rivalries teeming with characters who are hell bent on ruling the world.

The story is based on the bestselling 2007 novel Qie Shi Tian Xia (且试天下) aka Let’s Try the World which was written by prolific period-romance novelist, Qing Ling Yue (倾泠月). The production team comprises directors Yin Tao (Love and Redemption, Ancient Love Poetry, Under the Power), Yu Yonggang (Novoland: Pearl Eclipse) as well as action director/ choreographer Shi Zhanli (The Promise of Chang’an, Under the Power, Listening Snow Tower, Love and Redemption, The Legend of White Snake). Principal photography took place at Hengdian World Studios from February to June 2021. Interestingly this drama was released concurrently on WeTV international and Netflix for global audiences.

A total of 5 songs are listed in the soundtrack of the production. Liu Yuning sings the inspiring opening theme while Lai Meiyun and Tan Wei Wei contribute moving love ballads.

无双 Unparalleled – 刘宇宁 Liu YuNing
风息 Breath Of Wind – 胡彦斌 / 叶炫清 Hu YanBin / Ye XuanQing
一梦浮生 Dreams Come True – 汪苏泷 Silence Wang
孤注 Gu Zhu – 谭维维 Tan Wei Wei
如梦 Like A Dream – 赖美云 Lai MeiYun

This production has been plagued by some controversies in that the main director was purported to have left the project about halfway through filming for reasons that were not made known publicly. Additionally certain elements of the plot, whether the screenplay or the source material itself, had been accused of plagiarism. Likewise some scenes were cited to be reminiscent of other dramas. Having not read the source material for this drama, or most other dramas for that matter, and without seeing particular shows from which their scenes had been reputedly copied, fortunately my personal viewing enjoyment was not affected by the allegations in any way.

What I Liked

The elements of wuxia, politics and warfare are beautifully crafted into a memorable tale of chivalry, heroism and love amidst an extensively conceived worldbuilding of a fictional universe. Perhaps WRTW does not reach the quality levels of Nirvana in Fire, the gold standard in this multigenre, but it certainly comes close. How often do we come across productions that attempt to cover such an extensive scope without faltering miserably or, at the very least, evoke some form of endearing connection and entertainment value?

In terms of wuxia, this is one of the best for me. The variety of martial arts prowess on display as well as depiction of the jianghu with its associated clans, sects, dark arts and, of course, the chivalric values of brotherhood, heroism, and valour are all expertly embedded into this pugilistic premise. Absolutely no complaints from me in this department.

While initially lacking and slow-moving due to the uneven pacing and multitude of character introductions, the politics of the palace and the world began to exert more control over the narrative up until the finale. This is especially so once the main players have been established and viewers are able to focus exclusively on their schemes and machinations that eventually culminate in all-out confrontations and large scale warfare among them. In some ways, the overall concept and worldbuilding remind me somewhat of Game of Thrones with the premise based on various factions fighting for supremacy and dominion over the world.

Ultimately the one aspect of the story that impresses me the most is the romance. One of the most wholesome and charming love stories that I’ve ever come across in a C-historical. It helps immensely that both leads are extremely likeable both in real life and in the depiction of their respective characters here. No silly misunderstandings, childish petulance, toxic vibes whatsoever. Just as it should be between two heroic jianghu protagonists amidst countless adorable and lovely moments indeed.

As far as the technical execution is concerned, for me the positive takeaways would be the production design which maximises the gorgeous features of Hengdian World Studios in both the opulent indoor sets and lush greenery of the outdoor shooting scenes. Cinematography, choreography and special effects are quite decent, for the most part. I’m thankful that the fight scenes in particular are presented on point without the jittery camerawork and overreliance on slow-motion, repeat cuts or fast cut editing.

The martial arts choreography is simply stunning and showcases some of the most spectacular wire-works (wire-fu) in recent memory. It might appear a bit much to some but personally I love it. Also worth mentioning is the battle scenes between large armies towards the tail end of the show. Despite being mostly CGI, the end result is reasonably rendered and, most importantly, not substituted with animation or even skipped over but is shown in its entirety.

With regards to the cast and their respective characterizations, WRTW wouldn’t be the same without the leads, Yang Yang and Zhao Lu Si. The stellar supporting cast particularly Xuan Lu, Lai Yi, Zhang Feng Yi, Lee Wai Han, Zong Feng Yan and Wang De Shun provide a memorable account of themselves in making this production work as well.

I know that Yang Yang has drawn some flak for his performances in the past but having seen him in the recently concluded Glory of the Special Forces where he delivered possibly his best work to-date, I think he deserves more credit than he’s given. The role of Hei Feng Xi / Feng Lan Xi suits him very much indeed. He has this ability to blend intensity and seriousness with warmth and tenderness as well as a dash of charm and sophistication, which adds depth to his version of the brooding, intelligent and lonely hero of this story.

The same goes for Zhao Lu Si who, despite her expertise in rom-coms, is actually quite versatile and here she showcases some range as well as a more serious side. She still has that comedic timing but as the carefree Bai Feng Xi and the more regal Feng Xi Yun, we get to experience different facets to her characters. The biggest draw in the show is obviously their romance. Whether as royalty or jianghu pugilists, the chemistry between the two absolutely sizzles to set the screen aflame. I cannot imagine anyone else embodying the roles of “Hei Feng- Bai Xi of the rivers and lakes” as well as they have done.

Amongst the supporting characters, my personal favourite include Xuan Lu’s Feng Qi Wu who shares a strong bond with Bai Feng Xi where at one point I was actually shipping them as a lovable GL pairing. It’s refreshing to observe a healthy friendship between two female characters for a change instead of the usual destructive rivalry for affections. Lai Yi’s Huang Chao is another strong character that’s worthy of mention. His connection to the leads prove intriguing where despite no love lost between them, they continue to regard one another with mutual admiration and respect.

What Fell Short

I think the transition of directors midway through production possibly caused a discernible change in the quality of direction and editing during the second half of the show. This in turn affected the flow of the storytelling because certain scenes feel somewhat disconnected while the last 8 or so episodes are a little rushed. That said, most C-historicals tend to sprint towards the finishing line with a flurry of events and activities within the final few episodes, although this could be attributed to censorship-induced post-production editing.

For obvious reasons, most of the focus is on Yong-zhou and Qing-zhou, two of the 7 kingdoms in the story. There are some highlights of Ji-zhou and You-zhou, and the initial spotlight on Dong Empire, the ruling kingdom and the seat of power itself. I would have liked to see more backstory or development in the lesser mentioned kingdoms as well as the other mysterious sects of the jianghu. At 40 episodes, it’s near impossible to fit everything and everyone, which is unfortunate as some of the minor side stories and subplots actually appear interesting and thus worth exploring.

Because of the rushed nature of the final arc, the potential for the main villain’s origins and motivations are largely glossed over in favour of the ultimate showdown. I think this dimension of the antagonist’s profile deserves at least a couple of episodes to allow the gravity of his villainy to sink in with viewers.

The FL’s identity reveal is a bit of a letdown personally for me. It should have been more sensational and shocking to everyone involved but it turned out to be a lowkey affair after all.

I feel the need to rant on one of the martial arts clans, the Tianshuang Sect. I’m not sure how they are written in the original novel or if it is meant to be a running joke but the members of that sect, along with their leader/elder/founder, are quite laughable indeed. Without spoiling, let’s just say that these folks are better off managing a zen spa or soup kitchen rather than actively attempting to partake in conspiratorial activities.

Final Thoughts

WRTW ranks amongst the better recent releases of C-historicals and wuxia productions. It hasn’t reached the gold standard that is NiF but is somewhere slightly lower, perhaps at a similar level to The Long Ballad. Objectively it’s an 8.5 but for the sheer enjoyment factor and memorable performances of the leads, I’m bumping this up to 9. This is recommended viewing for fans of the genre.

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Gloriously special indeed

I’ve watched quite a fair number of military-themed Chinese productions over the years which usually contain similar themes and DNA in the storytelling structure. For more recent productions, we will come across the usual suspects as far as the villains are concerned.

- Themes: New recruits’ coming-of-age at the military academy
- The DNA: think propaganda, jingoism, and a healthy dose of flag-waving at every opportunity.
- The usual villain: Being set in present times, these days its nefarious drug cartels and its associated shadowy crime organisations.

Glory of Special Forces contains the same blueprint as outlined above. But is it exactly the same as other military C-dramas or does it showcase anything new? More importantly, is it worth your precious time to check it out? My answer is a definitive and unequivocal YES. I daresay this drama is quite likely the best in the genre that I’ve ever watched, and then some.

The drama is adapted from the novel "The Special Kind of Special Forces” (中国特种兵之特别有种) written by Fen Wu Yao Ji (纷舞妖姬), a nom de plume whose actual name is Dong Qun (董群). He is an award-winning and renowned military fiction novelist who is responsible for the source materials that form the basis for the box office hits Wolf Warrior and Wolf Warrior 2.

Directed by Xu Jizhou (Rookie Agent Rouge) who also co-wrote the screenplay adaptation along with Feng Ji, notable for having written Ark Peace (headlined by Chen Kun), The Weasel Grave and Decoded (one of my favourite Republican-era spy dramas). Principal photography took place from April to December 2019. Yes, this drama had been in censorship limbo for quite a while before it was finally released. The main cast reportedly underwent actual combat training under the guidance of active servicemen, the result of which is quite apparent in terms of their physical appearance and overall stunt coordination in the production.

The soundtrack features a total of 4 songs specially composed for the drama, along with various patriotic music and the original score. Liu Yu Ning participated in the project as well by contributing 2 songs.

The Book of Life 生命之书 - Liu Yuning 刘宇宁
Looking Up at the clear skies 仰望晴空 - Liu Yuning 刘宇宁
Climb 攀 - Zhang Lei 张磊
My Pride 我的骄傲 - Jin ZhiWen 金志文

What I Liked

The character-driven narrative. Yes, it’s about an army recruit’s coming-of-age who goes through hardships during training to finally make it into the elite special forces team and bring justice to the bad guys. But this young man’s journey takes on a multifaceted approach that includes themes of dealing with complicated backstories, complex family, team and relationship dynamics, as well as combat-related PTSD, along with the thrills and spills of the action and adventure. Despite the lengthy 45-episode count, not once did I feel bored or disconnected because the content is engaging that covers a wide range of interesting subject matters while the storytelling is brisk and finely balances the multitude of intersecting plotlines therein. There is a noticeable absence of unneeded fillers that tend to plague C-dramas of this length, which is always very much welcome.

The scope of characterizations. Most dramas of this nature focus purely on the leads while everyone else is neglected - supporting characters and antagonists alike. Not this show though. Although the ML drives the drama, and magnificently at that with a depth of character and strength of conviction that shines through, the rest of the characters are afforded a certain extent of the spotlight which elevates them beyond mere one-dimensional caricatures or inconsequential afterthought. The mentor(s), families, comrades-in-arms, friends, and even the villains are able to breathe life to their presence as crucial elements of the story, each with their very own character arcs that interweave seamlessly into the overarching plot.

The authenticity in the depiction of the military aspects. I’m no military expert but from years of watching such content, be it Asian or Western, there is a marked deftness to the portrayal of the special forces’ operators. In terms of the intensity of the firefights, the brutal hand-to-hand fighting and the coordinated execution of the field missions. Likewise the hightech hardware, weaponry and gadgets showcased.

Another facet of the military life that forms the bulk of the story is the hardcore training. Now there have been many forms of military training showcased in various dramas, most notably the recently aired Operation: Special Warfare’s harsh “Shaolin-esque hell’s camp” where bricks are smashed on participants’ heads, among other things. How true that is, we’ll never know but in this drama there is no such brutality that beggars belief, which reflects a measure of realism felt from the scenes shown. That said, there is a scene involving breathing apnea for underwater training and carving chrysanthemums out of rice grains to improve calmness and shooting accuracy…

Finally we have the cast themselves. My personal opinion - this drama could possibly be the turning point in Yang Yang’s acting career. I enjoy watching him especially in the currently airing Who Rules the World. He is definitely leading man material who possesses the charisma to light up the screen. As the ML here, however, his overall performance is more than a couple notches above and quite possibly his best ever. The level of commitment in undertaking tough preparations to literally transform himself physically into a tanned lean and mean machine to fully convince viewers he is a bona fide special forces soldier. As if that isn’t enough, he goes on to display a complete spectrum of emotions in his acting. If you’ve ever wondered how a distraught, tormented and agonising Yang Yang looked like, you can see it all here.

Despite the FL billing, Li Yi Tong actually has a smaller role as a supporting character. Nonetheless, her character of a resolute military officer is subtle, nuanced and unobtrusive. The one character that impresses me tremendously is Jiang Lu Xia who plays sniper Guo Xiao Xiao. One of the best written and depicted female soldiers ever in a C-drama. This is not a pretty face that’s shoehorned into the role of a tough-as-nails female character - she really is the real deal. In fact, she used to be a national Wushu champion before becoming a star of the much-lauded Operation Red Sea. As for the rest of the supporting cast, they generally delivered a decent account of their respective portrayals.


Perhaps Could’ve Been Better

This drama is not flawless by any means but without nitpicking, I honestly do not have major concerns on the production quality or significant complaints on the plot, both of which have exceeded my expectations in general. However I do wish there had been more action in terms of active missions and actual operations to balance out the training scenarios, in addition to a stronger and more impactful ending to the story.

Not a popular opinion perhaps, but I also wouldn’t mind having light romance added into the mix as part of the ML’s development. Not too much but enough to depict a more wholesome emotional growth in an overarching side story and to flesh out the relationship dynamics between Yang Yang and Li Yi Tong’s characters.

Despite the obvious improvements in the portrayal of the antagonists in this drama, I feel more depth could have been written into the characterization and backstory to heighten the complexity of the storytelling as well as to avoid the pitfalls of merely resorting to unsound villains with psychotic tendencies as the go-to trope.

Final Thoughts

I have thoroughly enjoyed the best military-themed C-drama as well as Yang Yang’s best performance, to date. There is much to love about Glory of Special Forces and I’m glad it delivers despite the long wait and extensive running time. This is absolutely recommended viewing indeed.

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Who Let The Dogs Out

There will always be an endless supply of legal courtroom dramas, especially in K-dramaland. Likewise stories revolving around the South Korean military. But how often do we get shows that combine both genres? Well, look no further because this is exactly what this drama is about.

Appropriately titled Military Prosecutor Doberman because:
a) It’s about military prosecutors who administer military justice that governs the conduct of active-duty personnel of the armed forces
b) The ML’s name is Do Bae Man, which is a homophone of doberman
c) A doberman actually guest stars in this drama

The narrative follows a pair of military prosecutors who share a complicated and intertwined past that eventually collides with the present where they battle widespread corruption that is systemic within the military organisation they both serve. In addition to courtroom battles that are adjudicated over numerous intriguing cases ranging from the garden variety to the downright awful, expect a fair amount of action as both leads are adept at hand-to-hand combat.

The drama explores themes of bullying and abuse while trigger warnings include sexual assault and violence. Moments of levity are present throughout, sometimes unexpectedly, but for the most part it isn’t a comedy. It doesn’t take itself too seriously, however, and oftentimes feels satirical. As far as realism goes, I would advise viewers to suspend a modicum of disbelief while watching this because I doubt accuracy of depiction is a mainstay of the narrative. For those wondering/ hoping, yes, there is some romance present in the story as well although it isn’t the main focus.

This TVN production is based on the original screenplay by prolific legal-themed writer, Yoon Hyun Ho, who is notable for Lawless Lawyer, Remember: War of the Son and The Attorney. Kim Jang Woo (The Veil, Do You Like Brahms?, Bad Guys) serves as music director. Principal photography took place mainly in Gangwon-do, Paju and Gimpo.

Some trivia concerning the drama - the 4th Infantry Division of the Army that appears in the play is a fictional division. The military court is answerable directly to the Ministry of National Defense and therefore is structurally impossible for the troop commander to give orders or influence proceedings in any manner.

What I Liked

Ahn Bo Hyun as ML and Jo Bo Ah as FL. I’ve seen them around but not fully in lead roles and here they’ve done a pretty decent job of carrying the entire drama. ABY has the kind of face that makes you want to laugh at times but credit to him, he manages to infuse a certain level of old school machismo and charm into the role of an extremely grey and streetsmart prosecutor. JBA possesses screen presence which I think is helped immensely by her hair. Not only when she rocks the red wig as the kickass alter ego but her bob haircut absolutely suits her soldier persona as well. She looks fierce yet stunning at the same time while exuding an aura of no-nonsense bad-assery and her action choreography is executed to perfection too.

The rest of the cast are a mixed bag for me but among those who impressed me would be the likes of Oh Yeon Soo as Noh Hwa Yeong, Kim Young Min as Yong Moon Goo and Kim Woo Seok as Noh Tae Nam. OYS is the epitome of a strong woman in this drama and I’d love to see more of such mature actresses pulling off similar characters. KYM surprised me because this is a complete departure of what I recall of him in CLOY. This guy has range and versatility, hopefully he continues to get more substantial roles in the near future. KWS perhaps plays the character with the most evolution and growth in the story which I find rather compelling.

The comedic aspect of the drama isn’t too in your face or obtrusive, but appropriately applied at the right timing with the intended effect. That is, except for one distinct moment that caught me completely off guard - a rap battle in the middle of a serious conversation. Aside from that, the seriousness isn’t overwhelming either, despite the subject matter of certain story arcs. In terms of the production quality, there isn’t much to write home about. That said, I do enjoy the stylish title sequence and the catchy opening theme, Doberman by Ha Hyun Woo. The action choreography and camerawork are not badly done while the costuming aspects of the military outfits comprising the combat and ceremonial uniforms are nicely presented.

As far as the ending goes, I quite like the positive outcome. It gives the story a satisfactory closure as well as to most major characters without any loose ends. That said, I would have liked to have seen the conclusion expanded to a number of the major players in the story but I suppose the implications are discernible after all.

What Could’ve Been Better

The overall trajectory of the story feels more prolonged than is perhaps necessary. 16 episodes is probably a little overlong for a story of this nature and the last 3 or 4 episodes do begin to feel repetitive. I personally prefer a more compact style of storytelling with the ability to sustain the excitement in the pacing and sequencing of the narrative, without the presence of unnecessary fillers or inconsequential side character arcs.

Despite being one of the central themes, the topic of bullying and abuse sometimes feel overdone for me because it is ubiquitous in K-dramaland. I would like to see something refreshingly different in the screenplay for once that provides the same impact but without the same old.

Final Thoughts

Military Prosecutor Doberman is a somewhat entertaining and feel-good one time watch that provides just enough interesting moments to make it worth my while but ultimately it isn’t anything groundbreaking or unique, despite the rarity of military-legal dramas. Nonetheless, Jo Bo Ah’s memorable performance here has definitely left a lasting impression on me.

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Music and Lyrics

Soundtrack #1 is my number one feel-good and comfort drama of the year, or any year for that matter. Yes, there have been many great productions in the past but perhaps none as short or as sweet, and certainly as satisfying as this one, as far as friendship and romance-themed stories are concerned.

Truth be told, this isn’t my go-to genre and I only watch dramas of this nature probably once or twice a year, if not less. I’ve dropped or put on hold many of such dramas in the past. For 2022, the only one that I’ve completed to-date is 25-21 which is a remarkable production in its own right, but what Soundtrack #1 does so well is how it provides closure in the most satisfying, realistic and inspiringly hopeful and positive manner that most ordinary folks could relate to, in particular those who are going through a similar experience as well. And of course, this drama stars Park Hyung Sik and Han So Hee as the leads. That fact alone provided more than enough motivation to give this one a shot and I’m glad I did.

One of the rising number of K-dramas to be produced and streamed exclusively on Disney+, Soundtrack #1 is based on the original screenplay written by Ahn Sae Bom in what is his first screenwriting credit. Kim Hee Won, the prolific director of dramas including the likes of Vincenzo and The Crowned Clown, serves as director.

What I Liked

First and foremost, obviously the leads. Park Hyung Sik impressed me in Happiness but I was already a fan after the South Korean remake of Suits. Despite having not seen most of his wide repertoire of works, something that I’ll have to remedy in the near future, one could tell how well cast he is in pleasant good guy roles, especially the wholesome boy-next-door kind of vibes. Nothing flashy, OTT or extreme but rather just down-to-earth and ultra low-key type of personas suit his overall demeanour and style of acting. That said, I’m sure he possesses a lot more range that’s just waiting to be unleashed.

Han So Hee took my breath away in My Name. I just had to see more of her and in a completely different setting.The feedback on her performance, especially at the initial stage, wasn’t too promising where many viewers were either not convinced by her chemistry with Park Hyung Sik or felt that her acting was lacking. Personally for me and given the context of the narrative, I wasn’t expecting powerful award-winning type of performances from anyone. The bare minimum for me for a story of this nature is to be convinced of the interactions and connection between the leads. In that regard, I am not disappointed. I really enjoyed seeing how well both leads articulated their roles to imbue much realism into the depiction of a healthy and organic relationship development stemming from the unique backstory that they share.

In terms of the narrative, stories about unrequited or repressed romance with friends-to-lovers and co-habitation themes are a hit or miss for me but in this case, I’ve thoroughly enjoyed the viewing experience. Perhaps it’s because of how much I adore the leads that I bought into the storytelling. Another possible reason is how short it is. Any longer than 4 episodes or the usual 12 or 16-episode format and I might have bailed. But given how compact the structure of the story is and the rather entertaining pace as well as the sequencing of key plot points, I was honestly not bored out of my mind at all.

Another crucial selling point is the production values. From the first minute of the first episode, one could tell this drama has quality written all over it. The magical snowfall effect, the tasteful set designs including the charming little roadside diner, the adorable home that the leads share, the chic photography studio, among others. All of these aspects are presented beautifully with the kind of warm colour palette that makes this a cosy and inviting little drama to savour.

For a drama entitled Soundtrack #1, its soundtrack truly is deserving of the title. Featuring no less than 12 songs, perhaps the ones that speak to me would be the evocative love ballads which are amongst the best that have been released this year thus far.

The full list are as follows:

Kyuhyun (규현) - Love beyond words (사랑은 말로 표현하는게 아니래요)
Park Boram (박보람) - Want to be happy (행복해지고 싶어)
Davichi (다비치) - Your tender heart hurts me (소녀 같은 맘을 가진 그댈 생각하면 아파요)
Kim Jong Kook (김종국) - My Love
Kim Jae Hwan (김재환) - Talk to me (나에게 말해요)
Standing Egg (스탠딩 에그) - Prettiest One (너만 예뻐)
DOYOUNG (도영) - A little more (아주 조금만 더)
Monday Kiz (먼데이 키즈) - Wanna be your lover (이젠 친구에서 연인이 되고 싶어)
LeeHi (이하이) - We'll shine brighter than any other stars (우린 어떠한 별보다 빛날 거야)
SEOBIN (서빈) - Love Love Love
LEE YEJOON (이예준) - Miss You More, I'm Sorry (더 보고 싶고 미안하고 그래)
DOKO (도코) - Love Beyond Words

Final Thoughts

Most aspects are so well executed in this short production that I can’t find many, if any, faults about it. The conclusion to the story is extremely well written which leaves me with such an uplifting feeling. All things considered, this is job well done by everyone involved in Soundtrack #1 and definitely worth checking out or even a re-watch.

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Age of Youth

Juggling life as a teenager growing up in the 1990s while carrying the nation’s hopes for sporting glory? That’s what this drama is entirely about as it revolves around Na Hee Do’s coming of age as a young woman and as the rising star of South Korean fencing.

25-21 is presented in a non-linear storytelling approach from the perspective of Na Hee Do’s daughter in the present day, who comes across her mother’s diary which provides an account of her life during her younger days. Viewers are then taken back in time to the 1990s, the main setting of the narrative, through a prolonged series of flashbacks. We get to observe Na Hee Do navigating her way through countless challenges that life throws at her while also developing close friendships with the people that she encounters and, of course, experiencing her first love. Simply put, this drama is about slice-of-life, youth themes, friendship, sports and, yes, romance too.

This TVN production which is streamed on Netflix is helmed by Jung Ji Hyun, the director of notable productions such as The King: Eternal Monarch and Search: WWW, the screenwriter of which also wrote the screenplay for this drama, Kwon Do Eun. Kim So Yeon (not to be confused with the actress; who had also directed Kim Tae Ri in the 2017 film, Moon Young) provides the artistic direction while Im Ha Young (Hometown ChaChaCha) serves as music director.

Since broadcast began, 25-21 has maintained the top spot in the South Korean popularity rankings for 7 consecutive weeks, placing first in viewership ratings for 12 consecutive times (in both the Metropolitan Area and nationally). At the time of writing, it has been featured in Netflix's "Global Top 10" (non-English edition), a weekly list of the most-watched international Netflix series, for five weeks in a row.

The story is set primarily in Ahyeon-dong, in the Mapo District of Seoul. The principal photography, which is based on a live-shoot system, took place across a variety of exciting and gorgeous filming locations including Jeonju, Seohak-dong, Jeonju Hanok Village, Jeonju National University of Education's dormitory alley, and the National Heritage Center.

Sharing a bit of trivia concerning the drama. Both main leads, Kim Tae Ri and Nam Joo Hyuk, had tested positive for Covid on separate occasions during filming which had halted productions momentarily but fortunately the broadcast scheduling was not affected. In terms of the historical accuracy of the competitions depicted (Singapore 1997, Madrid 2001) and Asian Games (Gyeongju 1999), the Olympics and Asian Games are never held in odd-years while the editions referenced had actually taken place in different host countries. Additionally the women’s fencing saber event, which Na Hee Do and Go Yu Rim specialise in, was only adopted as an official Olympic event for Athens 2004. Obviously the drama is fictional and events are dramatised for the benefit of viewers so historical accuracy really has no major impact on the plot at all.

What I Generally Liked

As far as this drama is concerned, personally I have absolutely no complaints over the production values and technical execution, which are amongst the best that I’ve seen in recent memory. Top notch cinematography and special effects rendering, quality production designs and obviously the numerous filming locations add to the beauty of the visuals. The sporting aspect comprising the fencing choreography and stunts is quite impressive, as is the post-production editing. Even the title sequence is nicely put together. This is an extremely well produced drama indeed.

There isn’t much to criticise in terms of the casting and the all-round performances of the leads as well as major supporting characters either. Kim Tae Ri is 31 years old but manages to pull off the depiction of an 18-year old Na Hee Do. She not only looks the part physically but behaves very much like one as well, which is quite amazing in and of itself. I’ve been a huge fan since her Mr Sunshine days and she doesn’t let me down here with a near flawless and absolutely endearing performance that made her my favourite character in the show.

I’ve seen Nam Joo Hyuk around but most notably in The School nurse Files. Playing the ML Baek Yi Jin here, he has won the hearts of many viewers and unsurprisingly so as he demonstrates an impressive range while exuding much charm, tenderness and fragility to his portrayal. Amongst the supporting cast deserving of mention include the likes of Bona as Go Yu Rim, Seo Jae Hee as Hee Do’s mum, and Kim Hye Eun as the fencing coach. Look out as well for memorable appearances made by Choi Myung Bin (The King’s Affection) as Hee Do’s daughter, and Kim So Hyun, a renowned South Korean musical singer, as the present day Hee Do.

Music plays a big part in this drama not only by evoking the emotional connection and ambience but also in drawing the 90s vibes. Featuring a total of 9 tracks that range from the upbeat and inspiring to the deeply touching. My personal favourites are the retro beats of the opening theme, Starlight by Taeil, and I’ll Shine on You by Bae Ki Sung.

What Ultimately Proved Contentious

The only aspect that ultimately proved controversial, certainly to the many viewers and myself included, which provoked profoundly passionate debates as well as creative postulating of theories not only here in MDL but also around the world (judging from the internet) is the plot itself.

For the record, I truly enjoyed most of the drama, especially up to around say episode 14. After that, the plot trajectory sort of went sideways for me, in particular the out-of-character final episode which was rather surprising considering how consistent the screenplay had been in general.

I don’t speak for others but there are two key issues for me…

1. From a subjective point of view, which relates more to personal preferences rather than any fault of the script, I would have preferred a more positive and feel-good outcome. Regardless of whether any ship sailed or what became of the endgame, and the age-old argument about “realism through tragedy” to reflect real life instead of an unrealistic or impractical “Walt Disney happy ending”, I honestly do wish that the screenwriter could have dispensed with the overdramatics, the at times overwhelming air of negativity and pain in the final arc of the drama.

2. From an objective perspective, something which contradicts the intended realism that the writer is trying to infuse in the story, is that viewers (or maybe just me) have no inclination as to who Na Hee Do’s actual husband is. Not with absolute certainty anyway. This begs the question of why? Whoever he is does not appear at all in that capacity either in the past or present.

I strongly suspect that because this is a live-shoot drama, perhaps the screenwriter was strongly influenced by the initial ratings success and rave reviews garnered during airing that she must have felt compelled to “sensationalise or tease” the rapidly growing number of viewers and fandom to such extent that certain characterizations regressed while the eventual closure raised more questions than provided much needed answers instead.

Final Thoughts

TLDR - the first 14 episodes were great and I truly enjoyed them. The last 2 were disappointing, in addition to a few other turns of events along the way. Is this worth watching? I would still recommend it but be prepared for the dissatisfying ending.

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A picture paints a thousand words

As usual every year we will get at least one underrated C-drama gem in dramaland. Under the Skin is this year’s gem for me. Along with Reset, this drama becomes 2022’s first quarter surprise package. Another astonishing aspect is that although this iQiyi production is a detective investigation thriller and whodunit mystery, it doesn’t carry the Mist Theatre’s Light On series tag. Which is just as well considering the disappointment with the recent (2021) additions to the series.

For the first time ever in a Chinese crime drama, as far as I’m aware, the concept of forensic art is featured extensively as the main premise of the story. The narrative revolves around the talented and highly perceptive mock portrait artist, Shen Yi, and his partnership with police detective Captain Du Cheng of the Beijiang Branch’s Criminal Investigation Detachment. Each of them share an interwoven backstory that provides the backdrop of the overarching main mystery and the development of their dynamic and respective character growth. The drama is presented in an episodic procedural format where the leads utilise their unique skill sets in solving extremely unusual cases, usually involving murders.

Under the Skin is based on the original screenplay co-written by Jia Dongyan, winner of the 27th Shanghai TV Festival Magnolia Award for Best Screenplay, and Wu Yao, Gold Award recipient for the Feature Film category at the 2012 New York International Film Festival. Jia Dongyan also serves as art director for the production, which is directed by the prolific Xing Jianjun. Principal photography took place in Xiamen which began in March 2021. The production team reportedly conducted considerable research into crime scenes depicted in famous art pieces as well as the application of forensic art methodology in criminal investigations.

What I Loved

There are numerous aspects of the production which I absolutely love and in comparison with many Chinese crime dramas in recent years, for me this drama ranks amongst the best in the genre. It’s innovative, refreshing, and does the basics of storytelling very well with a fantastic cast and crew. It may not appear as gritty or visceral and perhaps lack a little bit of realism at times but despite what I feel are subtle flaws, the things that exceed my expectations leave an indelible impression indeed. To briefly summarise the positive points:

1. The forensic art premise that focuses on how art is used to aid police investigations in its various forms. Whether as a composite sketch, predictive facial renderings or age-progression/ regression predictions and many others, I find the entire concept and display extremely enthralling. I’m a huge fan of crime thrillers, noir and procedurals but I’ve never encountered such an in-depth study into this subject matter before. The added bonus is seeing all the beautiful art pieces and creative artwork on display.

2. The characterization of Shen Yi, an artist of immense talent who possesses a perceptive mind and sharp deductive reasoning. I find his inherently calm demeanour and generally empathetic nature deeply endearing. This character captivates not only with his enigmatic backstory but also his multifaceted and rather charming personality. He is by no means faultless or exemplary for he constantly has to face the presence of his inner demons throughout, as well as the initial prejudice by his colleagues but he gradually overcomes all these challenges with poise and sensibility.

3. The second male lead, Du Cheng, who at times feels more like Shen Yi’s sidekick. His character progression and the subsequent evolution of his working relationship as well as personal friendship with Shen Yi is heartening to see. The “buddy cop” depiction here which incorporates elements of enemies-to-friends and bromance is one of the most rewarding strong suits of this drama.

4. The well-structured and coherent storytelling approach along with uniquely written individual cases as well as the overarching mystery. Most, if not all, of the cases depicted are highly unusual as far as either the method of execution or the motive behind the premeditated crimes. Where the investigations are concerned, I love that this drama is straightforward and no nonsense where viewers are immediately immersed into the cases and without the interference of fillers, unnecessary side stories or off putting comic relief. Even when the focus shifts to the characters’ interactions and development, it never feels redundant or superfluous to the overall tone which remains consistent throughout the show.

5. The depth of the narrative. Despite being an episodic procedural, it feels more like an anthology of short stories because each case spans more than an episode. Rather than simply focusing on solving the crime per se, it explores the background and related characters involved within each case to the fullest, complete with all the emotions of the human drama. Most of the culprits are not merely bad or evil perpetrators but are written as profoundly layered individuals who are bound by a tragic twist of fate that has led to their existing circumstances. The drama very delicately imbues subtexts on current societal concerns and even cautionary tales that enhance the storytelling. I find it surprising that the presence of certain themes actually passed censorship; for instance the subtle hints of GL, showcasing domestic violence as well as psychological abuse and gaslighting.

6. I have to pay tribute to the production team because the technical execution is quite superb. The editing renders remarkable scene transitions, clear sound mixing and audio quality even if overdubbing is utilised, and the authentic production design. The music is truly on another level with an impressive versatility to capture the different moods, in addition to the sinister “Hitchcockian” vibes of the more chilling scenes. Coupled with the impressive cinematography and beautiful colour grading, each case has a distinctive feel to the atmospherics - carefree youth, sweet romance, melancholic sadness and regret, as well as intense edge-of-the-seat suspense. Kudos as well to the styling department for the way Shen Yi is presented. I really like his fashion and overall appearance which makes him stand out from the rest of his colleagues.

7. The perfect casting choices. It’s my first time seeing Tan Jian Ci in a lead role and what an inspired selection it has been. He is perfect as Shen Yi where his portrayal exudes much intrigue, charm and likeability that draws you in deeper as the story unfolds. He possesses a strong sense of presence that encompasses a wide variety of emotions indeed. I think I finally understand why he is chosen as the lead for Winner is King so I’ll definitely be keeping an eye out for him there. His co-lead, Jin Shi Jia, delivers a decent depiction of Du Cheng who balances grit with adorable goofiness at times. Both leads work very well together and are absolutely fun to watch.

Final Thoughts

Under the Skin is such a pleasant surprise and has to be considered an absolute gem for the first quarter of 2022, if not the whole year. Despite the somewhat far-fetched final arc and Shen Yi appearing exceedingly "superpowered" at times, they did not detract from the ingenuity of the writing and my overall enjoyment. I’m also tremendously pleased with the ending that provides a fitting and most satisfying closure to what truly has been a wonderful viewing experience. This comes very highly recommended indeed.

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Transcending Darkness

“Battle not with monsters, lest ye become a monster, and if you gaze into the abyss, the abyss gazes also into you.”
~ Friedrich Nietzsche

Through the Darkness is a South Korean crime noir, detective investigation and psychological thriller which ranks amongst the best in the genre. The production is perhaps the most authentic in terms of story content, execution and depiction that I have seen in a K-drama. This is due primarily to the fact that it is based on the 2018 non-fiction book that deals extensively on the subject matter, Those Who Read the Minds of Evil.

Co-written by South Korea’s first criminal profiler Kwon Il Yong and journalist-turned-author Ko Na Mu, the true crimes detailed in the book provide the basis for the events depicted, bringing to life the notoriety of real-life serial killers that terrorised South Korea in the early 2000s. The serial killers presumably dramatised as fictional characters in the drama include Choi In Gu (child kidnapper and murderer), Kim Hae Sun (the Gochang serial killer), Yoo Young Chul (the infamous Raincoat Killer), Jeong Nam Gyu (the Seoul serial killer), and Kang Ho Sun (the luxury sedan serial rapist and murderer).

Spanning over a decade from 1998 through 2007 and revolving around Seoul Metropolitan Police Agency Criminal Behaviour Analysis Team Officer, Inspector Song Ha Young, the narrative focuses on five major aspects of his role as a criminal profiler:

1. The backstory that shapes his calling as a police detective, in which he first encounters a dead body as a child in 1975 and the subsequent discovery of his “empathetic traits”, which are manifested throughout.

2. The establishment of the Behaviour Analysis Team (BAT) as pioneers of criminal profiling in South Korea that results in the initial prejudice and ignorance that the team encounters in the police force.

3. The interviews with incarcerated serial killers in a bid to gain further insights into their state of mind and understanding of their modus operandi.

4. Leading the investigations and manhunt for the elusive serial killers, including interrogations of suspected perpetrators.

5. The evolution of the BAT’s perceived functionality and effectiveness within the police force, culminating in the coming of a full circle where Song Ha Young’s methodology of criminal profiling is finally acknowledged by his peers.

Directed by Park Bo Ram in what is his first show as production director (PD) where previously he was the assistant director for The Fiery Priest and Avengers Social Club. This is the first screenplay ever written by Seol Yi Na while the production design comes courtesy of art director Noh Sang Soon. The prolific Kang Dong Yoon aka Gaemi serves as composer. Kwon Il Yong was consulted as an advisor during filming.

The character of Song Ha Young reportedly drew inspiration from Kwon Il Yong himself, while Kook Young Soo is based on Yoon Oe Chul, the current head of the Gyeongnam Police Agency's investigation department, who created the first criminal behaviour analysis team in South Korea.

What I Generally Liked

The multifaceted character-driven story that not only encompasses the various phases of development of the BAT and the chase for the infamous serial killers, but also the insights gleaned through the in-depth study of these utterly evil and twisted minds, from the perspective of Inspector Song Ha Young. At times depicted in the style of a docudrama biopic, Through the Darkness is very much reminiscent of the Netflix production, Mindhunter. In fact, both productions share a very similar DNA, in terms of the non-fiction source materials and the inception of the criminal profiling standard.

Where they both differ is in the tone of the storytelling - the K-drama is much more visceral and gritty, especially during some of the most intense interrogation scenes ever seen, with little to no focus on any form of levity. In addition to the perpetrators and the crimes committed, the drama shines the spotlight on the victims and the suffering endured by their families that provides profound emotional depth to the overarching storyline.

The characterization of Song Ha Young is one of the most fascinating yet unusual in this genre. This character comes across as extremely pleasant, affable, and compassionate, none of which are traits typical of a South Korean police detective in the 1990s that we’ve ever come across in K-dramas, much less appear as such.

He’s a very nice guy who happens to be way ahead of his time and unfortunately finds himself surrounded mostly by old-school neanderthals in the police department. But it is this quality that endears him to most viewers and also adds conviction to how a profiler should be; broad-minded, erudite, perceptive, sensible, professional and rational. There is ample room for growth which is beautifully imbued into his trajectory as he demonstrates all the suppressed human emotions while struggling to contain the abyss that had consumed him for far too long in his role as a criminal profiler.

As far as the technical execution is concerned, I have nothing but praises for the production qualities in showcasing the art direction and designs of the era, the stylistic visuals befitting of a crime noir, and the music score that heightens the intensity and suspense, in addition to creating the perfect atmospherics for the emotive moments. The songs composed for this drama are contemplative and equally exceptional in expressing the emotions experienced by the major characters throughout:

Lullaby by Nerd Collection
Can't Run Away by Isaac Hong
A Flower That Blooms Alone by Kim So Yeon
Leopard of Mt. Kilimanjaro by 4Men

In terms of the cast performances, there are a number that catches the eye. None more so than the lead actor himself, Kim Nam Gil. This man never ceases to amaze for he possesses the ability to convincingly portray a multitude of characterizations to perfection over the years and his performance here as Inspector Song Ha Young is no different. Without him, this drama wouldn’t have worked as well as it has. The understated subtlety through his articulation of the role to convey the necessary nuances that connects viewers ever so intimately to Song Ha Young’s personal struggles and emotional state as he battles not only evil on the loose but his inner demons as well. Kim Nam Gil is deserving of at least a nomination, if not an award, for this year’s Baeksang in recognition of his efforts in this drama.

The supporting cast is generally quite decent which manages to sustain the overall acting quality of the drama. Special mention goes to Jin Seon Kyu for his lively depiction of BAT chief Kook Young Soo. The friendship that he shares with Song Ha Young is quite heartwarming to observe where they both collaborate as a sort of dynamic duo. Kim So Jin as the level-headed Captain Yoon Tae Go is one of the better written and portrayed female characters that I've seen. I was also most impressed with Kim Jung Hee who portrays the serial killer Nam Ki Tae. His remarkable portrayal, from the appearance to the mannerism, is downright chilling to the core. Amongst all the serial killers shown, his version is the most compelling and disturbing.

Final Thoughts

Although I haven’t read the source material, the fact that Kwon Il Yong, co-author and the original criminal profiler, gave his seal of approval for this drama provides credibility to the narrative and depiction of key events. Perhaps the manner of the storytelling might seem slow-burn but such is the nature of criminal profiling that it is heavily reliant on much needed patience to collate the necessary data leading to an accurate inference that ultimately determines the profile of the killer.

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The Bad Kids

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

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

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

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

What I Liked

There are three main aspects that have impressed me immensely.

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

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

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

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

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

What I Didn’t Like

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

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

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

Final Thoughts

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

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