“Spellbounding” Performances...

“ The Witch Part 1 ; Subversion” (2018) has been sitting on my “ To Watch List” for the past year or so , yet , I could never quite find the right opportunity to properly see it. By chance a couple of weeks ago, however, I finally had the opportunity to sit down and watch it properly, when a film channel in my country was airing the movie late one night .

Having always been quite a big fan of Korean revenge thrillers and horror movies such as Oldboy (2003) and The Tale of Two Sisters (2003), “ The Witch Part 1; Subversion” lived beyond my expectations with an actually intriguing and grappling storyline by screenwriter/ director Park Hoon Young. This is because whilst the movie was brilliantly focused upon bloodthirsty violence, there was a good amount of time to see and understand our main female lead Ja Yoon ( Kim Da-Mi) through her interactions , as well as fairly difficult themes being tackled such as mortality, dementia and illness being shown throughout the movie as well.

On the other hand, I must admit that it did take me awhile to recognise that Ja- Yoon was being played by the same Kim Da-Mi from Itaewon Class , due to appearing strikingly younger without the makeup or hair dye. Yet as Da-Mi has proven before during her performances , she doesn’t merely act and her role here is no exception . In the movie, Da- Mi truly stepped into her character and her performance as Ja-Yoon; a seemingly naïve and talented schoolgirl with a secret which becomes more intricate as the duration of the film progresses .

Another immediate note of praise must be given to Da-Mi’s costar Choi Woo Shik. Admittedly, Woo Shik has always been under my radar as a good actor for awhile after seeing his lesser-known and brilliant performance as the seemingly innocent Male lead in Hogu’s Love and then his diverse roles across several Asian films and movies. Woo Shik’s role in “ The Witch” is no exception as the sardonic, near-psychopathic and ruthless physic
(referred to only as “ Nobleman” during the ending credits), determined to destroy any sense of Ja-Yoon’s normality by revealing her hidden secrets. Naturally Jo Min Soo and Park Hee Soon cannot be forgotten by animating the movie with being the seeming mysterious antagonists, Dr Baek and Mr Choi , and the underrated role by Da Eun as the mysterious accomplice of Woo Shik’s character, certainly shouldn’t be overlooked as well.

Yet whilst the movie was undeniably brilliant by its transition from a seeming teenage comedy to horror over the gradual halfway point of the film, “ The Witch” was undeniably flawed from its lacking sense of greater purpose with its cliches. That’s not to say that these cliches didn’t add anything to the characters or storylines, however, there seemed to be too many loose ends with some of these flaws meaning that it took away a lot time from intriguing focus and the actions the storyline.

Overall the Witch; Subversion Part 1( 2018) wasn’t completely flawless ( from cliches that have been seen and done before to arguably some shakier performances by Go Mi Shi), however, the film was filled with an intriguing storyline, action and fairly spellbinding performances by the majority of the cast ( particularly Da-Mi and Woo- Shik) and definitely worth a watch.

Although Woo- Shik will be a sad loss to not being the sequel, so long as Park Hoon Jung maintains the quality of screenwriting , Part 2 will be equally brilliant with the added performances of Jin Goo, Park Eun Bun and Lee Jong Suk appearing in the next part.

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Controversial, Bloodthirsty Yet Classic…

Filmed by the late and venerable director Kinji Fukasaku ‘ Battle Royale’ sadly marked the director’s final film before his death but is unsurprisingly highly-regarded as Fukasaku’s magnum opus.

The “ fight-for-survival” genre in films and productions has long been held accountable through the success in Western literature and media. However ‘ Battle Royale’ has long been held accountable amongst Asian-movie enthusiasts as a classic modern game-changer to the genre and whilst often lesser-known against more recent productions, the drama’s legacy has notably lived on across popular culture as an ultra-violent social and sardonic satire upon teens, Japanese society and the widening romantic ideologies of violence in popular culture.

The movie imagines an alternate-future where Japan’s judicial system and government have broken down and delinquency amongst youths runs rampant. In an attempt to pass Draconian judgement upon the new generation the Japanese government puts into law the Battle Royale Act : a piece of legislation which means that a nominated group of young people are forcibly marooned together on an island, and forced to kill each other until one survivor is left.

In the current events of the movie reoccurring main lead bitter and spiteful teacher Kitano ( Beat Takeshi) nominates his class for their acts of disobedience by skipping lessons- explaining the rules and sending the bewildered teens out into the wild of the island as he watches gleefully from afar as the teens begin to grow nastily animalistic as cliches fall apart and distrust runs rife.

The bloodthirsty violence of the movie had admittedly remained a great divide for viewers with some perturbed by the explicit scenes of massacres and blood amongst a main cast of predominantly teenagers ( sans Takeshi and
Ando Masanobu) whilst others may note a form of wry satire by the director against his own personal experiences during childhood as well as intertwined with masterfully-stunning scenes and shots.

There’s a wide range of different characters in addition to Kitano throughout the film; our reoccurring main lead
Shuya Nanahara ( Tatsuya Fujiwara) who remains strongly morally-guided throughout the movie by promising to protect his deceased friend Yoshitoki crush and his classmate Noriko Nakagawa ( Aki Maeda) ; a reserved and good student who was often a prime victim of bullying in her class, Shogo Kawada ( Taro Yamamoto) - the ragtag and gruff transfer student alongside the antagonistic drive of sociopath Kazuo Kiriyama ( Masanobu Ando) and dysfunctional classmate Mitsuko Souma( Ko Shibasaki) play pivotal roles throughout the storyline.


Admittedly whilst the opening brought a proficient introduction to our main players and the world-building of the series where delirium and fear plague the teens during their descent into moral decadence, the main- climax of the movie could often lack proficiency. Whilst the duration length and pacy storyline had to maintain more subtle backstories and revelations the movie could often lead some key characters towards feeling less-developed than others and sometimes less engaged at times in the tales of friendships, betrayals, attractions, crushes and unrequited loved which emerge in the blood battle.

However the entirety of the movie can be often to be cited as not merely just a satire but a metaphor toward the painful and anguished experiences of youth which is brilliantly brought to life by the spine-tingling soundtrack of the series ( which is most notably reciprocated in recent films and productions as a homage to the film.) The ending of the movie is initially divisive but does offer contemplation for viewers. Overall a classic movie which whilst not for the faint hearted is powerful.

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A ‘ Door’ Into The Realm of Disappointment…

Based upon the eponymous novel by Robert A. Heinlein, ‘ The Door Into Summer’ ( alternatively known as ‘ Natsu e no Tobira: Kimi no Iru Mirai e’ or ‘ 夏への扉 キミのいる未来へ’) seemed to initially offer viewers an intriguing premise under the directing reigns of Takahiro Miki and the writing of Kanno Tomoe.

However despite the movie’s impressive plot premise and the casting choice of renowned actor Kento Yamazaki ( ‘ Orange’, ‘ Alice In Borderland’, ‘ Death Note’), ‘ The Door Into Summer’ soon suffered greatly under the aimless direction of plot holes, lacklustre genre exploration, character and plot growth as well as pacing also.

The movie initially focuses upon young scientist Takakura Soichiro ( Kento Yamazaki). Trying to complete the research of his late paternal and mentor figure Matsushita Kazuto ( Hidekazu Mashima) upon plasma research in 1995, Soichiro’s plans are scuppered when he’s betrayed from the shadows and loses control over his research . With no other options, Soichiro is subdued into a cryogenic chamber. Waking up nearly thirty years later in 2025, Soichiro discovers that the world has changed significantly as he desperately tries to find a way back to 1995…

Perhaps one of ‘ The Door Into Summer’’s greatest downfalls and arguable strengths came through its emotive moments. Admittedly it isn’t out of a question for the science-fiction genre to explore and widen the scope of expectations with presenting the emotional conflicts and struggles of humanity. In particular one of the most heartfelt moments of ‘ The Door Into Summer’ came through Soichiro’s relationship initially in 1995 with his adopted feline friend Pete and being able to relate to his cat’s emotional struggles. In the latter-part of the series this relationship was replaced by Soichiro’s android friend PETE ( Fujiki Naohito); one of the few characters who could offer viewers surprising comic relief and emotional complexity at times also .

Nevertheless ‘ The Door Into Summer’ was a storyline that was supposedly focused upon elements of time travel and pseudo-science. However whilst the lingering presence of humanoid robots and time travel are intriguing plot hooks for viewers, Kanno Tomoe’s screenplay greatly struggled under the cataclysmic weight of plot inconsistencies and lacklustre loopholes as well as logic .

One of the major problems of Tomoe’s world-building and “factual “ science came through its lacking and quintessential presence in the main events of the storyline. Perhaps the major source of the problem can be found that ‘ The Door Into Summer’ was heavily dominated by its emotional aspects. However rather than using this as an opportunity to explore characters or even widely offer an edge of complexity towards Soichiro, Kanno Tomoe ladened the narrative in parts upon Soichiro’s insipid, potential romantic relationship with main female lead Matsushita Riko ( Kiyohara Kara).

This was a notable flaw throughout Miki’s movie; there was rarely a sense of plot. Seemingly quintessential characters and events were rarely developed and whilst the movie did attempt to present a gradual “ villain” , ‘ The Door Into Summer’ could often feel aimless and directionless within its messaging and plot development. In particular the ending of the movie notably presented the outcome of the plot’s aimless narrative with an anticlimactic and lacklustre conclusion.

In addition to this there’s also the issue of the lacking opportunities to really flesh-out characters and in particular the main male lead of the series. For a a main character who is supposedly constantly looking towards advancement , Soichiro’s uninspiring and tailored reaction towards the near-future, technology and the world around him felt somewhat regimented rather than befitting for his seeming character archetype.

The acting of the series was admittedly a slight mixed-bag. Kento Yamazaki’s role as Soichiro was admittedly somewhat uninspiring with certain line deliverances feeling enforced. The supporting cast such as Matsuhhita Riko played by Kiyohara Kara and Natsuko as Shiraishi Rin in particular were decent enough with their performances but rarely brought forwards a dynamic charm due to limited screenwriting opportunities. Perhaps one of the few standout performances of ‘ The Door Into Summer’ was Fujiki Naohito as PETE but due to limited dialogue and depth opportunities, Naohito was rarely a wider scope to exploring his onscreen persona with tact.


Perhaps one of the few saving graces of ‘ The Door Into Summer’ under the directing reigns of Takahiro Miki came through the movie’s impressive and glossy CGI, cinematography, slick shots and fuzzy retro and nostalgia shoots also. Although admittedly a somewhat generic approach with certain filming techniques, Miki did help to captivate a certain aesthetic throughout the filming of the series. The OST of the series was slightly dull in comparison to the slick shots of the movies; synchronic in parts, but rarely giving viewers an opportunity to feel the emotional weight and impact of scenes either.

Overall ‘ The Door Into Summer’ is a film which whilst boasting some impressive filming shots, scenery, CGI and some familiar faces, often felt heavily burdened by its writing. The elements of science-fiction present within the narrative of the film are approached tactlessly with aimless plot motivations rarely giving further insight into the growth of characters or tension either. The ending of the series will likely offer viewers with a final admittance of the narrative’s disappointing deliverance despite its unlimited potential.

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Well, I Certainly Won’t Be “ Hiccuping ” To Say That This Drama Has Its Flaws...

With numerous reviews over the years upon the drama, it wouldn’t be surprising if this review easily becomes disregarded amongst others. Nevertheless, it’s important to give an honest and objective verdict on whether “ Pinnochio” still lives up to its legacy as a “ good” series , or is overrated for what its worth.


Pinocchio tells the story a man ( Lee Jong Suk) whose life was devastated by corrupt reporters. Seeking revenge since childhood, he takes up another identity as “ Dal Po” ; the deceased son of an old man suffering from denial and mental illness called Choi Gong Pil ( Byun Hee Bong). Together with his “ niece” and sufferer of the fictionalised illness “Pinocchio Syndrome”, Choi In Ha ( Park Shin Hye), the two go on a journey of self-discovery that forces them to face some uncomfortable truths.

Undeniably the most intriguing concept present within the show was the ideology of Pinocchio Syndrome; a (fairy tale-inspired) condition which causes the individual to hiccup whenever he or she lies. As someone suffering from the condition, In Ha is often subject to discrimination and prejudice by wider society, however, this concept of the show did lack genuine or factual explanation to viewers towards its causes- is it hereditary, psychological or just a cause of random gene mutations? Although it is notable neither of In Ha’s parents suffer from this disease, it did remain a lingering question towards exactly how and when In Ha was diagnosed with Pinocchio Syndrome and the actual science behind this fictionalised disease.

Instead, the fantasy concept of Pinocchio Syndrome is truly reduced to more than an asset plot device to accompany more prevalent focal point of journalism within the show. The aspects of critiquing the competitive and exploitative natures of the industry of media did notably help to present a surprisingly realistic and somewhat fairly profound depth to the storyline.

Dal Po’s entire character is driven by his enmity and obligated feelings of revenge for his family . Yet by becoming the very thing he hated more than anything in the world, he stumbles upon the truth that the world of journalism is not as black and white as he originally had the preconception of ; news outlets, individuals and reporters may twist certain stories for their own gain whilst the true victims remain without voices. Whilst Lee Jong Suk has often had a mixed bag of performances over the years, his role as Dal- Po did seem to capture multifaceted and depth to his character. This is because Dal- Po is still motivated by his intentions for revenge, but he also learns to forgive and learn that sometimes honesty is the greatest weapon of them all.

Yet this also moves us on to the obvious problem of the drama. The ridiculous amount of cliche coincidences happening in the subtext of thirteen years of secret messaging between the second male Beom Jo ( Kim Young Kwang) and In Ha, the notable “ chances” which arise for Dal-Po being able to land a job as a journalist despite his limited qualifications ( regardless of his intelligence) and of course the sudden reversal of “ external forces” which kept away characters such as Dal-Po and In Ha from developing relationships in order to suddenly have a “ happy ending”. Although a preferred choice for the dramatised events of the series, it was initially off-putting at times within the cliche and unrealistic setups which suddenly manifested without prior build-up.

Yet perhaps the biggest problem in the series was the dragging sensation of storyline in places. Initially this is somewhat ironic for a show which has surprisingly quite good pacing for the majority of the show , but the duration of episodes in addition to transition in places upon plot devices, over actual characterisation often resulted in this problem.

The biggest example of this problem can be found through In Ha as a character. Although Shin Hye can’t be faulted within her stellar performance and her character does initially having an interesting backstory, her actual relevance to the storyline often felt minimal and intrinsically quite lacklustre. In Ha simply does not have notable character growth in the series. Arguably a lot of In Ha’s problems and the drama wouldn’t have been as effective without In Ha having remained the same, however, this is also a somewhat nonsensical venture into In Ha as a character. Considering her experiences and scenarios growing up, In Ha neither really seems to be given the chance to confront them openly and actually learn and develop, often resulting in her character coming off as a plot device in order to keep the story motivated such as her relationship with her mother and Dal Po , than an individual in her own right.

In terms of the latter mentioned point , the relationship between Dal Po and In Ha was a little questionable over the course of the series. Although not relatives by blood ( giving the obvious explanation against the otherwise incestuous proposal) , a lot of viewers often forget that In Ha and Dal Po grew up together for more than thirteen years as uncle and niece as well as during their younger years having a notably fraternal relationship - the pairing between the two characters just felt odd and mismatched. Actors Lee Jong Suk and Park Shin Hye did help to cover up some of the more awkward onscreen moments through their performances and the show acknowledged it to some extent , it still seemed oddly problematic to romanticise this pairing in the first place as well as the striking differences between both characters and their personalities.

Perhaps the most praiseworthy relationship in the show occurred between Dal-Po and his biological, revenge driven brother Ki Jae Myeong(portrayed by Yoon Gyun Sang), provided the zeal of the revenge story and the clear differences in motive and experiences of both brothers.

Dal-Po seeks revenge in a similar manner to Ki-Jae, but in the process considers and acknowledges reconciliation and forgiveness against certain individuals due to being distracted by a kind-hearted “paternal” -figure and surrounded by a fairly loving family . On the other hand, Ki-Jae’s experiences was solely driven with cause of distraction for revenge with a carte blanche given by viewers just to see how far he can gross the line of morality. This presents an intriguing relationship between brothers with Ki Jae oblivious for a major proportion of the series due to not knowing Dal-Po’s true identity. Jae Myeong’s performance was surprisingly good and a honest gift to this drama by making up for some of its more evident flaws .

So, was a “ Pinocchio ” a good series, or another overrated drama? It’s fair to say that the concept of the show was intriguing by tackling difficult issues of manipulation, injustice and exploitation, the OST was quite good, and there were some particularly well-written characters such as Dal-Po and even In Ha’s mother, Song Cha-ok ( Jin Kyung) who was surprisingly given some profound depth despite her antagonistic role in the series. Nevertheless, “ Pinocchio” isn’t as flawless as watchers truly make it up to be- the ridiculous coincidences took away from the surprising twists of storyline, In Ha as our female lead was severely underdeveloped and the relationship between both characters was ultimately a little uncomfortable considering the angle of the storyline. It is probably fair to say that “ Pinocchio ” wasn’t a dire or terrible drama by any stretch of the imagination and had many likeable assets , but it certainly was overrated within being passed off as a “ flawless” drama by some fans.

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A Bittersweet Fairytale...

It is undeniable that even amongst the drama-watcher community, there tends to be a notable problem of more well-known dramas being “ overrated” or “ glossed over” from noticeable flaws by biased fans of certain actors, actresses or directors, and “ It’s Okay, Not To Be Okay” is certainly no exception .

Written by lesser-known screenwriter Jo Yong ( After The Rain, Jugglers), ‘It’s Okay, Not To Be Okay’ plays itself upon being an “ atypical” romance between a stoic, yet kind-hearted psychiatric health worker called Moon Gang Tae ( Kim Soo Hyun ) and the eccentric children’s writer Ko Moon Young ( Seo Ye Ji) as they both try to find new ways to heal and recover from their past traumatic wounds along the way ...

Before talking about the interesting joys and delights of characterisation in the show, it is first prominent to commend most of the cast for their performances. Oh Jung Se was undeniably brilliant within his role as Gang Tae’s older autistic brother Moon Sang Tae; a performance which was angst-ridden and heartwarming for viewers over the course of series . Parallel to Jung Se, of course, was undeniably Seo Ye-Ji’s performance as the witty, sardonic yet complicated children’s writer Ko Moon Young; purposefully comical and flamboyant, yet intricately heartbreaking as well.

Truthfully, however, the show’s acting quality could sometimes be a mixed bag, not least from Kim Soo Hyun as our main lead. Although Soo-Hyun is undeniably a brilliant and talented actor, his role as Gang Tae was a little lacklustre and “ wooden” at times to say the least. This is not to say that his performance was unwatchable nor was it “ dire” , however, considering his reputation as a top-notch actor, it was a little surprising that Soo-Hyun didn’t truly add anything to his character . On the other hand , perhaps some of this can also be attributed with screenwriter Jo Yong’s deliverance of characterisation and several plot inconsistencies as well.

As a concept, ‘ It’s Okay, Not To Be Okay’ did not truly step upon new ground with its setup of the recently popular “ reversed gender trope ” in Korean dramas (where the female lead “ calls the shots”, and the male lead is nothing more than the “ object of obsession” in her eyes at first). Nevertheless, one of the undeniable great strengths of ‘ It’s Okay, Not To Be Okay’ was its ability to write several fairly “ fleshed-out” main characters who gradually grow over the course of the series .

Ko Moon-Young wasn’t supposed to be your typical “ Princess” heroine ( even labelling herself to be the “ Pretty Witch” of the story) ; she is successful and a talented writer, but intrinsically insecure and traumatised by her complicated past and her estranged relationship with her seemingly mentally-ill father as well. It remains apparent after finishing the show that Moon-Young often allowed her dark and twisted fairytales to adorn her view of the world; fairytales were once used commonly as morality tales to scare children and adults away from danger, a bittersweet belief (, which despite Moon-Young’s often reckless behaviour, )she applied full-heartedly to her own reality and comes to several harsh wake-ups calls by stepping away from these beliefs over the course of the series.

It is therefore apparent that just whilst Moon-Young is your “ atypical, yet typical” heroine, Moon Gang Tae is your “ usual, yet unusual ” knight in shining armour.

Gang-Tae is hard to really describe or feel true emotional attachment towards as a character ( perhaps explaining why Soo Hyun’s performance felt a little lacklustre at times) , due to his often stoic expressions and unreadable personality ( especially in comparison to Moon-Young) over the course of the series.

Nevertheless, it’s wrong to entirely dismiss Gang-Tae as a “ terribly-written character” , as his “ apathy” is often broken in the face of his trauma and clearer feelings( particularly towards his brother and later Moon-Young) in the second-half, however, the biggest problem about Gang-Tae’s characterisation was often a consequence of his sudden transition feeling a little purposeless.Although the show attempted to explain this characterisation by having to look after Sang-Tae as the “ carer” in their fraternal relationship, as well as evidently irked by Moon-Young in the beginning of the show, considering the extent of some of his traumas, Gang Tae’s reactions and coming to grips with them often felt lacklustre and perhaps resulted in Gang Tae merging into a “ stock male lead” over the course of the drama.

Naturally this draws us up onto the aspect of relationships in ‘ Its Okay, Not To Be Okay’. Perhaps the most praiseworthy thing to note about the programme is that although it is a “ romance” drama, it points out many different types of relationships ; from paternal ( such as the case of Kim Mi Sung’s character Kang Soon Deok and her adoration for her daughter Nam Joo Ri played by Park Gyu Young) ,to the fraternal bond between Gang Tae and Sang Tae and to the obvious romantic bond between Gang Tae and Moon Young over the course of the series.

In the case of the latter relationship , the show had an odd balance between genuine and striking similarities between the polar opposites acting as their magnetic force to stick together, as well as later riding upon several cliches which intrinsically took certain earlier driving factors from their fairly well-written and blossoming relationship. The ending was undeniably sweet, though perhaps a little anticlimactic for some watchers (considering the darker themes tackled).

The obvious and evident pairing overshadowed in the show by Gang Tae and Moon Young’s romance , occurred between Nam Joo Ri(Gang-Tae’s “ lovelorn” best friend) and Moon Young’s colleague and CEO of the publishing company Lee Sang In ( Kim Joo Heon). By default their pairing should have perhaps been the most grounded portrayal of the most “ normalised” romantic relationship in the show , however, by investing so much time into Gang-Tae and Moon Young’s, Sang In and Joo Ri’s pairing felt lacklustre , incredibly forced and a cliche setup between the “ extras”, rather than fleshed-out and realistically built-upon over time.

So, is ‘ It’s Okay, Not To Be Okay’ actually worth watching? Although there were a couple of questionable acting moments, cliches and plot inconsistencies, ‘ It’s Okay, Not To Be Okay’ was still a good drama, and certainly shouldn’t be dismissed as “ mediocre” ; the plot was intriguing, the cinematography was creative and beautifully shot, the OST was eclectic and themes of mental-health as well as psychology were fairly well-tackled and portrayed. ( Perhaps one of the most gripping scenes in the whole series came from a veteran soldier experiencing a bout of PTSD and the horrific scenes through the cinematography he was seeing on a normal bus ride.) ‘ It’s Okay, Not To Be Okay’ is undeniably not a flawless show, however, it is certainly still worth a watch ( not least for Moon Young’s more and more extravagant attires by each passing episode).

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An “Eternally “ Forgettable Show

Kim Eun Sook has been an incredibly popular screenwriter over the years due to her past involvement in works such as ‘ Lovers In Paris’, ‘ Descendants Of The Sun’, ‘ The Heirs’, ‘ Goblin’ and ‘ Mr Sunshine’. Whilst admittedly the quality of her works have remained divisive amongst drama watchers and critics alike, it is almost guaranteed that Eun Sook’s dramas will generate a certain buzz and present a wide range of acting talents. Therefore when news was released that ‘ Eun Sook’s latest project would be bringing on a star-studded cast alongside an intriguing premise, it certainly seemed to suggest that ‘ Eternal Monarch’ would be a worthwhile watch. However, reality can often be disappointing and not even Lee Min Ho and Kim Go Eun could prevent the drama from descending into a cataclysmic spiral of mediocrity.


Undeniably, Eun Sook’s premise for the show had good potential upon paper. Parallel worlds, histories and doppelgängers can’t be claimed to be entirely brand new concepts within Korean dramas( note shows such as Duel , King of Two Hearts and W; Two Worlds for references ), however, the potential for a show in which one of Korea’s darker moments of history ( for those who don’t know , the 1910 Japan- Korea Annexation Treaty which played a part in ending the Korean monarchy , and the tragic Korean War of 1950-1953, which caused the divide of North and South Korea ) having never existed in one world with a still present Korean monarchy , did seem to suggest that King; Eternal Monarch could’ve been a generally enlightening and profound drama.

Sadly, Eun Sook wasn’t seeking to stimulate our brains with philosophical thoughts, centralising her efforts upon lacking “ cute” couple moments instead. It’s fair to say that Lee Min Ho and Kim Go Eun’s names as our leads within the show, offer a certain appeal for fans through memories of other stellar performances by the actors ( particularly Boys Over Flowers and Goblin) , however, Min Ho’s portrayal as Kim Gon sadly, was easily forgettable through his generic deliverance of lines and development as a character throughout the drama. Similarly, his costar Go Eun’s performance as detective Tae Eul/ her criminal counterpart , Luna, certainly wasn’t portrayed in an unbearable performance, however, her deliverance of lines preceding her reputation as a top -notch actress, was a mediocre performance to say the least ( equally parallel to her costar Eun Chae’s wobbly deliverance of lines in the drama )

. As for their characters, cynical cop and a smart King from a parallel world, isn’t something you see everyday, yet, for a show which centralises upon romance, there was nothing notably impressive within the build up of the two characters and their relationship. There were no moments of genuinely moving emotional trials , development , paced storyline or more importantly why either lead even decided to fall for one another at all. On a partial side note, the one joy which Eternal Monarch did bring for viewers was Woo Do Hwan’s comical portrayal as an easygoing intern at Tae Eul’s station and his counterpart , the cynical and confident bodyguard of Gon in his world.

On the other hand, whilst Do Hwan was possibly one of the few decent actors in the show, Eun Sook could have done a lot more with the storyline overall. If the show had focused less upon advertising the latest designer outfit on Min Ho as he swishes along the streets of Seoul in Tae Eul’s world , or a new chicken restaurant during a moment which could’ve been prevalent to the pacing of the storyline, then perhaps Eternal Monarch would’ve also offered us a greater explanation to exactly the unexplainable central reason behind the parallel universes , the intentions to exactly how two people can exist at the same time worlds apart in different dimensions or time zones ( note the whole unexplained reasons behind the boy with the yo-yo , the footage from the future and of course changing the timeline with Gon’s alternate self), and a well-written antagonist who didn’t fall short upon being simply a nefarious moustache twirling villain as well.

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Does The Glass Slipper Fit?

Ah, the “ Cinderella-Tale”. It’s the trope which embodied the ‘ Hana Yori Dango’ franchise, 2000s rom coms and 1990s shoujos countless others beforehand , where the outcast or plucky mundane heroine changes the spiteful, rich male lead ‘s life before he whisks her away to live happily ever after. The trope nearly defined the zenith of 2000s romance dramas, yet nowadays the “ Cinderella Tale” archetype is often seen as being retrospectively outdated . Now the trope comes to life once more with “ Promised Cinderella” but just how does this cliche actually play out in 2021? Is it a nostalgic trip about the old days of romance dramas , or is it just too outdated for its own good?

At its heart “ Promised Cinderella” is based upon the Josei ( aimed for older teens to women) manga of the same-name. It is a trope-worthy love story between 27 year-old Katsuragi Hayame ( Nikaido Fumi), a vagrant former-housewife and rich and pugnacious 17 year-old Kataoka Issei( Maeda Gordon) who Hayame is forced to move in with. However whilst Issei finds his feelings growing for his senior, Hayame finds herself torn between Issei and his seemingly kindhearted brother Kataoka Seigo ( Iwata Takanori) , leading to all the imagined twists and turns out of a love triangle setup.

The drama is undeniably lighthearted, with a more mature and serious heroine taking central position in the drama and also taking off that burdensome worry of labyrinthine plot line . Overacting was sometimes an undeniable problem here, but nonetheless the main cast were dynamic . Nikaido Fumi really embodied Hayame to life onscreen through her performance, en par with fellow costar Maeda Gordon as foul-mouthed high schooler Issei and evidently Iwata Takanori as Issei’s brother Seigo.

Yet is is impossible to turn a blind eye towards the numerous problems amounting in this drama towards Hayame’s “potential love interests”. As far as the main couple goes let’s not sugarcoat it. Hayame is a 27 year- old woman and Issei is a seventeen year- old kid. Understandably the drama has never established anything lewd between the two aside from Issei’s crush and of course age gaps can be shown in numerous and versatile ways. However when tackling the subject of age or generational gaps, a topic which admittedly does come up is how this can impact a relationship between lovers socially, culturally and psychologically.

The drama plays repeatedly upon the gag that Hayame is an “ old woman” ( despite only being 27) but rarely does it draw onto the more significant factors of this age difference for both parties. Issei is incredibly immature for his age. There is the argument that a lot of his conducted attitude is based upon his experiences and whilst we do get to see his character grow at times, he was the typical “ spoilt and insolent brat” archetype. He nearly constantly put Hayame down verbally by passing remarks even in social situations, whilst irksomely Hayame ( despite being 10 years his senior and with more life and relationship experience) seeming “ wittiness” would be thrown out the window in order to keep this lacklustre charade moving as part of the plot device.

Then of course there’s Hayame’s “ potential chemistry” with Seigo. Despite being the older brother of Issei , Seigo has his own dirty secrets which can flare up a nasty side to a seemingly “sweet as pie” trope character. Undeniably intriguing to watch this character unravel, but nevertheless it made it troublesome for viewers to truly root for a respectful and flawed yet likeable character in this drama. Seigo’s “ infatuation ” with Hayame without respecting boundaries sometimes or his own brother’s feelings could verge upon obsessiveness . Perhaps this problem wouldn’t have been so bad if the drama had noted or brought to light that Seigo’s actions were unhealthy or wrong but rarely was this brought up and instead often passed on as “ just fascination” . In a setup where both characters are supposed to be flawed but have their own unintentional screenwriting problems, it is hard to truly root for either main lead. ( Without the lingering thought that Hayame is nothing more than a plot device to keep this lacklustre potential romance “ more dynamic”. )

To make matters worse aside from the questionable relationships in this drama, ‘ Promise Cinderella’ pretty much ticks all the boxes of every romantic cliche that you’ve seen and done before a million times;

1)The jerk former husband who abandons his wife, and isn’t necessary to the storyline pretty much ever again? Check.
2. The female lead who is too prideful to bother actually looking for a job to get off the streets, but no because it gets in the way of the actual reason to be saved by a high schooler? Check.
2)Trying to cover for a “ divorce background” with her husband in order to pair off Hayame with the potential love interests, yet never actually covering legal matters or court processes because it is too much like adding something realistic to the drama? Double Check.
3)Introducing the crude, teen male lead with an inferiority complex and who has a reason for being rude but none of them justify his bratty actions, or allow an opportunity for Issei to issue an actual apology to anyone? Triple Check.
4. Subverting the entirety of the female lead’s strong willed personality in order to make her cutesy to the plot but then changing her again, and then making her docile once more ? Quadruple Check.

‘ Promised Cinderella’ isn’t entirely a bad drama per say. It was pure sickly sweetness in all its glory with an ending which goes down an expected route. The acting was solid and an older female lead adds an intriguing dynamic to the storyline with her potential love interests, however, at the same time, the storyline was often predictable and dull by not even attempting to play or add anything new to the screenplay setup . The relationship between the two main leads and the controversial age gap raised red flags for all the wrong reasons without even trying to present this gradually , and the fact the drama itself wasn’t entirely sure how to incorporate Hayame’s character or revamp the “ Bad Boy” trope with Issei made ‘ Promised Cinderella’ an undeniable guilty-pleasure , but a 2000s-style revamp which feels more out of time than a nostalgic trip down drama lane.

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Is It A ‘Bad And Crazy’ Decision To Watch This Drama?

Crime and action dramas can often a tricky to tackle for screenwriters. Nevertheless screenwriter Kim Sae Bom ( ‘ Uncanny Counter’) and director Yoo Seon Dong ( ‘Uncanny Counter’, ‘ Vampire Prosecutor 2’ ) are able to turn a passé “ buddy cop” premise into an adrenal-kicking ride with Lee Dong Wook and Wi Ha Joon taking front seats.

The storyline focuses upon the titled ‘ Bad’ guy of the series Detective Su-yeol (Lee Dong-wook). Su-Yeol’s original passion and drive to deliver justice has been lost over the years as a consequence of trying to climb up the social ladder. However Su-Yeol is soon hit with some home-truths when he is incessantly haunted by the ‘ Crazy’ and self-proclaimed helmet-wielding " hero" K ( Wi Ha Joon). As the main lead begins to struggle with battling against the mysterious hero fanatic in his daily life, he soon becomes involved in uncovering a greater web of lies and corruption at the heart of justice. Reluctantly he enlists the help of quirky hero K, his ex-girlfriend and witty detective Lee Hee Kyum ( Han Ji Eun) as well as good-natured rookie cop Oh Kyung Tae ( N) in order to bring down a greater threat from the shadows.

It should be clarified that the initial plot setup of “ corrupt cop becomes good again” isn’t an inherently new or exciting concept to K-dramas. Nevertheless, Kim Sae Bom was willing to add a retro flare to the narrative through the action escapades of K and Su-Yeol facing against bumbling and brutish thugs, convicts and adversaries in weekly episodes.

There’s a fairly comical undertone during many early exchanges between K and Su-Yeol ( without spoilers). Lee Dong Wook and Wi Ha Joon’s onscreen bromance chemistry could admittedly come off as slightly strained under the weight of loose threads in the plot at times, but the jovial bickering between their onscreen counterparts will certainly generate a chuckle or two for audiences. However despite the drama’s coverage of some lighthearted comedy sequences and interactions , Kim Sae Bom was not afraid to delve into darker subject areas also.

Naturally this brings up the discussion of the cast lineup. Venerable actor Kim Dong Wook starred as one of the main star-attractions of the production as Su-Yeol. The veteran actor admittedly did feel slightly typecast to the role of the “stoic and mysterious” archetype once more. However whilst goofy initial charm seemed to define Dong Wook’s character, later complexity surrounding Su-Yeol, truly gave his onscreen persona a definitive edge .

Yet whilst later episodes did present some heartfelt moments to explore vulnerability within the tougher character-build of Su-Yeol, the main lead’s earlier interactions with his family rarely foreshadowed or hinted a buildup towards Su-Yeol’s feelings. Of course , it is important to establish that although screenwriter Sae Bom did slowly develop Su-Yeol from the outset, it could often feel as though elements of his character were rarely fleshed-out with more depth .

Then of course there’s the discussion surrounding “ K”. Played with a daring boyish charm by Wi Ha Joon, “ K” acts as the second mysterious main lead of the series.


Without definitive plot spoilers, it is important for viewers to note that “ K” seemingly embodies everything that Su-Yeol strives not to be ; anarchic, comical, unpredictable and possessing a great hero complex also. Understandably “ K”’s greatest character-drive comes through his developed bond with Su-Yeol. Yet whilst comical ( and often fractious ) interactions between the main leads could be entertaining and sometimes complicated , it often felt as though “K” was rarely given a more serious presence in the storyline . ( Until later events when Kim Sae Bom deemed his character as a necessary plot-device; mysterious but often being used merely to expedite plot.)

Costarring alongside the two main leads was Han Ji Eun as female lead and love interest Lee Hee Kyum. Hee Kyum is an intriguing character with her own reasons and problems and especially due to her “ complicated” relationship with her ex and main male lead Su-Yeol. ( Especially with consideration to her somewhat acrimonious and unexplained breakup.)

On the other hand, whilst Hee Kyum was a necessary asset for the events of the narrative , there was a notable flaw at times with the main female lead; she lacked a definitive edge. Arguably it is noteworthy that Hee-Kyum is fairly resilient in the face of adversity and is quick to stand her ground also. Yet sadly Hee-Kyum rarely had opportunities to be explored outside of necessary plot-line . It was fairly sweet and engaging to witness the unfolding and potentially rekindled flame between the former-lovers onscreen. However, there were many notable aspects of Hee-Kyum’s intriguing backstory ( mentioned only several times as passing references), dreams, familial relationships and reasons for becoming a detective which were often left disregarded throughout the narrative .

Admittedly Lee Hee Kyum wasn’t the only victim of absent character backstory . Second male lead Oh Kyung Tae, a necessary character from the beginning, is dismissed through a “ necessary plot point” from being actively involved in the series. Whist this was arguably crucial to allow the events to unfold, Kim Sae Bom rarely measured opportunities through screen time to “ get to know” a key player in the drama; he’s altruistic, clever and observant but that’s also the problem. Oh Kyung Tae never truly felt as though he was a realistically flawed character.

Other side characters of the storyline included detective Yang Jae-Sun( Cha Si-Won)- Su-Yeol’s loyal work colleague and slight sycophant , shady but knowledgable psychiatrist Yum Geun-Soo( Choi Kwang Je) and the mysterious and unnerving professional psychiatrist Shin Joo-Hyuk( Jung Sung-Il). Whilst these side characters played important roles in various parts of the drama, predictability soon arose ( in parts) for the roles due to the evident writing-setups for these characters .

On this note it is important to bring up the nature of the opposing forces of the narrative. Admittedly ‘ Bad And Crazy’ never truly established an “ overarching” antagonist per say until later events of the storyline . Whilst the series did gradually veer towards having a final “ threat” during end events, the storyline instead placed multiple adversaries for the main lead such as corrupt politician Assemblyman Do Yu Gon ( Lim Ki Hong), the big kahuna of a drug gang Boss Yong ( Kim Hieora)and her right-hand man Andrei Kang ( Won Hye Joon) as potential “ red herrings”. Whilst these side characters did play their necessary role within the events of the narrative and help to buildup to the finale, the ending admittedly felt somewhat anticlimactic as a result of rarely presenting these antagonists with more profound character-qualities.

Admittedly ‘ Bad And Crazy’ was a slight anomaly when it boiled down to pacing . Whilst some dramas can notably suffer from the classic problem of possessing strong beginnings and weak endings, ‘ Bad And Crazy’ presented the opposite: a weaker beginning notably gave rise to a lighthearted introduction to characters, whilst the second-half focused heavily upon crucial details of plot and heavier topics.

Whilst this wasn’t necessarily bad per say and did allow for audiences to establish the key players of the drama, tedious pacing during early conflicted dilemmas for the characters contrasted by quick-paced action scenes during fights, often rarely allowed golden-opportunities to delve deeper into the ins and outs of the storyline. As a consequence, the ending is admittedly dependent upon expectations; some may enjoy the final events of the series with satisfaction , whilst others may feel disappointed and letdown by the final result.

Then of course there’s the discussion surrounding Yoo Seon Dong’s filming. Whilst Seon Dong could captivate a certain ineffable charm under his directing reigns with fast-paced action sequences and chases, Seong Dong’s camera work could often be amateurish at times also. Admittedly this isn’t entirely the fault of the director per say. The addition of pacy editing and cut scenes in order to make up for the usage of sloppy fight scene choreography and punches highlighted mixed-results throughout the camera work. On the other hand, the OST did often help to draw attention away from these scenes through an eclectic mix of generic instrumentals and unpredictable tempos - in particular ‘ Bad and Crazy’’s EDM opening song helped to capture the adrenal-infused mania and atmosphere for anyone willing to stay along for the ride.


Overall, ‘ Bad And Crazy’ is a series which felt somewhat shoehorned at times by plot, characters and pacing. Nevertheless whilst predictable and niche at times , the twelve-episode series was surprisingly delightful in parts with a pacy narrative allowing opportunities for viewers to become intrigued within some of the drama’s touching depictions of its main characters. Fast, thrilling and not without its rougher edges, ‘ Bad And Crazy’ will perhaps not serve as one of Lee Dong Wook and Wi Ha Joon’s best performances to date for some watchers , but it certainly can offer an adrenal-infused binge-watch for those intrigued from beginning to end.

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A Drama Which Will Try To Warm Your Heart…

KakaoTV’s miniseries ‘ Would You Like A Cup Of Coffee?’ is based upon manwha writer and artist Heo Young-man’s ( known for his original adapted-webcomics such as ‘ Gaksital’ and ‘ Tazza’, )original titled work ‘ How About A Cup Of Coffee?’ ( also known as ‘ 커피 한잔 할까요?’ ) and attempts to offer viewers a heartwarming cup of the slice-of-life genre.

The storyline focuses on main lead Kang Gobi (played by Seongwu Ong) - a college student who initially failed his examinations. After talking to his mother in a heart-to-heart conversation over the phone Gobi finds himself down-beaten and decides to sit down at a nearby coffee shop where he first meets Park Seok ( Park Ho-San). The owner of the cafe ‘Second Coffee’, Park Seok is naturally doubtful when Kang Gobi asks to become his student. However as Gobi begins training under the seemingly austere hand of the master barista, he begins to unveil the value of coffee to different individuals and customers throughout the storyline.

With a compacted plot due to its episodes’ duration time (an average of half-hour episodes), it’s unsurprising that the miniseries’ minimal storyline has lead to a divisive response amongst audiences.

This isn’t necessarily to say that ‘ Would You Like A Cup Of Coffee?’ ‘s plot is “ dull ” or “ prosaic”. The storyline may have been basic and offered a mostly platonic setup ( with only brief romantic hints or spurred-on misunderstandings which are soon resolved), it admittedly did give the miniseries many opportunities to explore more heartwarming storylines and bonds between characters .

However a natural downfall for these seemingly sweet storylines could often come across as lacking a more impactful and emotional punch for viewers. This was often as a consequence of each episode being built upon the same loose structural foundation; an initial introduction to a character , the presented dilemma and then often a quick-fixed solution or revelation by the end of each episode- not always necessarily a bad approach per say, but it didn’t always facilitate towards giving a more hard-hitting revelation for viewers which ( time limits aside) could’ve easily been wormed into scenes throughout the series .

Whilst admittedly it often felt as though camera angles could be a letdown for conveying more emotive scenes and emphasis on characters, the cinematography is masterful within its focus upon minimalist shades and palettes surrounding the cafe. The emphasis of beiges and light browns presented a warm-hearted and easygoing ambience in scenes surrounding the cafe- a microcosm world of safety and comfort for its customers and two baristas, as they shield away from the striking mundane reality of everyday life in the outside world .

The acting remained a strong forte for the miniseries. It was admittedly not flawless ( with certain performances remaining more questionable than others), but Park Ho-San and Seongwu Ong’s dynamic and naturally gradual mentor-teacher chemistry certainly became one of the major highlights for audiences. In addition to this ‘ Would You Like A Cup Of Coffee? ’ takes a pragmatic approach within its small niche of main and reoccurring characters - inclusive enough for audiences to understand their different roles and personalities , but arising to some more explorative issues also.

Kang Gobi is our main lead of the series. A “ self-conscious and downtrodden youth”, Kang Gobi’s facilitated character growth comes through his developed passion for coffee. Yet whilst Gobi admittedly did offer audiences with solidarity through being able to relate to similar struggles , it is honest to note that his character did often fall short of being an “everyday hero” due to sometimes lacking more subtle character growth through his journey rarely feeling more gradual, alongside lacking social or familial bonds outside of the storyline or prior to events ( with only a brief insight with his mother) to make him feel more like a sentient character .

The second male lead of the miniseries Park Seok embodies the typical “ sagacious master”archetype. The deuteragonist of the miniseries is mysterious, level-headed and a man of few words, but Seok is a surprisingly heartwarming character against all odds for audiences ; austere and aloof to begin with, but proving himself to be a sincere and supportive mentor and friend throughout different obstacles that Gobi faced in the series.

However Park Seok could often feel like an insipid character onscreen. With Seok’s archetype as a “ mysterious” archetypical main lead, the element of mystique is often key to piquing viewers’ interests and fascination. However where writers can often present opportunities for these characters to grow can be through revelations of their personality, identity and flaws which can sometimes purposefully change or at least shape a different perception upon characters for viewers . Admittedly whilst we gain some insight into Park Seok being widely revered by coffee connoisseurs as well as having unlikely social circles , we rarely had more opportunities to explore moments where Seok’s “ stoic” facade could be broken often rarely giving viewers an insight of his “ human” side through more emotive feelings or reactions.

There’s also the reoccurring side characters of the series who pragmatically exist to keep the storyline moving ( leading to some tender as well as wasted character opportunities); Kim Joo-hee ( Seo Young-hee)- a coffee lover and music columnist who shared a profound relationship with Park Seok and regularly visited the coffee shop , high schooler and part-time bakery worker Ga On ( Choo Ye Jin); a regular visitor who after an initial misunderstanding with Gobi, developed a friendship with the main lead and Ahn Min Na (Kim Ye Eun); a tired webcomic artist who is a regular customer at the cafe.

Then of course there’s the ending of the series; arguably without its problems by leaving some loose ends for viewers, but appropriate and without its more bittersweet edge either.


So what is left to say about the miniseries? Is it worth watching, or is it a waste of time? ‘ Would You Like A Cup Of Coffee?’ is similar to what its drama-title suggests; those expecting a darkly deep and powerful storyline with flawless and memorable execution and writing, may be slightly underwhelmed by the finished product of the miniseries. However for those who wish to indulge in the rich creamy sweetness of an easygoing and laidback binge-watch , alongside a fairy fast-paced plot and some heartwarming moments on the side, then ‘ Would You Like A Cup Of Coffee?’ is an ideal-watch.

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Is This A Drama Series Worth Investigating?

Loosely based upon the real-life exploits of Tokyo Shimbun reporter Isoko Mochizuki, director Fujii Michihito’s drama ‘ The Journalist’, is adapted in-turn from his 2019 shared-titled feature-film. The Netflix six-part drama offered a golden-opportunity to the director in order to “flesh-out” weaker moments from his original work by offering viewers a vivid vignette of the world of corruption and journalism. Yet despite a brilliant performance by actress Ryoko Yonekura , Yamada Yoshitatsu and Kodera Kazuhisa’s sultry and harrowing storytelling could feel somewhat niche by the second-half.

The storyline focused upon highly-revered and inquisitive journalist Anna Matsuda ( Ryoko Yonekura). When confronted with the shady dealings of a political crime at the heart of Japanese society, Matsuda alongside cynical government official Shinichi Murakami (Go Ayano), guilt-stricken bureaucrat Suzuki Kazuya (Hidetaka Yoshioka),Kazuya’s wife , Mayumi (Shinobu Terajima), and university student Ryo (Ryusei Yokohama), find themselves fighting against a common enemy through Shinjiro Toyoda (Yusuke Santamaria); a PR specialist and official adviser to the prime minister.

Perhaps one of the greatest takeaways from ‘ The Journalist’ came through raising ethical and moral questions towards the universal problem of corruption; especially at the top of worldwide governments. However whilst the series did allow food for thought for its audience, it is noteworthy to point out that no trope or cliche is left upturned in Yamada Yoshitatsu and Kodera Kazuhisa’s screenplay for the reboot. Whilst an artistic licence does allow influences from similar storylines and productions to worm into the series in parts, ‘ The Journalist’ ‘s regimented paper trail to corruption led to some tedious and over-stretched moments throughout. Dialogue , interactions and Matsuda scrolling over documents for a torturously long period onscreen against suddenly falling asleep on her desk and then repeat, could often feel as though the series was trying to heavily pound the insertion of “the devil being in the details” rather than expediting certain events of the storyline.

‘ The Journalist’ is admittedly self-conscious from the outset. Rather than allowing the series to spiral into an over-the-top parody of conspiracy theories and rushed plot, the miniseries allowed itself to be compacted into six episodes. Yet whilst elements of the series’ appeal with Yonekura and Terajima taking frontal stage did begin to make the series feel as though it was a reconstructed reenactment , the actual focal point of the series, the corruption, was rarely covered. Instead, whilst the series did offer opportunities to present the climatic buildup of events and revelations, the brushed over and lingering presence of the main plot drive created an addictive yet slightly farcical edge during later scenes also.

Nevertheless,Fujii Michihito’s return to the director’s chair did certainly present its perks also. Respectfully choosing TV veteran Ryoko Yonekura instead of her movie counterpart South Korean actress Shim Eun-kyung, allowed golden-opportunities to explore the emotional, sentient and conventional range of the main female lead. ( Even if hard-nosed Anna can coincide her psychic ability to arrive at people’s doorsteps just at the right moment.) In addition to this Fuji combined a heavily aesthetic approach to the series- artistic cuts and editing combined with a nail-biting score did deliver a tense atmosphere for viewers. However, the second-half delivered a somewhat languid finale for the series with slower pacing attempting to slow down and make viewers take-in the storyline, but slowly becoming somewhat tiresome and repetitive.

Fujii Michihito’s ‘ The Journalist’ did present a necessary revamp in parts in comparison to its movie counterpart . The six-part series delved into relatable and harrowing issues striking a chord for viewers worldwide . Yet whilst Fujii Michihito’s moody cinematography and in particular Ryoko Yonekura’s brilliant acting did keep viewers intrigued and enticed, niche storytelling and archetypes could make ‘ The Journalist’ feel slightly cyclical and dragged out in parts also.

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Will This Drama Be Your ‘ Knight’?

SBS’ ‘ Let Me Be Your Knight’ offered viewers a predictable and cliche-ridden setup surrounding the haughty singer of LUNA ( a popular idol group ) Yoon Tae-In ( Lee Jun Young) who is diagnosed with somnambulism. In order to avoid media-attention, the CEO ( Kwak Ja Hyung) of the idol group’s contracted company employs world-renowned in-house somnologist Kang Sun Jun ( Jung In Sun). However there’s a catch; the CEO ended up employing Kang Sun Jun’s identical twin sister In Yoon Ju ( also played by Jung In Sun) instead. With her own personal motives for taking up the false identity of her estranged twin, Yoon Ju finds her nerves tested to the limit when she begins having to keep watch over the insufferable Yoon Tae-In as well as sharing a house with his fellow band mates Lee Shin ( JR), Kim Yoo-Chan ( Yoon Ji-Sung ), Woo Ga-On ( Kim Dong Hyun) and Seo Woo-Yeon ( Jang Dong-Joo).

Directed by Ahn Ji Sook and composed together by a quartet of screenwriters (Shin Seo Ha, Hae Yeon, Seo Jung Eun and Yoo So Won) as a marketed story about “ romance and healing, ‘ Let Me Be Your Knight’ is undeniably a fairly disengaging and “ fluffy” drama.

Of course, a good drama doesn’t always necessarily need to have labyrinthine plot points and often romantic escapist dramas do present versatile opportunities for dynamic screenwriting. However, where an ultimate problem did lie with ‘ Let Be Your Knight’ ‘s presented formula is that reimbursed cliches and tropes often led to predictable and generic outcomes throughout the storyline.

There was an admitted problem with the casting choice of Jung In Sun as the main female lead ; she didn’t seem to quite match the role for audiences . Respectfully the age of her character In Yoon Ju ( as well as arguably her “ twin sister”) is never truly specified throughout the series. However, with consideration to Yoon Ju’s notably more benign personality traits, mannerisms and soft-spoken tendencies at times, ‘ Let Me Be Your Knight’ often seemed to indicate that the screenwriters should’ve facilitated to two possibilities; a younger actress to play the suggested role, or changing elements of Yoon Ju’s age or mannerisms as a character to better-suit the casting choice of Jung In Sun .

Admittedly this isn’t entirely the fault of the actress. Yoon Ju presented a polar opposite to her seemingly “cold” twin; emotional, kindhearted and notably benign at times but rarely did she seem to have a quintessential requirement for her character’s seeming “ difficult past and problems”; flaws .

This isn’t to say that Yoon Ju didn’t have potential to have intriguing character exploration moments ( including her complicated relationship with her sister as well as the loss of her parents) nor did she show affection to others throughout the series. However considering the fact that Yoon Ju has had to take up the false identity of her sister; a qualified professional in sleep diagnosis and aside from a comical “ initial struggle” early on, it seemed odd that neither the band mates or CEO Moon didn’t begin to grow slightly suspicious by her actions or mannerisms early on. As a consequence, the female lead often suffered from a predestined fate as a “ carte blanche Mary Sue”; a plot device in order to keep the storyline intriguing,but missing out on truly engaging with the audience as a fleshed-out and definitive female lead.

Costarring alongside Jung In Sun is Lee Jun Young. Jun Young is undeniably a good actor and has proven his talents in versatile roles over recent years. However there seems to be a recent and notable pattern with In Sun being cast in the “ stoic” male lead role with his onscreen persona Tae-In being no exception.

Tae-In is a character who is notably hard to warm up to during the initial events of the storyline ; he’s brusque, aloof and aside from gaining the adoration of the “maknae” of the group Woo Ga-On ( Kim Dong Hyun), has struggled to get along with the rest of the band. Admittedly Tae-In’s growth is gradual through his initial self-depreciation after the flop of the band’s recent album ( which he mainly wrote) as well as gradually falling for the female lead. However similar to Yoon Ju’s missed-out opportunities to be explored as a well-rounded character, Tae-In’s more evident character drives such as the traumatic link of his somnambulism, gradually developing a closer-bond with his teammates and even his exact reasons for attraction for the female lead, were rarely covered in order to shoehorn him into particular scenarios and plot events.

The onscreen chemistry between Lee Jun Young and Jung In Sun whilst decent enough, did seem to lack a certain dynamic charm for audiences. Tae-In and Yoon Ju’s gradual attraction from one another to “ contempt to love” rarely flowed coherently due to the characters often being enforced into romantic cliches and scenarios, rather than gradually developed.

In addition to this, there’s the issue also with consideration to the indecisive writing decision of the “love triangle” between Tae-In, Yoon Ju and fellow band member Seo Woo Yeon (Jang Dong Joo). Whilst the “love triangle” trope was used in the series as an attempt to “ keep chemistry alive”, there was rarely time to truly see this dynamic with more finesse. Woo Yeon was often limited merely to his archetype as the “ second male lead”; the dreamer who is pointlessly chasing the female lead without clear reasons or even definitive character traits along the way.

The side characters of the series admittedly were often used in a seeming attempt to fill-out screen time through various subplots. It’s wrong to entirely state that these subplots weren’t interesting per say; Yoo Chan’s complicated relationship with his mother, Shin’s clandestine relationship with radio presenter Ji-yeon (Ha Young) and Ga-On’s traumatic experiences as a trainee did seem to put forward some intriguing side storylines throughout the series. On the other hand whilst a lot of the side characters were arguably more fleshed-out than the main leads, the primal focus on the main storyline rarely gave opportunities to delve deeper into the subplots. Instead these storylines were often slightly rushed, brushed over or given anticlimactic resolutions by the ending of the series.

‘ Let Me Be Your Knight’ was arguably self-conscious from outset about not overcommitting itself to a complicated plot in twelve episodes. Nevertheless whilst the basic formula surrounding the main leads’ romance and issues is compacted, the series did often seem to struggle with truly expediting plot. Instead the pacing of the series could often be tedious in parts with niche plot setups and enforced dialogue becoming apparent. Perhaps if the series had given more opportunities to exploring characters, or even a definitive plot goal, then ‘ Let Me Be Your Knight’ could’ve had a less anticlimactic and impactful ending.

The cinematography of ‘ Let Me Be Your Knight’ was admittedly decent enough under the directing reigns of Ahn Ji Sook. Most scenes throughout the series were filmed throughout a usage of slick, long distance and closeup shots and gave a professional and glossy edge to filmed sequences and key moments. However despite the aesthetic edge of filming, the innovation of presenting the arts in intuitive ways , reflecting the emotional scope of its characters through palettes or tones ( aside from niche pathetic fallacy in certain scenes) , or even vivid mise-en-scène moments were greatly absent from the series.

The OST of the series was admittedly a mixed-bag. For a series which mainly focused upon its central characters being in the music business and industry, it seemed odd that certain song tracks in the series were slightly insipid at times . This isn’t to say that these songs were bad per say. In fact there were definitely several tracks which helped to definitively reflect the mindset of the characters and will likely grow on some. On the other hand, it seemed surprising that the OST didn’t always deliver a memorable punch for the audience either.

‘ Let Me Be Your Knight’ is a fairly lighthearted and niche romantic melodrama . Whilst the acting performances are decent enough and the side storylines did offer intrigue for viewers, the drama could often feel unable to escape its own set-limitations. In particular certain casting choices, predictable screenwriting tropes and character archetypes alongside poor pacing in parts, presented ‘ Let Me Be Your Knight’ as an above-average drama; watchable and enjoyable during a binge-watch, but lacking in more definitive traits also.

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It’s No “ Secret” That This Drama Is A Waste Of Time...

First of all before saying why this drama didn’t met up to many expectations of drama fans, it’s important to say that there were some genuinely intriguing aspects towards the show.

One of the most apparent aspects of the drama was the international relationship between our Vietnamese female lead and aspiring reporter Chi Mai ( Hoàng Yến Chibi) and South- Korean Hallyu Star JIN ( Sung Joon). Although it isn’t out of the question for dramas to tackle international relationships or respectfully cast actors from different countries ( such as renowned South-Korean actor Lee Jong Suk being cast in the Chinese drama Jade Lover, or a young Lee Joon gi’s appearance in the Japanese movie with actress Aoi Miyazaki in Virgin Snow ), it isn’t a theme or relationship which is often tackled or centralised in many typical Asian dramas.

Respectfully a lot of this can be to do with natural cultural differences and language differences between the two countries, and in My Secret Star there is the evident problem of Chi Mai and JIN’s words being lost in translation without Mai’s earphones which help to translate their conversations back and forth.

On the other hand, My Secret Star was severely flawed by the aspect of story -writing and pacing. Although the show was very short, there was little to actually develop or process the relationship between our main leads.

Undeniably the main focus of the show was the supernatural element of JIN transforming into a young child when someone makes physical contact with him. In a typical cliche manner, JIN naturally discovers that he is immune to Chi Mai’s touch leading the two to spending more time together.

This is certainly a sweet element to show within the portrayal of their relationship, however, after the few early episodes of My Secret Star, this supernatural element is nearly drawn out the picture entirely and by the ending of the drama, it’s magically “ solved” without rhyme nor reason . It isn’t necessarily that this aspect of the show shouldn’t have been included, however, it was a strange move by the scriptwriters not to symbiotically use this as a plot device within portraying the development between the leads and challenges which allow them to grow closer in later episodes.

In addition to this , despite JIN and Chi Mai’s status as an international couple, there were few culture shocks or differences between the two leads as well as general intrigue other one another’s country at all within the show. It is of course certainly not a necessary aspect to beat genuine romantic feelings, however, if a show is trying to tackle a relationship where both parties are from different countries and speak different languages, there is the natural element of wanting to learn more about someone’s background.

This is hardly shown in the drama and whilst JIN reveals a little bit and his past and resentments towards becoming famous, there’s little explanation or actual drive as to why Chi Mai wanted to become a reporter even through revelations of her childhood .


Overall My Secret Star wasn’t a show which was incredibly dire, however, poor story writing , characterisation , outfits ( particularly the Korean misrepresentation of the “ gay” fashionista ) and an inaccurate representation of international relationships, made the show incredibly cliche and a waste of time.

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‘ Bulgasal: Immortal Souls’; Intriguing Premise, But Relentlessly Dragging…

Korean folklore and mythology paired together with elements of horror and fantasy are certainly not new to the world of K-dramas. From director Jang Young-woo(‘Mr. Sunshine’, ‘Sweet Home’, ) alongside screenwriters Kwon So-ra and Seo Jae-won ( ‘The Guest’), ‘ Bulgasal: Immortal Souls’ offered viewers with a seemingly woeful revenge fantasy epic. However whilst the intriguing premise and impressive cast lineup will certainly hook and entice viewers, ‘ Bulgasal: Immortal Souls’ ‘ lacklustre plot , pacing and character-writing became more prominent as the storyline progressed.

In the early exposition of the narrative , Kwon So-ra and Seo Jae-won attempted to foreground the events from six hundred years ago surrounding the inauspicious birth of main lead Dan Hwal ( Lee Jin-wook). Deemed cursed, Dan Hwal is transformed into a bulgasal ( a vampire-like immortal creature that feasts on human blood), while heroically fighting monsters as a solider. Hwal is determined not to throw away his humanity and seeks out revenge against the former-bulgasal who cursed him. No longer a prisoner of mortality and time, Hwal desperately seeks out the creature’s reincarnations throughout the centuries.

A present day time-skip reveals to the audience that Hwal believes that he’s found the former-bulgasal’s current incarnation Min Sang-Woon (Kwon Na Ra) . However there’s a catch; Sang-Woon is a mortal human. Together with her sister Min Shi Ho ( Gong Seung Yeon), the siblings have spent most of their childhood running away from monsters that most would only believe existed in fairytales. Sang-Woon soon finds her life ineffably intertwined with the monster who she’d be told to fear the most; the bulgasal. Hwal and Sang-Woon find that fate has had a mysterious way of bringing them together as past incarnations of people from the past soon enter their lives. However, the mysterious appearance of sadistic bulgasal Ok Eul Tae ( Lee Joon) soon threatens their fates. With his personal vendetta and morbid fascination with Hwal, Eul Tae is determined to stop at nothing to enact his own revenge.

While screenwriters Kwon So-ra and Seo Jae-won do give comical moments throughout the drama it is important to establish that these are sparse and spread out. ‘ Bulgasal: Immortal Souls’ isn’t a series for the lighthearted . The storyline focused upon elements of grim suspense ( particularly through the appearance of the monsters)as well as gratuitous gore . Nevertheless despite some stunning aesthetics surrounding fight scenes, the abundance of explicit violence in director Jang Young-woo’s fantasy series has been received with mixed reception also.

Naturally it isn’t out of the question for a series that primarily focuses upon blood-drinking entities and malicious monsters to delve into bloodthirsty scenes. In fact it is even arguable that the absence of violence from the series would not have allowed director Jang Young Woo to have a wider scope towards exploring and captivating the tainted and savage world of the characters.

On the other hand for a series which attempted to present itself as an narrative immersed with complex and psychologically conflicted characters, it felt odd that ‘ Bulgasal: Immortal Souls’’ heavy reliance upon gore and violence for shock-value thrills would rarely allow opportunities in order to flesh-out weaker characters, plot holes or quintessentially deliver an impactful coup de grâce by the ending of the series.

The acting of the series could admittedly have several slip ups with line deliverances but the main cast were fairly dynamic onscreen. Actor Lee Jin-Wook has long been typecast in rom-coms . However, since his venture into different genres through ‘ Voice’ and having previously worked alongside director Jang Young-woo in ‘ Sweet Home’, it should come as no surprise to viewers that Jin-Wook carries himself well onscreen as main lead Hal. The actor added a surprising touch of heartache and mystery to his onscreen persona which, whilst slightly limited by the scope of script, did give Hal an intriguing streak for audiences .

Mysterious, reserved and powerful, Hal is an intriguing main character with many notable flaws and strengths. Despite his curse Hal is able to retain his humanity due many personal drives throughout the series. Nevertheless whilst Hal’s motives were admirable, there was always a slight sense of dull focus upon Hal truly struggling or being presented with more conflict ( due to initial foreshadowing) with his primal instincts . Of course whilst there is the argument that Hal may have used six-hundred years to practice self-restraint, but, it did seem odd that this wasn’t a conflicting trait for a character to struggle more ( even in flashbacks) with an obstacle against his seeming crusade to regain humanity throughout the storyline .

This could’ve easily been presented even in his seeming complicated antagonistic counterpart Eul Tae; a bond which whilst necessary for plot-drive rarely delivered an impactful blow. In addition to this even as someone who was ‘detached’ from human history, it seemed an odd plot fall that Hal rarely gave insight into meeting past incarnations, figures or people throughout this period of time.( Aside from the initial exposition and some brief “ historic” photos shown between the past and present .)

Then of course Jin Wook’s costar Kwon Na Ra as the main female lead of the series. A former idol, Na Ra’s acting portfolio from ‘ My Suspicious Partner’ and ‘ My Mister’ to ‘ Doctor Prisoner’ and ‘ Itaewon Class’ , has certainly given an opportunity for Na Ra to express her eclectic range of acting abilities onscreen. The actress added a surprising level of angst and mystery onscreen helping to convey a natural and mysterious charm to her onscreen role as Min Sang-Woon. Nevertheless, whilst Na Ra is a dynamic actress , her character was arguably very limited by the writing .

It isn’t necessarily bad per say how the drama’s narrative introduced us to Sang-Woon and her sister through initial flashbacks. It allowed us as viewers to comprehend the world that Sang-Woon and Shi Ho have been forced into as a consequence of impending fate, as well as foreshadowing her initial meeting with the main lead . On the other hand, here’s where we do hit a pitfall with Sang-Woon as a character; she’ never really feels as though she has a personal-drive, definitive flaws or goals. It is arguable that perhaps Sang-Woon’s main goal has been to protect her sister and her naivety has proven to be one of her downfalls. On the other hand for a character brought up under unusual circumstances, it seemed odd that the drama rarely pointed out Sang Woon truly being shaped or affected by her environment. Even if her gullible nature is viewed as an arguable weakness of her character, it seem bizarre that other characters ( especially her sister) didn’t point this out or at least draw expectations towards her personality being different from her seemingly “abnormal” upbringing.

Sang Woon and Hal’s unusual bond is presented as seemingly one of the major driving forces of the series. Whilst there is arguably a slight romantic tension between Jin-Wook and Na Ra’s onscreen personas, their relationship is platonic for the most part. Nevertheless whilst it was intriguing to watch Hal and Sang Woon’s bond develop from animosity to sincere trust, both main leads’ relationship could often feel somewhat
stagnant at times. This seemed to come as a result of both main leads’ interactions often feeling enforced and shoehorned into plot setups. As a consequence , this allowed limited opportunities in order to flesh-out characters outside of the “ main events” of the narrative.

Then of course there’s the discussion surrounding Ok Eul Tae. A-lister Lee Joon is no stranger towards taking on different roles throughout his acting career, and his part in the series as Hal’s fellow bulgasal and opponent, Ok Eul Tae, was no exception. Joon added a somewhat twisted charisma to his onscreen persona; likely to shock and intrigue viewers of equal measure.

As an antagonist, Eul Tae is supposed to serve as Hal’s opposing counterpart; he’s sardonic, remorseless and unpredictable. In order to reiterate the opposing natures of Eul Tae and Hal beyond spoken words, director Jang Young-woo would often cleverly place heavy focus through camera angles upon the characters’ clothing. Eul Tae’s bright, expensive and somewhat gaudy suits presenting his illusive personality, whilst Hal’s somewhat drab and dull attire highlighted the main lead’s honest nature.Nevertheless whilst Eul Tae acted as the necessary “ driving force” of the events of the series, the main antagonist rarely left an everlasting impression upon audiences due to often being present as shoehorned “ for the sake of evil”. His rivalry, origins and intrigue surrounding another bulgasal could’ve easily been the most intriguing element in the series. However, lacking opportunities to truly delve into character parallelisms and differences between the main lead, the antagonist and other side character presented few opportunities to make Eul Tae a truly terrifying or well-defined opposing threat. As a consequence Eul Tae could often feel akin to a plot device “ dilemma”; easy to thrown into the equation to present conflict but rarely possessing a definitive edge.

Actress Gong Seung Yeon ( ‘ Are You Human?’, ‘ Circle’ and ‘Flower Crew: Joseon Marriage Agency’) takes on the role as Sang-Woon’s level-headed sister Shi-Ho.Shi Ho was notably intriguing due to her contrasting personality-type to Sang-Woo; she’s less naive, reserved and observant also. On the other hand whilst Shi Ho did serve her necessary purpose for “ plot drive” and revelations in the series, the second female lead could rarely feel entirely sentient due to her lacking opportunities to truly grow or be defined by her own personality traits. ( In particular a massive plot revelation surrounding Shi Ho was left greatly abandoned after its initial use in the series.)

Additionally there’s Nam Do Yoon ( Kim Woo Seok). Whilst Nam Do Yoon was necessary for adding “ shocking twists” in an attempt to keep the plot afloat a, it often felt as though these revelations were predictable outcomes . Screenwriters Kwon So-ra and Seo Jae-won seemed to create Do Yoon purely on the basis of plot-motivation; attempting to shock and surprise viewers with Do Hoon’s revealed reasons and motives for being in the storyline, but lacking the element of shock or an emotive punch due to lacking foundations surrounding Do Yoon as a character from the outset. Kwon Ho Yeol ( Jung Jin Young) and Hye Suk ( Park Myung Shin) also presided in the supporting cast ; potentially playing intriguing characters, but rarely having personal character-drive.

The pacing of the narrative was admittedly not one of the drama’s fortes. Whilst a pacy opening gave leeway towards downplaying later elements of the storyline in order to build suspense, ‘ Bulgasal: Immortal Souls’ notably fell into the trap of repetitive storyline events. Potentially intriguing opportunities in order to build up characters’ personalities, backstories or even relationships were cast aside in order to make way for a gradually dwindling “ threat” in each passing episode. However rather than attempting to at least create a fearsome presence for the antagonistic force onscreen, ‘ Bulgasal: Immortal Souls’ notably became hooked on tiresomely dragging out events beyond their expiration date.

Under the directing reigns of Jang Young-Woo, ‘ Bulgasal:Immortal Souls’ was notably stunning in parts. The figures and supernatural entities from Korean mythology found throughout the storyline had notable aesthetic and visual influences from Guillermo Del Toro’s ‘ Pan’s Labyrinth’ and Kwon So-ra and Seo Jae-won’s previous supernatural-horror project The Guest’ onscreen. In addition to creature visuals, the cinematography was a notable highlight with beautifully filmed shots of snow-filled landscapes and scenery often predominating scenes. However despite some gorgeous filming techniques, ‘ Bulgasal:Immortal Souls’ was slightly degraded by its somewhat shoddy CGI and choppy editing; often taking away from potentially stunning and emotive moments of the series.

The OST is notably synchronic with a lot of fight or tense scenes. It does not particularly distract the audience with vocal tracks but rather instrumentals; quintessential for helping to build up tension or reflecting the inner- turmoil of the onscreen characters, but rarely giving an impactful deliverance also.

‘ Bulgasal: Immortal Souls ’ attempted to give viewers a terrifying and thrilling fantasy horror epic. Interweaving the classic cliche in recent fantasy shows of mostly modern settings against Korean mythology, ‘ Bulgasal: Immortal Souls ’ ‘s potentially intriguing screenplay by Kwon So-ra and Seo Jae-won was greatly let down by the direction of plot. Instead of allowing golden opportunities in order to explore multilayered characters, world-building and a tense storyline, the drama’s layout instead delivered a somewhat niche and shallow array of characters who lacked creative flare, as well as a narrative filled with plot holes also. The ending of the series was notably anticlimactic; rushed in an attempt to wrap up several key plot points, but failing to tie up a satisfying outcome for the plot and characters. Overall, ‘ Bulgasal: Immortal Souls’ was an generic and somewhat niche supernatural series; watchable for those willing to disengage during a binge-watch session , but filled with wasted potential also.

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Enjiya ( 演じ屋);The Bittersweet Revenge Tale…

Revenge tales have long been the creme de la creme of classic drama storylines , however, “Enjiya” attempts to revamp this classic setup with our main lead Tomoki ( Isomura Hayato)’s own dish of revenge best served cold . Falsely accused of sexual assault on a train by a stranger ( Ito Momoka) and her accomplice ( Ito Asahi), Tomoki finds his life turned upside down by losing his fiancée ( Tokunaga Eri) and his job overnight. Tomoki journeys to a rooftop in order to commit suicide, only to be a witness to an “enjiya” ( the namesake of the drama); a staged event where clients can request anything they want for a pricey fee. Tomoki decides to employ the services of a mysterious enjiya worker Aika ( Nao) in order to inflict revenge upon all those who falsely accused him of this wrongdoing .

There was a lot of uncertainty where PD Noguchi Teruo ( as the screenwriter and director) was initially going to take “ Enjiya”. Revenge tropes revolving around the lead as a “ wronged person” popularly take form in getting revenge against a lover or ex often over other setups, so seeing a drama where the male main lead was more focused upon his revenge against a set-group of individuals( including strangers) than a lover per say definitely made this a different, yet intriguing watch. The drama flits between soap-opera-style setups (such as when a distraught Tomoki discovers his fiancée’s boyfriend) and of course dark satire and comedy ( Tomoki’s awkward discovery that the seemingly stabbed woman, Aika, is actually acting for a client in a disturbing and lewd fantasy).

Yet the vitality of this setup would undeniably not have come to life without its main cast. Whilst Isomura Hayato is often an overlooked actor by respectfully starring in lesser-known dramas/productions or side roles, he really shone through onscreen as Tomoki. The actor’s donned sloppy haircut, anxiety and mix of emotions present in his facial features captivated Tomoki’s character, emotions and psyche perfectly. Parallel to Isomura was evidently actress Nao who played suave and mysterious enjiya worker Aika. Similar to her costar , Nao has often played in lesser-known works or in smaller roles over the years, yet her performance here was undeniably one of the main highlights of the drama also.

As far as the rest of the casting choices are concerned, the acting is a bit of a mixed-bag respectfully. This isn’t to say it was unwatchable or dragging down any of the other actors, but some performances were admittedly better than others during certain moments of tension or angst . Adding onto this was also Noguchi Teruo’s screenwriting logic also. The screenwriter and director has respectfully suffered from this problem and mixed-criticism for this exact reason in the past and it is evident to see where problems arise here; the logic of characters, as well as realistic scenarios were fairly hare-brained at the best of the times. Actions of characters could sometimes feel lacklustre or out of place by failing to build-up more complexity. Then of course there’s the issue with minor details. This was shown such as with the train seemingly having few mentions of CCTV footage ( and even if was obscured and misinterpreted why it wasn’t covered in more detail), the criminal records of Tomoki’s accusers not coming under fire at least once in the police questioning and of course the fact that Tomoki seemed to have “ no one to lean on” ( not even mentions of friends or family) after the incident also.

However even amongst its more evident mistakes and it’s surreal premise the drama wasn’t afraid to try to tackle trickier subject areas and topics . The prominent premise of the drama itself revolves around the illicit and unusual trend in Japanese culture of unique businesses which accommodate themselves to the unusual services of their clients. This can range from customers looking for a romantic love interest, friend , a confidant, maid and even a fake family member for various reasons and often for extortionate prices. Consequently Teruo’s drama offers a surprisingly dark reflection upon modern Japanese culture and isn’t afraid to pack a punch when needed.

The ending offers a classic case of a dish of revenge best served cold- it’s bittersweet but a concise ending to the story. Overall ‘ Enjiya’ can easily be overlooked by many due to fuzzy camera quality and set designs often coming across outdated and marks of a novice filmmaker, however, the storyline was oddly intriguing . Whilst certain characters ( including our antagonists) could’ve done with more development and build-up, the story offered an engaging take on the revenge trope. A surprisingly good watch.

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When In Rome ( or Seoul), Take A Leaf Out Of Vincenzo’s Book...

Park Jae Bum’s ( The Fiery Priest, Chief Kim)screenwriting as well as director Kim Hee Won ( The Crowned Clown, Love You) did leave a distinct mark of their combined style by mixing heavy-hitting tension with lighthearted moments throughout the storyline .

Yet whilst the comedy is evidently prominent in the plot to relieve more vigorous themes, it is probably fair to say that typical of Jae Bum’s screenwriting, the comedy often felt slightly juvenile in parts and an unnecessary weight at times. ( In certain episodes, you’d go from having an incredibly intriguing and fierce revelation exposing the mafia’s dark roots, only to have a tiresome gag in the next such as a word play upon Vincenzo’s name in early episodes.)

Admittedly, there are several moments in the drama ( even by the main cast ) which may raise an eyebrow by questionable line deliverances. However, as far as acting is concerned, the main cast were absolutely brilliant as our main leads.Song Joong Ki and Ok Tae’s Yeon headline the drama by their high-profile acting careers, however, even fellow costars Jeon Yeo Bin and Kwan Dong Yeon will quickly win the hearts and affections of the viewers also.

The characterisation in the drama was honestly a mixed bag. Song Joong Ki’s character Vincenzo was undeniably an intriguing protagonist. Whilst initially falling into the trap of the romanticised ‘ good gangster’, it was intriguing to see screenwriter Jae Bum breaking this mould in order to develop Vincenzo with sentience and realistically questionable morality rather than merely being a " hero who saves the day". However, there was a lot which felt vacuous with Vincenzo’s character, not least never going into his actual reasons for joining the mafia as a consigliere ( which was always half-baked) , his bond or relationship with his adopted Italian parents and ultimately exploring the actual reasons why his birth mother gave him up in the first place.

Next, is our main female lead Hong Cha Young ( Jeon Yeo Bin). Cha Young did initially seem to go down the route or being a little irksome in the beginning of the drama, but, her unreserved assertions and loyalty towards Vincenzo soon become defining qualities about the character. For instance, Cha Young has long-held enmity throughout the show towards Kim Yeo Jin’s character Prosecutor Choi Myung Hee. (Or ‘ Zumba Snake’) which certainly was maintained . On the other hand, similar to Vincenzo , Cha-Young is not a flawless character. Sometimes, she struggled to be lifted from being anything more than one- dimensional such as her textbook-style, (rather than emotional) responses initially to the events around her father Hong Yoo Chan ( Yoo Jae Myung) in earlier episodes. ( Which after their initial use in the main storyline, were disregarded completely without Cha-Young even contemplating this significant factor again.)

As far as the relationship between Cha Young and Vincenzo is concerned, it was a fairly predictable formula. There was nothing inherently wrong with it per say and did present some essential bonding moments between the characters, however, it often felt a little enforced for the sake of plot when it was necessary , rather than developing this with the respected characters’ thoughts and feelings in mind.

Antagonists are an intriguing conversation to talk about in the drama. From the cliche cronies, law firm enthusiasts Choi Myung Hee ( arguably one of the most annoying villains in the show) , CEO of the rival law firm Woosang Han Seung Hyuk ( Jo Han Chul) and the " dumb, but not so bad" masqueraded CEO of ‘ Babel Group’( Kwan Dong Yeon), the show has an odd array of trope advisories .

However, finishing up assessing ' Vincenzo’ wouldn’t be completed without talking about the drama’s main villain Jang Jun Woo. This is because, Jun Woo is designed to be the " ultimate twist villain" and " big bad" early on in the series, but, he was often underplayed as a dead weight and minor threat until later events. This wouldn’t have been such a bad screenwriting decision, if the show had used some time to go into Jun Woo’s backstory ( apart from a couple of brief flashbacks) or sketched him out more than just a " villain you’re supposed to hate". Jun Woo is far from romanticised or glossed over and whilst later episodes enjoy going into a " Sherlock Holmes And Moriarty" rivalry between Vincenzo and Jun Woo, there was little sense of actual build or intrigue behind similarities (and even differences) between them. Of course, Jun Woo served his main purpose; a disturbing evildoer, but he could have certainly been so much more than a one-dimensional moustache twirling villain.

The ending did hold the drama in good-stead with a bittersweet cliffhanger which reflected the overall themes and genres of the show. Admittedly, there were a couple of things which could have been tied more concisely in the ending ( despite its long duration), but, it did bring an appropriate finale. With an odd balance between genres and screenwriting decisions, Vincenzo is attractive for viewers’ attention by its main premise and cast. Certainly enjoyable in parts and not unwatchable, but, a little overrated for what its worth.

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