An After-School Passion For Crime...

The message of the Extracurricular becomes clearly evident for viewers over the course of the show ; South-Korean society can become a “ dog-eat-dog” world if individuals are impoverished, or if they do not match-up to the expectations of being “ successful ”( succeeding in school, being rich , going to university and getting a good job), and none so are these pressures more apparent than for our main protagonist, Ji Soo.

Kim Dong Hee ( Itaewon Class , SKY Castle) ventures once again into another South-Korean social critique as the high schooler Ji Soo; a model-student who soon falls from grace when he becomes involved in illicit after - school activities in order to attend and pay for his fees to go to University .

Directed by Kim Min Jin ( Time Between Dog and Wolf, Lawless Lawyer) and written by screenwriter Jin Han Sae ( Irish Uppercut) , Extracurricular undeniably addresses many realistic issues typically glossed over by mainstream South-Korean high school dramas; delinquency, prostitution, violence, the poverty gap, crime and academic stereotypes, are refreshingly neither “played down” nor ignored over the course of the series.

Nevertheless, despite its realistic topicalities and issues, Extracurricular was severely flawed by its characters, plot inconsistencies and overarching storyline as well.

Whilst it is hard to really fault any of our main cast within their performances, the character progression around many of our main protagonists was fairly lacklustre to say the least. By default, Ji Soo should have been an intriguing protagonist; hardworking, impoverished, a tragic past and who becomes a victim of the forced social pressures in order to “ succeed” by partaking in numerous shady crimes. However, in reality, there were few prominent or truly captivating traits or elements present within Ji Soo as a character. Although he arguably had some form of strength within wanting to survive in a cruel world, his impassivity at key moments often made him hard to feel any strong sentiments towards as an individual.

Arguably our female main lead Gyu Ri ( Park Joo Hyun) had some elements such as coming from a well-to-do family , holding a nasty grudge against them and her mysterious reasons for getting close to Ji Soo which made her a more intriguing character than our male lead. On the other hand similar to Ji Soo, Gyu Ri lacked a lot of character depth during key moments, making it hard to hard understand both her initial enmity towards her parents as well as exactly how she became so interested in Ji Soo in the first place. Similarly, the second leads of the series, school bullies Min Hee ( Jung Da Bin) and Ki Tae ( Nam Yoon Su) were undeniably intriguing characters, however, their lack of emotional depth and backstory often made them feel more like “ stock” leads simply used as plot devices, rather than actually intriguing individuals.

To summarise, it’s fair to say that the series Extracurricular, isn’t your run-of-the-mill high school drama; it isn’t afraid from offering a deeper insight into tricky issues, themes and topics, as well as having an intriguing plot, however, a fairly inconsistent ending , several badly-written characters with poor depth and backstories and lacking realism at times, often made this series feel a little lacklustre in comparison to other psychological high school dramas out there. Worth a watch if you’re looking for something to pass the time, but certainly not worth actually investing time towards.

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Is This A ‘Hellbound’ Experience?

With director and screenwriter Yeon Sang-ho (Train to Busan) and co-writer Choi Kyu-Seok basing the series upon their own webcomic and original production, this does leave viewers with one ultimate question; “ is ‘ Hellbound’ actually worth watching ?”

For jaded and cynical detective Jin Kyeong-hoon (Yang Ik-june) humanity has offered him nothing but pain and sorrow. Still trying to come to grips with his wife’s brutal murder and having a fractious relationship with teenage daughter Hee-jeong (Lee Re), Jin’s research into the cases leads him face to face with leader of the mysterious cult ‘ New Truth’, Chairman Jeong Jin- Soo ( Yoo Ah-in). The cult has pledged salvation for “ sinners” by spreading gospels of the angels and encourage them to “ repent”. However as episodes progress it soon becomes slowly apparent towards Jin-Soo’s true nature and the brutal goals of the group, with attorney Min Hye-jin (Kim Hyun-joo) pledging representation for the alleged “ sinners”.

The biggest thing to address about ‘ Hellbound’ is that it isn’t a show for the lighthearted. Whilst devoted fans of the webcomic may notice some subtle storyline changes ,the show is violent and not afraid to present brutal murders alongside people being combusted like human torches throughout the series.

Intertwined amongst the shoddy CGI monsters of ‘ Hellbound’ as well as alongside the spine-tingling OST by Kim Dong-wook, ‘ Hellbound ‘ expertly paces its descent into chaos, knowing when to slow down on abominable killings and when to present its moral deadlocks . From the rising corruption of religion and the cultural phenomenon in South Korea of hysterical puritanism, hypocrisy as well as the rise of extreme conservative views paradoxical to the insatiable appetite of society for violence through popular culture, ‘ Hellbound’ addresses a lot of issues without shame or embarrassment and with the entire purpose to expose current issues and realities in South-Korean society. However this is also where the series began to hit a rut after the midway point; it never really carried through these messages with regards to the medium of the series . Whilst some characters are used with a purpose, some seemingly quintessential main characters have rushed arcs or suddenly disappear without rhyme or reason, whilst the climax and rising tension of the drama often went on a downwards slope after the halfway point.

The acting front is admittedly a mixed-bag ( especially with some line deliverances by the supporting characters.) Of course whilst the main cast shone throughout, one of the most dynamic performances throughout the show was surprisingly Yoo Ah-In’s performance as fanatic cult leader Chairman Jin Soo .

Whilst main lead Jin Kyeong-hoon is admittedly a complex character type as the “ cynical cop” and female lead Hye-Jin as the “ attorney”, they often felt tightly crammed into their roles as stock characters tropes . This isn’t necessarily a bad approach per say and did give director and screenwriter Sang-Ho opportunities to reimburse old character tropes for his own gain, but it did little to really diverge these main leads from their expected decisions and actions, often leading them to be shoehorned into the plot ( as well as lacking more profound depth) rather than allowing the characters to move coherently within the contents of the storyline. For example a major subplot surrounding the series for Kyeong-Hoon is the murder of his wife. Whilst later revelations play briefly upon this subplot, the profound details surrounding Hoon’s reactions as well as his relationship with daughter as a consequence were left underexposed, and therefore lacked more sound emotional-depth also.

Of course getting back to our mysterious chairman it isn’t necessarily the case that he was executed as an entirely “ original villain” as after all Sang-Ho does enjoy playing upon Jin Soo as the “ calm and quiet” archetype. However where Sang-Ho creates mystery surrounding Jin-Soo is that he isn’t a “ redeemable antagonist with a painful past” or “twirling his moustache planning world domination”, but just a regular person with a megalomaniacal desire to deliver his warped sense of “ justice”. However whilst Jin Soo helped us to bring together our main characters and kept the storyline moving, his anticlimactic character arc and exit from the series raided more questions than answers afterwards.

This was often a major problem with ‘ Hellbound’- plot points which could’ve been meticulously executed onscreen or poignant for audiences to reflect upon, felt missed out completely by Sang-Ho’s imbalance of subtext against plot. For example even through the cinematography and as the director Sang-Ho never seemed entirely sure how he wanted to capture the world of the characters. Seemingly ordinary or gritty early episode scenes hinting at the unexpected, turned into moody and drab aesthetic shots of Seoul straight out of a noir crime series. This isn’t necessarily unheard of a director playing with mood or lighting to convey messages or by transcending genres. However , directors or cinematographers usually have a vision in mind when invoking these scenes for viewers. Sang-Ho seemed often uncertain even through the objective lens of the director with how this truly captured or presented the emotional mind-frame of his characters . . Adding to this Yeon and Choi weigh down each dramatic scene straight out of a jump-scare movie; the monsters’ attacks feel animalistic and playfully sadistic, but never truly added a more profound and impactful tone for audiences.

The ending of the series attempt to crank up the shock value to the maximum with the delivered revelations of the finale. However whilst the series does leave a more open ending through a cliffhanger major characters arcs, subplots and storyline moments were rarely tied together or felt more complete as a consequence.

So what is left to take from ‘ Hellbound’? ‘ Hellbound’ is a pacy supernatural thriller with an intriguing plot wrapped into six episodes. Aside from some dodgy acting by our side characters, the main cast were decent enough and the standalone performance by Yoo Ah-In did give the drama some undeniably charisma. However one of the major problems with the Netflix series is that it becomes lost in a maze of its own doing; subtext themes and plot were often lacking in depth and more profound deliverance, whilst even some of our main characters lost their gravitation to audiences by abrupt exploration and coverage alongside an incomplete ending. The series attempts to deliver a “ terrifying” experience through the CGI “ monsters” of the series whose design and presence onscreen felt insipid. Overall ‘ Hellbound’ is not a bad per say during a binge-watch session with an intriguing enough plot to keep you engaged, but certainly lacking within delivering a more sound impact for viewers also.

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“ Meteor Garden”? More like a “ Meteor” Destruction Site, If You Ask Me...

It seems when coming across Meteor Garden(2018) , you come across two types of fans; the diehard lovers of Meteor Garden, who most likely haven’t seen other versions before , or the biased haters who constantly draw-up the parallels between their “ favourite” version and Meteor Garden as well.

In all honesty, Meteor Garden (2018) isn’t an entirely terrible drama in its own right ; it adds a much needed modern generational update from the 90s manga and the original ‘00s drama versions through technology, as well as thankfully getting rid of some of the more dire cliches ( including the amnesia trope) than some of the other versions. Additionally whilst a lot of critics seemed to be quite cutthroat about the casting choices ( particularly Sheng Yue) , Dylan Wang certainly wasn’t a bad choice for Do Ming Si . Although he was certainly not as memorable as his predecessors, Wang actually added quite a much needed light-humoured and boyish manner to his performance as our lead Male lead ( which may have been one of the few enjoyable factors of the show).

On the other hand, there’s no denying or sugarcoating that the Chinese version of Meteor Garden lacks a lot of originality, cultural insight and storyline than the other adaptations, sometimes making this 50- episode version feel very disjointed and dragging after the halfway point due to gradual fading interest in a lot of the storyline and characters.

This ironically also moves us onto the second problem of the show being how “ toned down” some of the riskier issues of the show actually were ( including the main driven plot point of the extent of bullying) as a consequence of Chinese censorship. Naturally this isn’t entirely the fault of the scriptwriters, as one writer joked and revealed shortly after a flood of complaints from critics upon these issues, how they had quite literally been told by the censors that “ they can’t have bullying”, “ there can’t be evident gaps between rich and poor”, “ violence is wrong” and a man dating several women will send out “ bad messages” if they included any of these themes in the actual script . ( For those who don’t know, the Taiwanese version created controversy and was banned upon most mainland Chinese airways for these exact reasons when it was first aired).

This doesn’t defend the problem, however, that there’s little sense of cultural reflection or intrigue around Meteor Garden (2018) . Even Chinese netizens pointed out that for a show centred in one of the world’s leading consumerist and fashionable cities , Shanghai, a lot of the outfits, hairstyles and accessories of the drama felt too outdated and unfashionable ( leading to the popular joke that the fashionable “ F4” were the “ four country boys”) for modern Chinese youths and unlike the other versions, the drama simply didn’t kept on culturally with the latest fashion.


Whilst there’s no denying that every adaptation is based upon romantic cliches and tropes from the original Hana Yori Dango manga, most of the versions have at least brought something fairly new or different to the table. The Korean version( Boys Over Flowers -2009), brought us elements of the infamous aspect of “ Chabeol” heirs and a fairly intriguing love triangle , the Taiwanese version (the original Meteor Garden -2001) became a cultural sensation across most of East Asia as one of the the first big “ idol dramas” to hit Chinese airwaves with Do Ming Si as a fairly dark character, and Ze Lei as a gentler version than the original manga whilst finally the Japanese version (eponymous to the manga as Hana Yori Dango- 2005-2007) played fully upon the Tokyo cultural aspect of living conditions for most Japanese families within small flats ( a running gag in the show) and Tsukasa as the lovelorn Male lead, and Rei as the cool and mysterious love interest.

Yet the Chinese version really has little to really offer ( apart from the evident name changes) on this front; the aspect of the show being set in a University is copied from the Taiwanese version , and the “ spoilt brat heirs” montage is directly taken from the Korean version and even the ending nearly directly copies the Japanese version without a second thought.

Although a respected actress , Sheng Yue really doesn’t add anything new or different to her version as Shan Cai in any manner of performance or character progression ( unlike her previous incarnation by Barbie Hsu and respectfully Mao Inoue ) being thrown out the window after the first few episodes. Similarly , the remaining members of the F4( played respectfully by Darren Chen, Connor Leong and Caesar Wu ) have always been portrayed in most of the adaptations as unrepentant bullies who gradually grow upon viewers through their often respectful and loyal feelings towards certain topics and especially through their gradual friendship with female lead. In the Chinese version, however, the F4 , just didn’t share the same level of bonding or actual development as the other versions; instead inexplicably “ perfect “ because of their skills and only “ falling” short of these perfections when it was necessary for the plot.
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Whilst respectfully it is quite fun for fans of any of these versions to see little homages or scene parallels ( such as wearing a similar outfit or being in a similar setting ) to their favourite scenes, there is a difference between putting in small Easter eggs or homages ( such as Barbie Hsu’s sister appearing as a character) and then directly copying dialogues, scenes and scenarios nearly word for word. There’s just nothing new, unique or intriguing which the Chinese version brings to this latest version.

To put into refined words, Meteor Garden is a hot mess . Whilst it certainly isn’t a drama beyond salvation ( due to some fairly comical moments thanks to Dylan Wang) and certainly shouldn’t be disregarded as being “ dire and beyond watching ”, there’s just nothing to really add or show in this version which hasn’t been brought up before by the respected Taiwanese, Korean and Japanese adaptations as well . Hopefully the Thai version will bring something new or at least intriguing to the classic tale of Hana Yori Dango/ Boys Flowers , as Meteor Garden (2018) just didn’t quite bite the bullet for doing any of this.

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A Heartwarming Love Story In Tokyo...

30sai made Dotei dato Mahotsukai ni Narerurashii is one of those dramas which will probably be avoided by most mainstream drama watchers from its surreal , seemingly unrealistic and “ sexual “ concept of a 30 year-old businessman, Adachi Kiyoshi ( Akaso Eiji)who can suddenly hear other people’s thoughts simply because he has never lost his virginity.

Yet against all odds of its bizarre premise, 30sai made Dotei dato Mahotsukai ni Narerurashii’s greatest strength was representing the relationship of our two main characters- not simply because they are a part of a “ same-sex pairing ”, but as flawed and independent individuals in their own right (something which only a minority of recent and contemporary romance dramas have been able to portray in the same manner of depth) .

Akaso Eiji was undeniably brilliant within channeling the meek- mannered Adachi, who is naturally perturbed after receiving his new abilities by being able to read the thoughts of anyone he makes contact with . To make the scenario worse for Adachi , he is surprised to discover that his popular male colleague Kurosawa Yuichi ( Machida Keita) has been harbouring complicated romantic feelings towards him for a long time.

Initially Adachi is hesitant to help out Kurosawa at work or grow close to him. Yet as Adachi reads more about Kurosawa’s thoughts and feelings both towards him and as an individual , viewers actually get to see in the process Adachi making sense of his own feelings towards Kurosawa as well. In one particular scene, viewers learn that a lot of Adachi’s problems with wanting to start a relationship with Kurosawa aren’t entirely homophobic, but a consequence of self-esteem and confidence from his past. It is only when Adachi is actually able to start respecting himself ( an important stage in any relationship) that he is able to start falling in love with Kurosawa also.

On the other hand, this also moves us on to one of the biggest flaws of the drama ; its inability to capture actual attitudes and thoughts of Japanese society towards the LGBT community in Japan. Whilst it can be said that not every drama should always be a political and radical message towards society, there’s no lies within saying that Japan has always had a complicated relationship with LGBT rights. Although undeniably a lot more progressive and liberal than some countries in the world and a lot more than the past, there’s no sugarcoating that open- homosexuality or being in a same sex relationship is still sometimes a cause of shame and prejudice amongst some members of Japanese society.

For a drama which specifically tackles these difficulties, it felt a bit out of place not to openly cover some of these pressures and expectations such as in Adachi and Kurosawa’s workplace upon their sexuality and the forced image of “ manliness” often imposed upon men of all cultures as a consequence. This is a flaw which could have easily been shown in the drama and therefore meant that 30sai made Dotei dato Mahotsukai ni Narerurashii was lacking in some genuine and realistic approaches to homosexual relationships in Japan.

On the other hand, my biggest praise must be given to the scriptwriters Yoshida Erika and Okazaki Satoko within the manner in which Adachi’s feelings and attitudes are portrayed. Although he comes to grow accustomed to his own feelings being more than platonic for Kurosawa , it was finally refreshing to see a case where Adachi as a romantic lead is not suddenly head over heels for Kurosawa either. Adachi is finally shown as a protagonist who learns to develop his relationship with Kurosawa over the whole course of the series as a slow and gradual process, rather than a sudden rush for them to suddenly hook up at the ending of the drama.

In a similar manner, Machida Keita was equally brilliant as Akaso’s costar within his role as Kurosawa. Although initially portrayed as overly extroverted and a little too optimistic at times within the drama, there’s no denying that Kurosawa’s reasons for liking Adachi do follow some typical romantic cliches. On the other hand, Adachi’s abilities reveal that Kurosawa is very thoughtful and respectful of some boundaries within their relationship as well as his own feelings towards Adachi not getting too out- of -line. As opposites within their progressive and complicated relationship, Kurosawa and Adachi’s connection isn’t overly presented with beyond salvation cliches nor is it an easy ride; it is more a case that both characters learn to walk through their differences as individuals.

Our side couple, partial- hikikomori ( shut-in ) Tsuge Masato ( portrayed unrecognisably by Asaka Kodai ) and cheerful delivery boy Wataya Minato (played by Goto Yutaro ) was a complicated portrayal for viewers to say the least.

Undeniably both Kodai and Yutaro were just as brilliant as our main actors within their roles, but both their characters respectfully in the beginning of the drama felt a little too much like our main characters within their roles of the “ less confident” and “ socially awkward” guy and the “ popular social butterfly”. Yet perhaps my one note of praise for their relationship comes later in the show , where a sincere revelation by Minato, opens up Masato’s tightly-closed shell and his own feelings as well. On the other hand at this point in the drama, there is sadly also little time to actually focus upon the same depth of their relationship as our main leads, making their progression seem a little too rushed and consequently lacking in the same emotional investment.

Overall there is no denying that although there are several flaws with some characters , cliches and avoiding certain area topics (such as some general attitudes by Japan towards homosexuality), 30sai made Dotei dato Mahotsukai ni Narerurashii is a surprisingly progressive and heartwarming Tokyo romance, portrayed by a brilliant cast, as well as the focus upon the two leading characters as individuals, rather than mere plot devices as well. Definitely a drama watching.

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' Scripting Your Destiny'; A ''Copycat'' of ' Goblin', Or A Masterpiece?

Written by novice screenwriter Eun Seon Woo ( with executive producer of the series being Kim Eun Sook who previously created Guardian: The Lonely and Great God) , ' Scripting Your Destiny' accounts the unrequited love story of Deity of Destiny Shin Ho Yoon ( Ki Do Hoon) acting as a matchmaker between the maverick screenwriter Go Chae Kyung ( Jeon So Nee) and the practically impeccable television producer Jung Ba Reum (Kim Woo Suk). However, fate seems to upturn destiny, as Shin Ho Yoon soon finds himself developing taboo feelings for Chae Kyung. Whilst undeniably a bittersweet romance tale with an intriguing plot premise, ' Scripting Your Destiny' does succumb to its own shortcomings from plot development, unoriginality and characterisation over the course of the series.

First of all, it is important to probably address the biggest elephant in the room with the controversial comparisons by watchers of ' Scripting Your Destiny' to the renowned series ' Goblin' ( otherwise known as ' Guardian: The Lonely And Great God'). Respectfully, it is no surprise that both shows share a similar mythical tone due to Kim Eun Sook working behind the scenes, however, both series have notably different premises. The successful TV drama ' Goblin' crafts a vivid narrative with a sixteen episode story-arc, intertwining the destinies and fates of its characters as individuals alongside its main protagonist. On the other hand, ' Scripting Your Destiny' recounts primarily the feelings and events of Ho Yoon and Chae Kyung, with the side characters being used to keep the storyline motivated.

However, it is important to not turn a blind eye towards the evident parallelisms between the series; an urban fantasy setting, similar Korean-mythological deities and cinematography.( Not least the infamous scene copied in ' Scripting Your Destiny' with the usage of '' slow-motion rain'' and the ''tunnel scene'' from its famous predecessor.) Although there are notable similarities shared between the two dramas, it is wrong per say to propose that ' Scripting Your Destiny' is a ''rip-off'' from the well-known drama entirely, however, the lacking originality of certain scenes (whilst arguably ironic) is prominently highlighted within Eun Sook's touch to the series .

On a more positive note, the main cast did help to animate the personae of Eun Seon Woo's story with intrigue for audiences. Ki Do Hoon was fairly good as our mysterious male lead Shin Ho Yoon ( similar to Kim Woo Suk), whilst his costar Jeon So Nee refreshingly helped her character Chae Kyung to break out of the typical mainstream naive, innocent stereotypes of female heroines in fantasy dramas with a down-to-earth personality. Whilst Gal So Won did show evident signs of being of awkward pauses with her delivered performance, she was surprisingly brilliant as her onscreen persona, the immortal deity Sam Shin .
( Parallel to Park Sang Nam's performance as Shin Ho Yoon's mentor Myung.)

In terms of characterisation, the show was a slightly mixed-bag. It is important to take into account that the drama was a ''web-series'' with 10 episodes overall, with a rough duration of 20 minutes per episode. Consequently, the series was limited in itself with being able to tackle the entire life stories of every character, however, poor pacing towards the focal point of the series, often took away from the more intriguing elements of characters being portrayed as individuals, rather than merely plot mechanisms.

The main lead of the series Shin Ho Yoon followed the archetype of the '' otherworld entity''; oblivious to human interaction and emotions by living as the '' landlord'' of the female lead ( an intended pun from its predecessor ' Goblin' with the shared rough translation of '' heavenly being'') and her mother Yang Mi Soon ( So Hee Jung), the owner of a nearby cafe which Ho Yoon has become a regular patron alongside Myung to watch over Chae Kyung. Whilst Ho Yoon arguably was a sentient character through his developed feelings for Chae Kyung, the exposed revelations by the storyline through Myung's actions and Chae Kyung felt lacklustre from a genuine emotional reaction. Similarly, the storyline did expose an initially intriguing aspect towards the creation of the deities and their restricted existence, however, ultimately the greater existence of Ho Yoon left more questions than answers, especially as none of the characters ( including the deities) seemed to wonder if a higher being was involved in Ho Yoon's love story with Chae Kyung ( as well as the notable morality).

As mentioned previously, Chae Kyung was a fairly likeable female lead ( thanks to the portrayal of Jeon So Nee). As a screenwriter in the storyline, it was invigorating to see Chae Kyung realising the meta-fictional dramatic irony of her circumstances ( as well as parodies to mainstream and successful dramas). However, Chae Kyung felt limited as an individual ( similar to Ho Yoon ) within her initial emotional outlooks upon scenarios ( not least the near ending of the series in an attempt to '' write in''an ending with an abridged ambience). In addition to this, the drama seemed to throw away the respectfully intriguing aspects of Chae Kyung's later career and her work on the latest production for the preferred focus of her '' romantic yearning'' for Ho Yoon.

The other side characters of the series did serve their primary purpose over the course of the web-series, however, they did feel severely underdeveloped such as Sam Shin ( who was an intriguing take on the deity, however, her romantic pairing and presence in the drama felt incipient) as well as Ba Reum ( who served little purpose despite being the ''second male lead'' ). Arguably, however, the most half-baked character in the series occurred within the presence of Myung. Despite being an intriguing and light-hearted presence against the more angst-ridden moments of the show, Myung's presence as one of the oldest- shown deities in the series was never truly explored to expose his individuality. In addition to this whilst Myung's friendship and intimacy with Ho Yoon served its definite cause in the storyline, his involvement and lacking surprise against certain involvements with Ho Yoon, seemed to suggest that Myung should have had a more prominent part within the mystery of the story.

The ending of the series was bittersweet; admittedly a little rushed in the grand scheme of the attempted story arch, however,certainly appropriate for its genre.

Consequently, ' Scripting Your Destiny' was a fairly binge- worthy drama with an intriguing premise, a fairly good cast, beautiful cinematography and a bittersweet romance. However, admittedly this series did feel slightly overrated from top comments that it was '' flawless'' ; characters felt adequately-written, the pacing was questionable in parts and whilst the in jokes to other dramas such as producer Eun Sook's hit series ' Goblin' were entertaining for drama viewers, the lacking originality for an otherwise intriguing storyline to its predecessor became predominant.

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Psychopath Diary; Where A Loser Can Mistake Himself For A Psychopath...

It’s fair to say that Psychopath Diary is perhaps one of the few Korean dramas out there which actually dares to tackle a genre not often seen in South-Korea called “ Dark Comedy”. Naturally this isn’t a theme which interests everyone out there, however, Psychopath Diary is outrageously funny and equally morbid within its tackling of our Male lead Yook Dong-Sik ( Yoon Shi Yoon ) believing he is a psychopath over the course of the drama.


When viewers are first introduced to Dong- Sik, he is an unlikely male lead. Although respectfully Shi Yoon has taken on some quite suave roles as the “leading”man in dramas such as Hit The Top and My Cute Guys, his drab outfits and curly perm help him to blend into the role as the “ everyday” and “ meek” office worker by appearing in his role as Yook Dong-Sik.

To put it into simple words, Dong- Sik is the embodiment of a “ scapegoat” and a “ loser” ( at least in the beginning of the series); a “ nuisance” to his colleagues and family ( particularly his austere father), depressed and someone who certainly wouldn’t even say boo to a ghost. Ironically his fate changes when a failed suicide attempt leads to him developing retrograde amnesia in the same sight when a serial killer ( Park Sung hoon) left behind his own diary after a murder around the same time . By being given the diary which is mistakingly believed to “ belong” to Dong- Sik, he is ironically led into believing he is a ruthless psychopath.

As you can imagine, this leads to a series of many misunderstandings and dark humour within scenes from Dong- Sik trying to “ remember” his talents by watching a bunch of serial killer movies ( such as American Psycho) to miserably failing at remembering how to lie out some coverings to cover up blood when he attempts to carry out one of his plans. However, as the series progresses, there’s also an added level of surprising progression around some of our characters in particular with our female lead and Police Officer Shim Bo- Kung ( Jung In- Sun) not as a romantic interest, but an intelligent cop in her own right with quite a heartbreaking revelation about her family life , as well of course , Dong- Sik revealing his intelligence when he begins to pursue a cat and mouse game with our charming killer Seo In- Woo ( Park Sung-Hoo).

Yet there’s no denying that whilst Psychopath Diary was a morbidly enjoyable watch, it isn’t a flawless show. The pacing of episodes in addition to the progression of storyline sometimes felt disjointed and a little dragging in addition to the comedic element ( sometimes pushed a little too far in scenes ). In addition to this the cinematography could have been more progressive and intriguing ( specifically lighting) as well as perhaps some more depth into our brushed antagonist Seo In- Woo and what made him actually tick as well.

On the other hand, Psychopath Diary was an undeniably satirical, witty and a social commentary upon many elements of Korean society ( e.g. work , drama cliches and lifestyle). Although not flawless, it is certainly enjoyable for those who are looking for something with edgy comedy, an intriguing plot and of course characters as well.

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Kang Daniel And Chae Soo-Bin Are Reporting For Duty In ‘ Rookie Cops’…

‘ Rookie Cops’ is a sixteen-episode streaming series which has earned intrigue and controversy amongst watchers and drama enthusiasts alike; dispute as a consequence of its limited availability on streaming service Disney Plus, as well as fascination due to its casting choices, setups and characters.

Main female lead Eun-Gang( Chae Soo-bin- ‘ Love In The Moonlight’, ‘ I’m Not A Robot’ and ‘ Where Stars Land’) is a bubbly, optimistic and outspoken individual. Often having felt left out by her parents due to their seeming preferential treatment of her sister Go Mi Gang ( Son So Mang- ‘ Queen Of Mystery 2’, ‘ Mr. Queen’), Eun-Gang has often felt pressured to take up a career which will gain her parents’ respect.

Eun-Gang’s prayers are finally answered when she discovers that her first-love has enrolled in the academy in order to become a police officer. Determined to enter the academy in order to get close to him as well as earn the respect of her parents, Eun Gang seems to be living the dream. However, reality, as Eun-Gang soon discovers, can often be harsh.

Meanwhile the narrative introduces viewers to main male lead and Eun-Gang’s polar opposite, Wi Seung Hyun( Kang Daniel). The level-headed and reserved son of top-ranking officer Wi Ki Yong (Son Chang Min- ‘ My Fair Lady’, ‘ Pride and Prejudice’ and ‘ No Matter What’), Seung-Hyun has felt the need to uphold the reputation of his father, ex officio.

However Seung-Hyun and Eun-Gang’s worlds collide even prior to entering the academy. After an awkward first encounter, Seung-Hyun and Eun-Gang are shocked to bump into one another again at the Korean National Police University.

However as the polar opposite main leads become involved with one another on a gradually frequent basis at the cadet academy, Seung-Hyun, Eun-Gang and their peers soon find themselves facing dilemmas, chasing dreams, and struggling to comprehend feelings on the front line of duty…

‘ Rookie Cops’ is the creation of screenwriter Lee Ha Na. The same writer behind predominantly melodramatic productions such as ‘ Cunning Single Lady’ and ‘ The Time We Were Not In Love’, ‘ Rookie Cops’ attempted to offer viewers the best of both worlds; a lighthearted youth series through Ha Na’s signature vivid tone, as well as a moody cop drama revolving around crime and emotional dilemmas for the main characters.

Admittedly this was necessary to a certain extent for viewers. Despite a noir-style opening, ‘ Rookie Cops’ was heavily invested with giving an introduction to its main leads Eun-Gang and Seung-Hyun, as well as introduce the other key players to the scene.

In particular these reoccurring characters and fellow students of the academy included apathetic as well as studious Ki Ha Na ( Park Yoo Na- ‘ My ID Is Gangnam Beauty’, ‘ SKY Castle’ and ‘ True Beauty’), athletic judo prodigy Kim Tak ( Lee Shin Young- ‘ Crash Landing On You’, ‘ Bite Sisters’ and ‘ How To Buy A Friend’), eccentric yet passionate Woo Joo Young ( Min Do Hee- ‘ Reply 1994’, ‘ My ID Is Gangnam Beauty’ and ‘ Clean With Passion For Now’), sprightly social butterfly Yoo DaeIl ( Park Sung Joon- ‘ Sweet Munchies’ and ‘ Run-On’) as well as amiable student Shin Ah Ri ( Cheon Young Min- ‘ Foolish Mom’, ‘ What’s Up With These Kids!?’ ) and principled youth Seo Beom Joo ( ‘ Voice 2’, ‘ A Piece Of Your Mind’ and ‘ Military Prosecutor Doberman’).

In addition to the students, Professor Cha Yoo Gon ( Kim Sang Ho- ‘ City Hunter’, ‘ Kingdom’ and ‘ Sweet Home’), Professor Bang Hee Sun ( Choi Woo Ri- ‘ Queen In Hyun’s Man’, ‘ Matrimonial Chaos’ and ‘ The Bride Of Habaek’) as well as Dean Kim Soon Young( Seo Yi Sook- ‘ You’re All Surrounded’, ‘ Mother’ and ‘ Hotel Del Luna’) played active roles as the reoccurring members of staff at the University.

Nevertheless it was noticeable that the second-half of ‘ Rookie Cops’ shifted in tone in comparison to the first half ; angst-ridden and with a several surprising plot twists, though admittedly a little inconsistent at times due to quick-paced events.

As mentioned previously, Chae-Soo Bin and Kang Daniel star as the main leads of the series and deliver fairly consistent performances throughout. ( It is admittedly praiseworthy to point out that despite Kang Daniel’s good reputation as a celebrity talent host and soloist, ‘ Rookie Cops’ marked the idol’s first acting debut onscreen.)

As for the main leads’ onscreen romance , Daniel and Soo-Bin’s potential chemistry is admittedly stunted at different stages of the narrative. In the first-half of ‘ Rookie Cops’, shoehorned embarrassing scenarios and encounters were purposefully placed to enforce tension and awkwardness between the main leads onscreen. Yet it’s hard to deny that as plot progress, Daniel and Soo Bin’s onscreen chemistry is admittedly a lot more natural also.

Then there’s the supporting cast. Although there were admittedly several moments of overblown dialogue, the supporting cast delivered fairly solid performances. In particular, Lee Shin Young, Park Yoo Na and venerable actor Kim Sang Ho particularly stood out due to their charisma onscreen.

As mentioned previously, ‘ Rookie Cops’ is divided almost into two-halves by its tonal shift; a fairly easygoing introduction ( aside from its initial opening), gives ways to a darker second-half with several unexpected twists and revelations for viewers.

The first-half of ‘ Rookie Cops’ admittedly downplays a lot of initial tension from the opening, as well as future events to come. Instead, ‘ Rookie Cops’ fixated upon character introductions, early dilemmas for the characters and potential setups, before plunging into the deep-end with a pacy and angst-ridden second-half with varying results .

The tonal shift did help to keep viewers intrigued and intensify the climatic events of the second-half. However, this also caused some drawbacks for ‘ Rookie Cops’ also.

Although some of the intriguing counterplots of the series such as the rocky friendship between Kim Tak and Seung-Hyun, Eun-Gang’s gradual maturation as well as emotive themes such as anger, loss and love as well as focusing upon other subject areas such as corruption, peer pressure and corporal punishment, there were several subplots which were admittedly poorly fleshed-out. For example, Seung-Hyun’s estranged relationship with his father and the escapades of other side characters such as Shin Ah Ri were often disregarded during key moments.

Through the directing lens of ‘ Kim Byung Soo’ ( ‘ Queen In Hyun’s Man’, ‘ A Korean Odyssey’ and ‘ He Is Psychometric’), ‘ Rookie Cops’ is a fairly slick and glossy production.


Admittedly early episodes of the series seemed to place a heavy- budget emphasis upon frequent cut scenes of the academy; with little variance in tone or schemes. However as the second-half dawned upon the series, ‘ Rookie Cops’ took a different approach to filming by helping to captivate through Byung Soo’s leadership, the emotional tones through gradients and palettes of the characters at different times in the series . ( In particular off-whites, golden hues and blues were frequently shown onscreen during key scenes and interactions.)

The OST of ‘ Rookie Cops’ is predominantly composed of a compilation of schmaltzy ballads and pop tracks. Admittedly with some tracks more memorable than others, LUCY’s contemplative and guitar pop track ‘ Police Class’ from OST Part 2, ‘TIME’, an upbeat song performed by singer Kwon Eun Bi from OST Part 4, as well as Kang Daniel’s adrenal-infused tempo song ‘Hush Hush’ featured on the Special OST were surprisingly ear-catching tracks .

The finale of ‘ Rookie Cops’ was admittedly dependent on expectations. Although there was a shocking twist for the audience, the execution of the sudden plot-twist felt admittedly last minute; quickly thrown in to the storyline narrative in order to add edge and surprise , though failing to help impact the characters or the falling action.

Lighthearted, angst-ridden and surprisingly profound at times, ‘ Rookie Cops’ is a series which offered viewers with a lighthearted and sugary coming of age tale, as well as moody crime-drama in parts also. Nevertheless despite some brilliant acting performances and an intriguing setup, ‘ Rookie Cops’ did admittedly suffer slightly under the weight of execution by underdeveloped subplots and several overindulgent tropes. However for those looking for the best of both worlds through both sweet and darker themes, ‘ Rookie Cops’ is a fairly entertaining binge-watch also.

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Mystic Pop- Up Bar was a surprisingly enjoyable and fun show to watch at times...

Mystic Pop-Up Bar recounts the mystery behind our most unlikely hero Kang Bae ( Yook Sungjae) , who by chance, ends up meeting the eccentric owner of a “ Pop- Up” Bar called Wol-Joo ( Hwang Jung- eum). Together alongside her coworker Gwi ( Choi Won- Young), the duo are representatives of the other side, tasked with solving the numerous desires of their customers through wandering through their dreams. When Kang Bae ends up indebted to Wol- Joo after a certain incident, he soon finds himself stumbling into new worlds and strange revelations as well.

As dramas go, Mystic Pop- Up was a surprisingly enjoyable and fun show at times. It wasn’t groundbreaking upon the traditional concept of the oblivious protagonist stumbling into the world unknown, however, there were a lot of intriguing aspects of Korean culture ( modern and traditional) , mythology ( particularly deities) and a strangely sweet romance between Kang Bae and a most unlikely love interest in security guard Kang Yeo- Rin ( Jung Da- Eun) .Nonetheless, it was a bit of a conundrum from a watching perspective.

The biggest problem with this lay upon stealing too many cliches and tropes into the storyline. Whilst this in itself is not a crime and Mystic Pop-Bar did have a fairly intriguing premise , the drama just did not expand upon many of the later intriguing aspects as well ( particularly with the shocking twists near the finale).

This also caused and created too many loose ties in the entire show ( particularly later plot-holes). It’s understandable that the drama tried to balance comedy and melodrama to appeal to audiences , however, the biggest problem for Mystic Pop Up Bar was relying too heavily upon comedy for a major proportion of the drama than allowing the later melodrama to be just as impactful in later storylines.

On the other hand, whilst most watchers seem to criticise Hwang Jung-eum from her past experiences of acting and applying it to the show after the beginning of the drama , Jeung-eum was actually quite good in Mystic Pop Ip Bar. That’s not to say that she didn’t overact at times ( similarly with both her co- stars Young Choi and Sungjae), but, Jeung- Eum seemed to challenge a level of a profound edge towards her performance and character’s backstory , parallel to fellow costar Sungjae during the more tear jerking moments of the drama .

The delivered ending was fairly bittersweet. Perhaps not the “ perfect” ending to the show, but this just added to the fact that although Mystic Pop- Up Bar follows the generic scenarios and tropes of most fantasy and comedy dramas, it was still enjoyable and entertaining to watch.

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A Wasted Journey Down The Rabbit Hole...

Filmed by director Baek Soo Chan ( A Girl Who Sees Smells, Reunited Worlds ), written with a fairly, fresh unique storyline by Kim Kyu-Won and having brilliant casting choices of Joo Won ( Bridal Mask, Good Doctor), Kim Hee Seon (Room No.9, Angry Mom) and Choi Won Young ( Sky Castle, I Remember You and Mystic Pop- Up Bar) , Alice truly had all the given possibilities of being an avant- garde masterpiece.

So, what went wrong with such a good show? Well, it would seem that there were a couple contributing factors for the show’s own demise, not least; characterisation, inconsistent plot and lacking dramatic tension.
To give the show some credit, the beginning did build- up a lot of intriguing plot for viewers; a nearly apathetic detective ( Joo Won) who after witnessing the death of his mother nearly ten years ago, is confronted with the past and the future with the mysterious meeting of his mother’s doppelgänger , a physicist interested in time travel, and apparent time travellers from the future who may have played a part in the death of his mother . Yet, one thing which did grow slightly apparent about this show from episode one, was the lack of creativity with cinematography, something which for a show about time travel ( apart from the old “freeze in time” scenes), there was little added to express this.

Additionally, a lot of drama watchers that I’ve talked to about this show, have seemed to sugarcoat a lot of the inconsistencies which began arising the beginning of this drama ( not least the exact extent of the laws of time travel and the strength of Gyeom’s powers), however, it can perhaps be overlooked slightly in the beginning with the abilities of our acting cast ( well, to an extent). As per usual, Joo Won was brilliant within his portrayal as an intelligent detective yearning for the truth behind his mother’s death. In fact, there is little to really fault about Joo Won in his portrayal, but, rather how the scriptwriters decided to continue onwards with Joo Won’s character, Park Jin Gyeom. There were a lot of moments which the scriptwriters didn’t even try to explain to us as viewers; Gyeom’s random emotional outbursts as someone apparently apathetic( yet his lacking emotional relationships even with the possibilities that could have been explored with his own father ), his lacking intelligence within moments in the show ( such as his inability to draw the conclusions of a simple DNA test with his mother’s doppelgänger)and of course the exact extent of his powers; something not explained even by the confusing ending of the drama and Gyeom’s character twist ( equally making little sense in regards to Gyeom as a character or the exact reasons behind his actions).

En par with Joo Won as an equal , undeniably was Kim Hee Seon. Whilst I’ll be honest in saying that I had to watch a couple of clips from older dramas/ movies to know her past works, Hee Seon was certainly was well-cast within her dual role in the drama. Whilst Joo Won also had to conflict between playing a younger and older- self of his character in the series, Hee Seon had to go one step further in the more complicated matter of playing two carbon copy characters with ( though not specified)presumably different ages and personalities. This is a hard feat for any actor, and it’s fair to say that it was believable upon Hee Seon being two different people here; a mother/time traveller and, of course a young and intelligent scientist . Sadly in a similar manner to Jin Gyeom as a character, there were too many plot holes associated with both Yoon Tae-Yis. Whilst the show offered some explanation towards how these two characters are identical copies of the other, there was little rational or plot build- up for viewers to this moment, in a similar manner to the emotional context of whether Doctor Yoon played a part in the discovery of the agency as a consequence of her works, her questioning intelligence and the revelation of her emotional trauma seemed to not truly flesh her out as a character at all in the drama . (This also adds on a side note, what exactly happened to the Book that the characters stressed as important by episode 16, seemingly disappearing from the storyline until last minute.) Then of course there’s the additional “ platonic, yet mutual feelings angle” the drama took between the relationships of Jin Gyeom and Doctor Yoon. Whilst to an extent it was easy to understand where Yoon’s misunderstandings came from before learning more about Gyeom , Jin Gyeom’s own misleading assertions towards Yoon being somehow linked to his mother, took the show on a slightly disturbing ( though thankfully only suggested) factor when considering that Doctor Yoon is still identical to his mother.

Thankfully, the show didn’t extend too much into this near-incest relationship, but, it is noticeable in later episodes how the driving action of the plot drives to a near halt in order to focus on their “ affectionate” relationship rather than actual plot development like earlier episodes . However, in order to appeal for viewers, the writers did attempt to present a love interest for Gin Yeom through the introduction of Lee Da-In as Kim- Do Yeon. Whilst Da-In certainly wasn’t awful within her portrayal, her character was simply unnecessary to the plot; She had no character development and most importantly, no actual contribution to the plot as well.

On a more positive note , Kwak Si-Yang’s performance as Yoo Min- Hyuk , a time- traveller and agent for Alice , was brilliantly angst-ridden, adding to some complex and emotionally- driven scenes between his character’s horror and realisation with his actions after he finds out a shocking truth. Although undeniably Min- Hyuk probably had some of the best ( and possibly only ) decent characterisation in the show on his road to redemption with Gin Yeom, the scriptwriters didn’t give Min- Hyuk any justice as a character. This is something which felt quite detached both emotionally for viewers and the scriptwriter, with the decision for the relationship between Min Hyuk and Gin Yeom to be carried out with little build-up or development, apart from the cycle of Gyeom being weary of Min Hyuk, beating him up and repeat. ( For viewers who know this secret, I am sure that you can agree with me that the ending which could have been emotionally touching, completely killed this relationship with little sense considering Gyeom’s reaction.). Additionally, of course, Kim Sang Ho and Choi Won Young’s roles on the sideline added some emotional angst and sincere questions throughout the drama through their performances .

Overall, Alice had a lot of intriguing premises and ideas, and a fairly good cast yet, lacking characterisation, inconsistent plot and a rushed ending with little sensical plot ( especially regarding the laws of time ) and emotional deliverance, added to the wasted potential for a good show by becoming dire .

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“ Rugal”? Yes, This Show Will Fold and Twist Your Sanity...

Based upon the webtoon of the same-name, Rugal had all the good selling points of a thrilling drama- macabre, original and intriguing plotline, unique characters, venerable actor Choi Jin- Hyuk taking the lead and of course fairly pioneering and new film studio and Studio Dragon ( same makers as critically- acclaimed dramas such as Children of a Lesser God , Love Alarm and Doctor John) taking creative control of the show, should have easily sealed Rugal’s fate as one of the best Korean dramas of 2020. So naturally this raises the dire question we all want to know ;

“ So what went wrong to make it so bad ?”.

Of course, normally ( regardless of whether I can access the webtoon or not), I like to try and be non-biased and take into account a drama based on a webtoon ( regardless of whether I’ve read it or not) as a standalone story with its own characters, plot and original qualities as it should be assessed as a series in its own right . On the other hand with comparing images and forums of original pans from the webtoon ( which actually seems pretty good) and comments by fans of the Korean version in contrast to the actual dire deliverance of the drama, it is pretty fair to say that the drama writers made the classic mistake of pacing.

To put into refined words, pacing is a classic feature in stories into how quickly the story moves , however, in Korean dramas due to being in a televised or streamed format , it can quite literally make or break the audience and critical response from watchers. There isn’t necessarily a correlation between “ slow” meaning “ no viewers” or “ quick” meaning “ lots of viewers” because at the end of the day, the biggest part to play in any Korean drama is storywriting , however, pacing can affect the quality and deliverance of the story for viewers.

Rugal’s biggest problem, however, isn’t that the storyline isn’t interesting ( quite the opposite in regards to a cop upon death’s door both literally and metaphorically blinded from the truth and being given a new opportunity to take his revenge) , but, there just isn’t enough time for viewers to both catch-up or develop any interests within
the storyline or characters. Jin- Hyuk cannot be faulted for what he was given to work with , however, his character may as well just have moulded together with failed storyboards and scripts for viewers as there quite simply wasn’t enough exposure to his character, Ki- beom as an individual outside of the story.

For most viewers to relate to even the seeming villain of a story, writers often reflect qualities we can see in ourselves, friends and family in a character - traumatic pasts, complicated relationships with the people around us or even just emotions - these are all real qualities most of us know in the real world. Whilst as viewers we do come to understand Ki- beom’s anguish and fury over his wife being taken from him, we don’t really learn why this should be significant for us as viewers either through a sense of normality or love to hit closer to home, or, the actual after affects of losing this normality for Ki-beom.

Even in minor scenes such as Ki-beom walking as a blind man or being able to see for the first time, a moment of weakness by stumbling or having to lie down would’ve allowed us to step back and see Ki-beom as someone who is a relatable hero. Instead the show is too focused on Ki-beom becoming an all-fighting machine to actually consider these fleshed-out moments. ( A classic case of the show doing this is within his former police coworkers happily accepting that their close companion and a man they thought had either been dead or missing for the past several months, could just return all of a sudden without a second thought.)


As you can imagine, whilst the quick pacing allows us to get to the quirky action scenes, Rugal again simply doesn’t give us a chance to know the other characters ; Mi Na ( Jung Hye In), should have easily been one of the most profound considering her past yet was written-off to see her delivering punches throughout the series with her comrades or enemies and Lee Gwang Chul ( Park Sun Ho) had so much potential to be a genuinely enigmatic character, yet the drama wrote him off as a goof for the majority of the drama rather than an individual.

Maybe on one note of praise the show did surprisingly deliver both a good performance by Han Ji Wan and surprisingly intriguing characterisation around one of the show’s antagonists, Choi Ye Won. Although her character should have initially been despicable, her moral grey area around the intrigue of Beom and the horrific actions of the major antagonist Deok Goo ( Park Sung Woong) did add a level of intrigue around her character. It’s just a shame that the writers couldn’t have done the same for the previously mentioned antagonist, who although wanting to be portrayed in a villainous light, had no intriguing motives or features at all as a villain apart from just being a violent menace .


Perhaps the scriptwriters were becoming conscious of how much time they’d wasted seeing characters deck one another twelve times or how we’d spent nearly six episodes watching the characters fight or train without Ki- Beom getting any closer to learning about his wife, as near the ending of the drama, we did see a couple of loose threads attempting to be tied. On the other hand, the problem with this decision lies with the returned problem of pacing. Seeing nearly fifteen episodes of a comedic character such as Gwang Chul suddenly struggling with an inner-battle with himself does not add a level of depth or shock for viewers, it just adds another round of groans and questions due to having no indicators of Gwang Chul struggling in previous episodes. This seems to point out that Rugal’s biggest failure is just not being able to keep up with the right speed of pacing with racing through the story and give us little time as viewers to grow used to the characters or story points. ( As an example of intriguing story pacing consider probably one of the most sensational Korean dramas of the 2010s, Sky Castle - the drama spiked from slow pacing to suddenly quick to back to slow in a matter of episodes yet love or loathe the drama, it was able to keep viewers entertained because viewers could adhere and keep-up with the story because of the pacing-style. Rugal could’ve lived up beyond expectations if it had been given the right pacing, yet the show just fell into its own despair by trying to race to scenes of mindless violence and fighting instead ).

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Is it Worth Investing Time in ” Hospital Playlist”?

Yes, I am late to the party with only just having completed screenwriter Lee Woo Jung ( Reply series, Prison Playbook ) ‘s drama “ Hospital Playlist”. However with ”Hospital Playlist 2” now ( at the time of writing) being released on Netflix streaming services , I decided it was a good time to give the critically acclaimed and hit series a go.

Of course“ Hospital Playlist” isn’t without its more nuanced flaws. At times ” Hospital Playlist” struggled to step away from the medical show fusion genre scenario with the mundane setup of high drama, lighthearted comedy, “life vs death” consequences, and not every patient makes it through in order to keep viewers on the edge of their seats. (Additionally this provoked the evident problem of tedious pacing in the show also.) However, there’s a more poignant element similar to Friends in the mix, as the quintet are revealed to have a deep-rooted friendship with one another for more than two decades.

Whilst the first couple of episodes invest time within “ getting to know” our ensemble and present the fairly dynamic performances of our main cast, the following episodes explore an oddly balanced investment into the quintet jamming out in their band during their free time, backstories and the current ups and downs of life at the hospital also.

Arguably one of the major roles to talk about in the drama was the role of Jo Jung Suk as Ik Joon. As a single dad, Ik Joon could have easily been stereotyped as the cliched “ estranged father” or having a “ bitter” relationship with his son Woo Joo (Kim Jun) due to the bitter nature of his divorce from his wife , however, Ik Joon is refreshingly nothing but a kindhearted goofy dad, with a charm that easily wins over even his most stubborn of patients in the hospital . Arguably the potential “ love story” element in consideration to his unrequited feelings for Song Hwa ( without decisive spoilers) may leave viewers a little on edge by the unnecessary setup, however, surprisingly the later decisions of Ik Joon felt surprisingly natural for his character.

Following on from Ik Joon is evidently Jung Kyung Ho as Kim Jun Wan.
Despite his tough shell in front of the trainees and his peers , actor Kyung Ho seemed to pretty much nail Jun Wan’s archetype as the “ grizzly bear with a marshmallow heart”. Jun Wan is a harsh teacher at times, but a brilliant cardiothoracic surgeon and truly cares for his patients ( even if it means making tough calls). In one particularly heartfelt scene of the series, Jun Wan adorns a terrible suit from Jae Hak (Jung Moon Sung), and attending the wedding of his patient’s daughter as his patient is unable to attend. His love story with Ik Soon ( Ik Joon’s sister) did undeniably start on a bit of an eccentric and uncomfortable setup but did become enjoyable ( especially with Jun Wan’s grouchiness at times) as the series progressed.

As the only female friend of the quintet and a single woman in her 40s Chae Song Hwa could’ve easily done down the more stereotypical route of being “ bitter” or “ pitiful”. However Song Hwa is refreshingly anything but these labels. A Charismatic, compassionate, intellectual and elegant character , its easy to see why actors Jo Jung Suk and Yoo Yeon Seok recommended theatre actress Jeon Mi Do for the role.Arguably whilst season two has given a potential opportunity to explore the landscape of Song Hwa’s mixed feelings for her respected love interests, season one undeniably often failed to truly sketch - out Song Hwa’s more profound complexity in her love life. (However room for a second season will hopefully delve into this issue more.)

Nevertheless arguably one of the most surprisingly heartwarming characters in the series was Kim Dae Myung’s role as Seok Hyung. Seemingly starting off the drama as the cliched and spoilt “ mama’s boy”, Dae Myung’s performance added surprising layers to Seok Kyung as a character with his complicated past and rationale as a medical professional . His potential love story with coworker Min Ah could’ve easily gone down several mundane routes, but his overall development and reactions rarely felt out of character.

On a weaker note, the final member of our quintet was Yoo Yeon Suk as Jeong Won. This isn’t to say that Yoo Yeon Suk’s performance was bad in any way. In fact the actor truly animated his onscreen persona to life with many endearing and likeable qualities. However Jeong Won was sadly a little less well-rounded. Whilst he had an intriguing storyline and a more complicated backstory than a lot of the other characters, but his later motives and personality assets often felt less profound. In addition to this whilst the show did seem to go down the evident route of his potential love story with Gyeo Wool in snippets, it often lacked the same charisma as the rest of the ensemble.

So is “ Hospital Playlist” worth watching? The show doesn’t entirely step upon new ground with its concept with certain characters and storylines felt slightly undeveloped ( although a sequel season will hopefully dismiss these issues) and snail pacing in parts also. On the other hand “ Hospital Playlist” has surprisingly profound and bittersweet themes with backstories and life in the hospital, as characters are often faced with realistically challenging issues which helped to provide food for thought. If you are willing to invest some time into this show, then you’ll absolutely love “ Hospital Playlist”.

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A Sugary Sweet Romance Tale...

Based upon the renowned manga (Hori-san to Miyamura-kun) and having been released fairly simultaneously with an anime series in Japan, the drama version ” Horimiya” undeniably regurgitates the same plot premise of social butterfly Kyoko Hori ( Kubota Sayu) beginning to date seeming otaku Miyamura Izumi ( Suzuka Ouji) who hides a deep secret from his school-life persona. While there are prominent points to praise about “Horimiya”( which will be raised later), there are notable faults which arise from the drama production from casting, trying to transcend notable setups from the manga into a real-life setting, as well as the abridged closure ( or lack of it) in the finale.

Before anything else, it is probably important to address the primary issue which has surrounded the drama with casting choices.

Respectfully, Kubota Sayu wasn’t entirely ‘’ terrible’’ as our female lead Hori. In fact, in an odd way, Sayu did seem to grow into her role fairly well with a sense of genuine emotional investment into her character. However, it is difficult to really point out anything particularly captivating or striking about Sayu’s performance as Hori.

Ironically as a character, Hori is fairly unforgettable by her her eccentricity and outspokenness. Of course, this is not turning a blind eye towards the typical tropes used as a drama sourced from a manga such as the “ popular girl” , the “ academic student” and the “ tougher than she seems” cliches , however, even in the drama, Hori’s greatest trait remained within being able to overcome certain stereotypes about herself as well as her relationship with Miyamura. Hori was given an actual chance in the drama for viewers to fortify her characterisation through her interactions sans with Miyamura, such as her interactions with her father Kyosuke ( Kimura Ryo; one of the few actors who felt fairly well-cast within his role) and her younger brother Sota ( Takagi Haru). Arguably, Hori’s interactions with her mother Yuriko ( Kawai Aoba) and her later friendship with Sengoku Kakeru ( Onodera Akira) and Ayasaki Remi ( Marsh Aya) felt fairly minimal within the drama version, nor truly giving viewers a chance to see Hori’s interactions as a friend as well as her maternal relationship with her own mother in a respectfully fairly masculine household .

The relationship between Hori and Miyamura was the focal point of the series and the plot development. For Hori, Miyamura has a metamorphosis from the archetype “ weird kid” in her class, to a more multifaceted individual. Against all odds of the notable problems which arose in the series and can strike to the surface of romance dramas with emotional gaslighting and “ obstacles in the way of their romance” , the pairing between both characters felt fairly natural as teenagers. Neither character followed the cliche archetypes of having “ had a crush on one another forever” , nor manipulating “ to win someone else’s affections”. Hori simply entered her relationship with Miyamura upon shared grounds early on in the series before the rest of the drama focused upon both characters learning to understand one another and for their feelings for one another to grow mutually. (Perhaps the one element of the relationship that the drama version did better than the manga and anime, was leaving out the more “sexual undertones” of their relationship . This isn’t to condemn these elements in either versions as they do help to portray a more realistic notion of teenagers, however, this always felt slightly mismatched against both characters as individuals even in the original manga and therefore wasn’t really necessary.)

It is fair to say that whilst Sayu is a good actress, she was slightly miscast as Hori by struggling to channel Hori’s personality as a character, consequently making Hori in this drama version, a fairly forgettable character against other romance heroines. ( A shame for an otherwise interesting character.)

Then of course the biggest elephant room (regarding casting) is often raised by the choice of Suzuka Ouji as Miyamura Izumi. Similar to his costar Kubota Sayu, Suzuka was not inherently appalling within his performance
as the male lead. In many ways he did certainly help to animate his character away from the more one-dimensional realm of male protagonists as “ emotionless” . On the other hand, Suzuka did seem to mismatch his character slightly within his physical appearance. This is not suggesting that Suzuka is “physically unattractive” or a slightly younger actor would have been better for the role,however, it does raise certain questions when the drama production sees Suzuka in a terrible long-haired wig without even attempting for the drama production to make this look natural.

Similar to Hori, Miyamura was an intriguing character against all odds of setups. Although initially appearing as “peculiar” and taciturn, Miyamura was fairly kind-hearted as well as hardworking and altruistic by helping out at his mother’s bakery, as well as the ongoing and unusual friendship between Miyamura and his best friend since middle school, Shindo Koichi ( Inoue Yuki). Parallel to Hori, Miyamura enters his relationship with her romantically upon mutual grounds before growing to like her more in a natural process which felt odd against the more cliches stereotypes of the drama. However, there’s a lot to note about the dynamic between Miyamura and the other characters of the series ( sans Hori), both within his fraternal friendship with Hori’s younger brother and father, as well as of course with his best friend and their complicated reasons behind becoming friends in the first place. Arguably, the one element of the series which did feel incredibly rushed and underdeveloped with Miyamura as a character, occurred within his past, especially with his estranged relationship with Makio Takihara. Therefore whilst Miyamura was a fairly intriguing character, it is fair to say that Suzuka was perhaps not entirely suited for the role.

The other side characters of the drama such as Kakeru, Remi , Kono Sakura ( Sakura) and Iura Shu ( Sota Ryosuke) should have been by default interesting characters, however, lacking screen time and setups, easily made them fairly forgettable over the course of the series as individuals (besides their occasional involvement within the plot dynamic between Miyamura and Hori).

Overall whilst certainly not an unwatchable or dire production with some praiseworthy features of having a healthy, fairly realistic relationship between teenagers as lovers and friends as well as some intriguing characters, poor pacing, tropes, miscasting and lacking focus upon certain plot lines for characters, often made this drama feel underdeveloped. The ending of the drama whilst arguably allowing some ground for a second season , did not truly bring a sense of closure or help to tie off characters and the relationship between Miyamura and Hori, as well as friendships also. Therefore it’s important to summarise that whilst Horimiya is not a terrible drama upon any grounds and was sweet within its ultimate concept , there are certainly better dramas to watch out there.

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A Progressive Tale About The Melody of The Heart in Seoul ...

Going into this movie without a lot of prior knowledge of the series beforehand , left open a lot of ground to analyse and draw up where issues and strengths lay within the movie overall.

The biggest thing to say is that the series both portrayed our male leads , rising singer Kang In Soo ( playing himself ) and novice producer Yoo Sang yi ( Lee Sang) ‘s relationship in a refreshingly less cliche way than previous same-sex pairings in Korean productions - not through their sexuality, but through Sang Yi’s journey in making sense of his genuine feelings for Kang In Soo over the course of the movie.

It was an undeniably sweet and modern love story for our two male leads , yet nonetheless sugarcoated in favour of avoiding more difficult issues about Korean society. Whilst South-Korea is undeniably becoming a lot more progressive than other Asian countries and in comparison to its past towards homosexuality, some members of Korean society are still prejudice and homophobic towards homosexuality and gay relationships.

First of all it is important to say that whilst this wasn’t the main aim of the movie to home-in on a “ realistic” relationship and certain Korean beliefs towards this, it still felt a little odd in the particular plot’s centralisation of the music industry, not point or at least suggest this. The repression of sexual orientation amongst musicians and producers in K-pop has particularly come into light in recent years , something which although gradually getting better, is still something which should’ve have at least been raised or emphasised upon the other pressing issue of “ masculinity” as well.

Undeniably, Kang In Soo and Lee Sang were brilliant within their portrayals echoing a certain level of heartache and emotion behind their performances. Their characters were also evidently Kang In Soo was set out to be the “ mysterious” and “ handsome” musician, whilst Lee Sang acted as the “ awkward” and “ kind-hearted” producer. Yet apart from these roles and their evident relationship onscreen, their characters often felt lacking in greater depth.

What makes a character intriguing is getting to know them either through their pasts, friends, family or interactions. Sans from some interactions with In Soo’s best friend Choi Min Seong ( Baek So Bin) and Sang’s Lee Yoo Jin ( Su Bin), we were left a lot in the dark a lot in the movie about our characters as actual individuals- their journey to their respected career choices, if they have faced problems with their sexual orientation as well as problems or connections with their family.

Whilst these points may seem minor, it would have been probably made the relationship between In Soo and Sang Yi more “ fleshed-out” if we’d actually got to know more about them as “ realistic” individuals first, rather than just mere plot devices.

Overall WISH YOU: Your Melody From My Heart isn’t everyone’s cup of tea, but it was a surprisingly sweet and progressive love story in Seoul with a fairly intriguing premise and brilliant acting from our male leads. However, the show lacked a lot of character depth and realism within its portrayal and the issues around both the music industry and homosexuality in South-Korea, making the production feel sugarcoated and generic at times as well. Certainly worth a watch as a sweet romance movie , but certainly flawed within its deliverance of story and characters.

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Is This Worth Watching, Or Is It A “ Lost” Cause?

Screenwriter Kim Ji Hye’s ‘ Lost’ is an odd-fusion melodrama which both feels old-fashioned within its dated outfit choices, haircuts, over-the-top scenarios and dialogue as well as surprisingly boasting an array of well-crafted main characters. However for newcomers or those merely wanting to pick up ‘ Lost’ this leaves us on an ultimate decision; “Is ‘ Lost’ actually worth investing more than sixteen hours into?”

To cut it to the chase the premise of ‘ Lost’ mainly revolves around Lee Boo Jung ( Jeon Do Yeon) a 40-year old writer stuck in an unhappy marriage with her husband Jin Jung Soo ( Park Byung Eun) who has finally hit a rut in reality by realising that she has not truly achieving or accomplished anything in life . By a whim of fate she ends up encountering someone from a different walk of life, jaded 27 year-old Lee Kang Jae ( Ryu Joon Yeol) who fears for what the future may hold due to his complicated past .

One of the strongest gaining factors for ‘ Lost’ was the casting choice . Admittedly whilst the acting can dip a little at times with certain line deliverances, the main cast immediately help to convey something worth watching. Actress Do Yeon was brilliant as Boo Jung playing the role with a level of complex heartache and angst. Her micro expressions throughout the series captivated all of Jung’s emotions flawlessly and helped to make her onscreen chemistry with her costars believable.

Parallel to Do Yeon was evidently younger costar Ryu Joon Yeol who played his role as Kang Jae with a swift touch of moodiness and arcane mystery. As their onscreen personas Do Yeon and Kang Jae’s chemistry is undeniably slow-burn and well-built up, however, this is also undeniably thanks to screenwriter Kim Ji Hye and directors Hur Jin Ho and Park Hong Soo’s approach to the relationship. Rather than enforcing the typical traits of a lusty affair filled with dirty secrets and dramatic sneak out scenes, both characters’ gradual chemistry was surprisingly refreshing . Admittedly the slow-burn approach could work at a snail pace at times but the ability to see both leads reach out through getting to know one another through their deal( as well as having time to talk about their own feelings) offered surprising relief .

One of screenwriter Ji Hye’s major fortes came through approaches to character writing and interactions throughout the show. Whilst certain character did feel more antagonistic for plot-drive than motives, even these individuals were rarely pinpointed as “ villains” by having their own moments of humanity, flaws and strengths.

Ji Hye even took time away from our main couple to focus on an unlikely relationship between Boo Jung’s somewhat staid husband Jung Soo and his rekindled feelings for his old crush Kyung Eun( Kim Hyo Jin).

Yet ‘ Lost’ is evidently not without its more problematic writing flaws. The drama whilst having an intriguing setup is incredibly slow-paced and takes awhile to really build-up more dramatic momentum . Of course some of this is necessary to build plot, however, the storyline also failed sometimes to reach climatic tension or build-up during entire montages and even entire episodes due to being more focused upon very nuanced details rather than keeping the plot moving more actively .

In addition to this there’s also the problem with the over-the-top cliches. Whilst tropes can be fun and intriguing to see how a screenwriter revamps them and did work well to an extent in the setup of the drama, ‘ Lost’ ‘s usage of the tropes ( including the nearly-farcical cliche of the “ slap on the cheek”) often felt mismatched against the stronger and fresher writing attributes of character-build and relationship. The ending certainly matched the more profound writing moments of the series- bittersweet and interpretative, yet oddly appropriate.

Overall the viewing expectations for ‘ Lost’ is entirely dependent on what you’re looking for in a drama series. ‘ Lost’ embodies the classic tropes of a melodrama series from the overused tropes which lack more profound depth, to slow-paced story build-up in order to “ create slow burn tension ”. The acting front is undeniably one of the show’s winning strengths alongside the drama’s more original approach to the adulterous affair cliche. The directors carefully used an artistic touch to the moody and drab cinematography which symbiotically helped to reflect the tension and ambience of the plot. So is ‘ Lost’ actually worth watching? ‘ Lost’ is a drama which is dependent on your patience and tastes. Those looking for a more adrenaline-rushed and quick paced drama with flaring chemistry may be disappointed. However if you have patience and enjoy slow burn chemistry, then you’ll absolutely adore ‘ Lost’. Whilst not flawless this is undeniably one of 2021’s hidden gems.

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Will This Drama Win Your ‘ Affection’ ?

Screenwriter Han Hee Jung and director Song Hyun Wook’s ‘ The King’s Affection’ attempted to offer viewers the best of two worlds; a Sageuk ( historical drama) and an arguably more “ modern” love story. However against its more intriguing setup ‘ The King’s Affection’ found itself shoehorned into a slow-paced trope extravaganza by the second-half.

Han Hee Jung’s facilitated writing techniques in the first-half of the series seemed to indicate towards foundational world-building and characters- rough around the edges with mystique driving forward many of the characters, but still establishing an intriguing storyline. However whilst Han Hee Jung’s first-part soared with potentiality the actuality of the latter-half gradually began to descend into a cataclysmic attempt to keep the plot interesting- uninspiring “ plot twists” led little time to truly develop more intriguing characters whilst seemingly paramount plot lineups were given an anticlimactic or loose-end outcome.

Of course a director or screenwriter choosing to convey modern twists or themes in a historical drama isn’t always necessarily a “ bad thing”. It can give opportunities to highlight or echo current issues, themes which are still present in today’s world and present different takes on the past through the director/ screenwriter’s objectives. However whilst it was easy to understand ‘ The King’s Affection’ desired depiction of different forms of love, it often felt as though the series would rarely touch upon more prominent issues of the time and today ( e.g. gender expectations, political division in society, social status and prejudice) in more depth. This often resulted in the second-half of the series feeling like a composed accumulation of romantic tropes and cliches against a gradually decadent plot-drive by the final episodes .


Main actress Park Eun Bin undeniably offered one of the strongest performances of the series; adding an air of charm to her onscreen counterpart. The female lead Dami was undeniably the epitome of the “ inserted” and frequently-used cross-dressing trope by having to play the role of her brother l the Crowned Prince Lee throughout most of the events of the series . Whilst with plot context it was necessary for driving the storyline, there were a lot of loose threads considering other story points including exactly why her grandfather ordered her to be killed ( aside from merely just being an “ unnecessary girl”), as well as one evident fact; the female lead’s feminine features and vocal intonations are evident even as her male counterpart . Admittedly whilst this may have just been passed off by members of the royal court it did hit a point blank in plot logic when many scenes and close-ups easily giving away Park Eun Bin’s softer features. Later episodes did little to truly allow Dami to come to terms with these cut-out subplots surrounding her storyline, ultimately reducing her seemingly intriguing character-drive to the equivalent of cannon fodder by the latter-half.

Costarring alongside Park Eun Bin is idol-actor Rowoon. Rowoon’s performance as main lead Jung Ji Woon did undeniably see some surprisingly bittersweet performance moments as his onscreen persona comes to terms with his sexuality and growing feelings for the Prince, as well as his initial motives for entering the palace. However Ji Woon’s initial establishment as the “ mysterious tutor” is subverted in later episodes to the “ lovelorn sweetheart”; pledging his own life to “ protecting” Hwi ( despite his initial reasons early on in the series) and benignly chasing after the female
lead’s affections in a dragged-out and anticlimactic love story. This often resulted in a test of patience for viewers as Ji Woon and Hwi’s sense of gradual chemistry and growth was shoehorned into a lacklustre onscreen relationship despite dominant screen time.

As a consequence of lacking development time potentially intriguing characters such as Lee Hyun-Hwi’s protective cousin ( Nam Yoon Su), the Prince’s mysterious bodyguard ( Choi Byung Chan), Shin So Eun - the daughter of the Minister of Interior ( Bae Yoon Kyung) and Noh Ha-Kyung; the youngest daughter of the Minister of War ( Jung Chae Yeon) were often enforced into staid plot setups and cliches with their character arcs and drives often being cut short.

The cinematography and OST of the series could admittedly vary from scene to scene. Whilst there were some admittedly beautiful shots and powerful soundtracks combined with scenes of the palace and period outfits presented by director Song Hyun Wook, more subtle emotions and scenes could often feel lacklustre from poorly-placed camera angles and song choices onscreen.

So what is left to say about ‘ The King’s Affection’? Is it worth watching or is it a waste of time? The ‘ King’s Affection’ is the epitome of a “ hot mess” series - stunning outfits, an intriguing premise, a fairly good cast lineup and an especially dynamic performance from main actress Park Eun Bin undeniably remained the drama’s greatest takeaways. However the twenty-episode formula applied to a storyline which was written better for no more than sixteen- episodes, created a slow-moving and disengaging second-half for viewers with intriguing subplots and characters left in the background in order to make way for a lacklustre romance which gradually dwindled to an unsurprisingly anticlimactic resolution. Overall whilst the 20-episode drama whilst not unwatchable and certainly decent enough if you are willing to watch out of sheer boredom, it does admittedly lack a more definitive spark of feeling well-rounded also.

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