Sweet Home 2; Is It A ‘ Sweet’ Sequel?

Like most drama fans and readers of Sweet Home, I was a little hesitant hearing about a sequel season to the original series. While the original series was interesting ( though a little flawed) in its own ways, deviation can often be a rocky road and has been proven especially in recent months with sequels to beloved shows .

However, Sweet Home 2 surprisingly took onboard someone of ite faults to create something which was very different from its original source. Is this a bad thing per say? No. In fact, director Lee Eung Bok really did seem to have fun with world-building outside of the apartment complex and introducing new and potentially compelling characters. Did it make the second season feel a bit like a filler before the finale season? Yes, it did a little. (For those who haven’t seen season one, I will try my best to keep this spoiler free but be warned in saying I will be comparing some characters and referencing general knowledge from both seasons. )

Season two picks up pretty much where season one left off. Now facing seperate threats, Hyun Su ( Song Kang) and the surviving Green Home Apartment residents
find that there are worst things than monsters outside of the apartment complex...

Season two is arguably a lot more action-orientated than the original season and source material which definitely has its advantages and disadvantages. On one hand, the series had a feeling of an adrenaline rush, while also being able to be engaging enough for audiences to see new characters introduced. However, while I do praise the series for showing us more versatility in fights and powers of some of the monsters and characters , it was noticeable that the sequel was lacking a little in something which made the series feel more rushed than in season one; suspense and tension.

Evidently with a new setting and place, it was apparent to see Lee Eung Bok trying to take a leaf out of dystopian works such as The Last of Us and Resident Evil in some of the more apparent world-building, disturbing creatures , combat and characters onscreen. However one thing which made both pretty successful in execution as horror-dystopian works came through a good balance between dreading suspense and action.

Sweet Home 2 often seems to struggle a little with attaining this balance. A creature would often come out, mass hysteria and fighting ensues then that’s pretty much it. ( Though praise in a few scenes in the show which allowed some more moral questions to come through .)

While it’s fun to have some action scenes, it’s fair to say most viewers probably were expecting a lot of what was going to happen before it did. When the series did try and surprise us, it rarely had a great impact as a result.

Ironically while season one often struggled with the opposite issue ( not enough adrenaline at times), it did attain one element right by creating tension. Alongside Hyun-Su, you were never entirely sure what was going to await your eyes when he turned a corner or opened a door and you found yourself on edge in a way season two could not quite replicate. Hopefully season three will be able to find a middle ground between both past seasons.

Going into one of the major topics of Sweet Home Season 2 comes through acting and character writing. On the acting front, Sweet Home 2 is fairly good. There are certainly a few wooden deliverances here and there, but there are some particularly outstanding performances by Jung Jin-Young as soldier Park Chan-young, Kim Si-a as the mysterious child, Go Min Si as Lee Eun Yoo and of course, Lee Jin Wook as Pyeon Sang wook.

Character writing was a bit of a mixed bag. On one hand there’s a lot of really interesting characters introduced in the series. However at the same time, it felt as though Sweet Home 2 overcommitted a little to introducing too many characters at once and not enough time to develop both original characters and newcomers alike.

Lee Hyun Su is a classic example in the series. As the actual protagonist and considering how much he went through in the first season, Hyun Su has very little screen time. On one hand, this does seem to be purposeful as the second season did seem more focused drawing upon external forces and how this will influence the later course of the plot. However at the same time when the writing tries to really make us feel or emphasise with his struggles, it didn’t really land as well because we had not really seen or explored how his character had grown onscreen and in the sudden time skip also.

Lee Eun Yoo and Sang Wook, familar faces from season one, go through quite a significant character change in season two which was an engaging part of the story. However similar to Hyun Su, they aren’t really given enough time to be developed onscreen. A lot of the original residents are often put on the back burner a little when it comes to some of the new characters.

Newcomer Park Chan-Young is a really engaging character who arguably had one of the most interesting motives in the series. While he did suffer from lack of screen time, hopefully season three will allow him more character development. Similarly, the mysterious child and Chief Ji (Kim Shin-rok), two of the show’s biggest potential plot points,were underdeveloped but could be explored more next season.


While there are definitely some interesting new characters, there are some very debatable ones introduced such as Hani (Chae Won-bin), Ho-sang (Hyun Bong-sik) and Ye-seul (Yang Hye-ji). Ye-Seul isn’t particularly a bad character per say and is used mainly in the show for some laughs. However, she is never really given anything beyond being the comic character despite being quite heavily featured in some scenes and shown to have a significant character relationship. On the other hand Hani and Ho-Sang are a little more convoluted. They are meant to be more antihero figures in the series, but rather than having more morally ambiguous roles or counteracting what characters think of them, they often play into being downright problems for the plot. In addition to this, anything to do with their relationship or even backstory is pretty much brushed over completely.


The execution of the series is definitely very fast in parts, and slower in others for introducing characters or some exposition, but does struggle with feeling very rushed. This is odd conserving how much time the series could have spent building on its two main plot lines. Although it’s apparent the series was trying to get through as much plot as possible, this was none so more apparent than in the time skip in the final few episodes. Is it bad to have a jump forward? No. Did it mean the series thought it was a solution for not seeing some plot holes and relationship growth? Yes, very much so.

The cinematography has definitely improved since season one with more varied palettes and sets. The CGI does still seem a little awkward in parts, but has improved also since the original season.

Overall Sweet Home 2 finds itself is definitely a slightly odd position . It has improved a lot of the graphics and world building as well as setup an engaging plot and characters, but still struggled with some writing and pacing issues which could have been easily fixed. Overall a fairly engaging watch as well as enticing for setting up the final season.

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Strong Girl Nam Soon; One of The Worst Dramas of 2023?

While it is wrong to entirely compare the prequel and sequel as they do focus on respectfully different characters, due to the heavy similarities and world building between them, I will be using the original to compare the quality in writing and decisions taken by the screenwriter. ( Be warned this is going to be a long review.)

Strong Girl Nam focuses on a pretty much carbon copy setup to its predecessor, give or take with some new storyline and characters to make it “ different”. The main heroine is Kang Nam Soon ( Lee You Mi), a girl with super strength who grew up in Mongolia. Desperate to find her birth parents, she journeys to South Korea where she encounters billionaire and her biological mother Hwang Geum Joo ( Kim Jung Eun) and grandmother Gil Joong Gan ( Kim Hae Sook). Both women possesses superstrength as traditional with the matriarchal line of the family.

Despite a complicated reunion, Nam Soon’s happy ending is far from complete when she becomes involved in a drugs case and helps out Detective Kang Hee Sik ( Ong Seong Wu) who is gradually developing feelings for Nam Soon after his encounter with her early on. As Nam Soon becomes more involved in this mysterious case, she also encounters the elusively mysterious entrepreneur Ryu Shi Oh ( Byeon Woo Seok). Will Nam Soon be able to live happily with her family or she is in too deep with the investigation?

To give the shown one thing it could have been a pretty interesting premise.The first few episodes were interesting in setting up the rough concept of the series and did introduce our characters as potentially intriguing . In particular; the notion that there could be more representation of women across different generations was really fun also. The series’ major problem early on though came from not really knowing what it wanted to be. Strong Woman Do Bong Soon had fun balancing out mystery whodunnit, comic relief and romance in a way which worked well and gave the characters some room for development. Strong Girl Nam Soon tries doing the same but,unlike its predecessor, really struggles in balancing it out.

It would be understandable if the show was leaning more towards lighthearted fun, but the irony of the matter was that for the most part, the mystery element of the series was arguably just as dark in concept as the original. The series did attempt to offer some more “ dramatic tension” in scenes relating to the drug case setup, but a mixture of overreacting and being overshadowed by the comic relief sadly didn’t give the storyline that much of a punch.

Speaking of comic relief, the series is definitely indecisive . There are certainly a few jokes which occasionally land quite well ( one of my favourites being when Gil Joong Gan schools the cops and encounters Park Bo Young’s cameo), but for the most part, the series seemed to struggle with a mixture of gradually tiresome gags ( particularly directed towards male characters for no other reason other than trying to poorly imitate the situational irony from the original.)


Acting-wise was a pretty mixed bag with a mixture of overreacting and pretty wooden dialogue and characterisation . Byeon Woo Seok probably shone through the most in the series with his performance ( without spoilers) as a more ambiguous character, though was not given full justice either by reduced screen time either . Lee You Mi and Ong Seong Wu are both good actors, but the writing really didn’t give them a lot of justice.

Characters are another major post which has to be discussed. Kang Nam Soon was arguably one of the most underdeveloped character in the series and that is saying something for someone whose name is involved in the titles. Fundamentally, Nam Soon embodies the “ girl with a kind heart” trope. She is somewhat naive to the world but is ultimately out to do the right thing.

The problem is that Nam Soon doesn’t have a lot of focus or personality as a character. This is really ironic considering how much potential surrounds her. After all, there was so much possibility to talk about her experiences growing up in Mongolia more and her adopted family ( a notion Nam Soon quite happily seemed to forget in favour of the plot setup), possible complicated feelings surrounding her family abandoning her ( as well as evident insecurities surrounding her mother in particular) and of course trying to control her strength or experiences in the past. For the most part, Nam Soon pretty much breezes past with the idea of super strength or just happily moving on from a separate life and another culture (which hardly seems bothered by ) into another.

She always seems to win fights and rarely struggles with any major difficulties aside from a few “ tense” moments ( especially later in the series) which are rarely delivered afterwards. To give its prequel it’s due, one major development for the heroine was learning to control her strength and insecurities around it . While both characters have grown up in different circumstances, the lack of flaws or awareness Nam Soon actually possesses of her own situation or character , made her pretty one-dimensional in a way which shouldn’t have been the case. ( Her ending was particularly a bit of a last minute conclusion which just didn’t make sense considering her personal experiences and background.)

The next major character to talk about is Nam Soon’s mother, Hwang Geum Joo, who arguably had the most screen time for some inexplicable reason. ( More than the actual heroine.)There are some mixed feelings with this character. On one hand, her storyline was so heavily drawn upon it was had not to focus on her in the show. However, Geum Joo rarely struggles to be as likeable as the show wants her to be.

This seems to a major problem with some characters. The show wants us to like them, but in reality, it’s hard to really digress what it is about them which meant to be so intriguing when it was forced on viewers.It is a shame as Geum Joo had a potentially very interesting story; a woman who has made it in the world, living a separate life from her husband and son , struggling with the loss of a daughter and running a business could have all been excellent writing points to give her flaws.


It seems as though the series was heading in the direction at one point, but the writing had other ideas, by presenting Geum Joo somehow prevailing through it all as a “ cool vigilante” or rarely being questioned for her actions. For example, Geum Joo is meant to be a “ motherly” figure but is rarely involved in the lives of her children . It’s never really explained exactly why Geum Joo has a somewhat estranged relationship with her son, something which could have been developed a lot more, especially when Kang Nam In ( Han Sang Jo) pretty much hit the nail on the head in saying Geum Joo spends a lot more time with Nam Soon than him. While the show wanted us to feel pity for her, I couldn’t help but agree with Nam In’s point more . (Although not when we rarely see Geum Joo interact with the daughter she’s seemingly been searching for desperately beyond the first few episodes really.) More importantly, what was going on between mother and son to hardly be involved with one another to that extent ? Is this a bond which has just fallen apart naturally or has something caused it? Simple coverage on these matters could have been used well for her development, but were instead neglected and gave her little development onscreen.


Gil Joong Gan is more of a minor character in the plot but as the matriarch of the family, she does have a sideline plot involving a potential love interest. She has a good heart fundamentally; but her constant role in interfering and interesting or being used in the romantic setup does begin growing a bit grating. Her romantic setup did seem quite sweet initially especially as we seen an “ opposites attract” scenario, but Joong Gan’s lack of empathy at times, non consensual decisions and near-obsession over him did start becoming a little tiresome.


Kang Hee Sik has risen a lot of debate by watchers in being more of a background character than a male lead as he’s pretty forgettable. Hee Sik is made to embody the “ good detective” trope. He is kind-hearted and brave and committed to his job. Evidently his encounter with Nam Soon makes him develop feelings and that’s all there is really is to say about him. Hee Sik could have been a really interesting character considering his involvement in the case and going into more depth about his personal drive for becoming a detective. Instead, he’s pretty much really there for a potential romance with Nam Soon and a bit of dramatic incitement .

Romance in the show js a bit of a hard one to go over. The main leads do have some chemistry in more comical moments , but there wasn’t really enough buildup due to lacking character development overall. The ending conclusion was expected though felt a little old-fashioned in deliverance.

Speaking of main characters, there’s of course Ryu Si-O, an antagonist in the series and a major mystery. Ryu Si-O was arguably one character the series did get right in maintaining mystery and ironically had better chemistry than the male lead with Nam Soon. Sadly the writing didn’t give him full justice.

The series struggled a lot with having too many side characters and not enough time. For example we have Secretary Jung Na-Young’s ( Oh Jung Yeon) potential romance going on, Ri Hwa-Ja / Lee Myung-Hee ( Choi Hee -Jin) criminal backstory, vagrants Ji Hyun-Soo ( Joo Woo-Jae) and No ( Kyungri), and then HSC Finance Triple’s storyline and then the Drug Gang on top. There was too much going on in the background.Rather than trying to focus on just a few, the plot attempted to cram in multiple subplots without a lot of development or further conclusions.


Pacing wise the series takes a bit of an odd turn. The first few episodes were fairly brisk, but the halfway point really tried rushing through the rest of the series without a lot of thought over execution. The plot reveal on the “ big bad” was meant to be a big surprise but felt more like a last minute throw in due to feeling rushed and somewhat out of place .

Cinematography and settings were a strong point for the series though. Music was a little out of place, particularly the ending credits.

Overall, Strong Girl Nam Soon really struggles with coming of its predecessor’s shadow. It had so much potential to be a well-written series about lost family and coming together to uncover a case, but a mixture of poor writing decisions, characterisation and plain characters and poor pacing made the series feel like it could be arguably be one of the worst shows of 2023. While the series may appeal to some in its own way, it’s fair to say most kdrama fans are going to probably stick with its original over this. Overall, a poorly-written drama with few redeeming features.

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Ballerina; A Messy Pirouette Marked With Blood…

2023 has seen a great lineup of action thrillers, especially with strong heroines and Ballerina certainly tries to follow suit. However while did have some heavy action scenes and subjects, was it really a worthwhile watch?


Lee Chung Hyun directed and wrote the movie. Ok Ju ( Jeon Jong-seo) is a bodyguard who holds her own in fights. However, her life turns upside down when she discovers her friend and ballerina Min-hee (Park Yu-rim)’s fatal aftermath in the wake of being sexually assaulted by mid-level boss Choi Pro (Kim Ji-hoon).


Now seeking her revenge, she is put on a bloody path to enact vengeance on Choi Pro and his cronies by ending him once and for all.


It’s suffice to say Ballerina is very much what it says on the tin; a revenge movie where the heroine gets revenge by tracking down the big bad and leaving a wake of carnage in her way. The film is gory and filled with adrenaline, but that’s about it.

This isn’t necessarily bad. A lot of revenge and action films work on the premise of mindless violence to keep viewers engaged and it was evident to see the film’s influences from John Wick to Kill Bill. However, Ballerina never really gives us full scope that it tries to do with its characters and plot. It always tethers on potential development before tearing it away to focus on a fist fight and action scene.

The problem is that doesn’t really give the narrative or characters a lot of backbone. Even some of the most disturbing revenge Korean films over the past few decades such as Oldboy, Lady Vengeance and Burning are able to balance out their narratives with adrenaline, and tension, but equally compelling storylines and choreography. In Oldboy, we see plot twist development shock us beyond belief, Lady Vengeance is filled with complex characterisation and compelling fight scenes, while Burning explores tension and thematic issues such as capitalism in its core narrative . The problem with Ballerina is that while it doesn’t have to be a complicated movie at heart like some of its predecessors , it struggles with simple basics such as characterisation and development.


Jeon Jong-seo is a good actress but her character Ok Ju is very paper-thin. The audience never have any opportunities to warm up to her. It seems quite ridiculous when we consider the fact that we’ve seen Jong-seo lose a close friend and numerous hardships, yet we never see this develop or understand how this is such a devastating impact for her character. We do see some flashbacks to understand their relationship but this felt a little convoluted than explained or poignant, lacking a lot of potentially sincere emotional development. Sure, she’s a certified pro- fighter and brutal, but that’s pretty much in the space of this movie’s duration, all we get from our heroine’s character.


It was Kim Ji hoon’s role as Choi Pro which did shine through here. His cartoonish heinousness did help during some of the more questionable pacing and writing issues, by at least giving some appeal for the audience to root for the heroine.


The pacing is pretty variable in parts. When the action comes into force, it’s quick and adrenaline rushes. Yet in its patchy narrative and writing moments drawn out for sobs or seeming development, the gaps in writing often make these scenes drag out longer than they should.


Naturally, action choreography and actions scenes are where Ballerina excels. Lee Chung-hyun’s direction is simultaneously ultraviolent yet sleek. Its mesmerising to watch with the pure adrenaline of movements and camera angles really bringing these scenes to life.



Ballerina is a fairly mindless action movie. While probably not one of the best films released this year or winning over fans of revenge action films and cult classics, it is adrenaline infused and brutal. The writing is patchy but it’s well-directed through its camera angles and the fight scenes are well-executed also. Overall probably decent enough to watch one time when bored or killing time and that’s about it.

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Destined With You; An Interesting Premise, Just Lacking In Charming Writing…

Let’s be honest. Very few Korean dramas are original. Yes, they can explore different concepts and themes, but many are inspired or borrowed from other shows or movies across years, cultures and genres. Of course, there’s nothing wrong with that. Writers and directors are influenced by other works, and Destined With You is no exception.

The series was written by Noh Ji Sul and directed by Nam Ki Hoon. It follows Lee Hong Jo ( Jo Bo Ah), a bright underdog civil servant, who works hard despite being overshadowed by others. When Hong Jo comes into possession of a mysterious object, she becomes intertwined with cold and stoic lawyer Jang Shin Yu ( Rowoon). Shin Yu has been cursed to live with an incurable disease, yet, Hong Jo may just hold the cure in more ways than one..


Off the bat, I will give it to Destined With You: it is an interesting premise. The cursed setup had been seen and done before, but the sense of the horror element being so spooky early on was quite well done. Some Korean dramas are fairly mild when it comes to horror or jumpscares( especially over censorship concerns), but Destined With You was surprisingly chilling in its opening episode . ( Moments such as the infamous “ bloodied-hand scene” , felt as though they were taken from shows like OCN’s The Guest and CW’s Angel .)


Yet as much as the horror element thrived, the show struggled with attempting to balance the horror and romance element to work well together. It is not necessarily that horror and romance cannot work well. In fact shows like The Master’s Sun and Arang and the Magistrate were able to use this formula fairly well in execution.

The problem is that while both predecessors were aware of creating and broadening characters and balance , Destined With You really struggles to do the same. As the series progressed the horror element was pretty non-existent and turned more into a cutesy rom-com. As a result, it was really hard to work out what this show was going for in thematic setup and messaging, even early on. The early episodes would suddenly go from menial moments of Hong Jo being stuck in a rom-com moment in front of a cute guy, to law procedurals and bickering, to full out body horror with Sin Yu. The constant flip between cutesy romance moments, courtroom drama and disturbing violence and horror , rubbed against one another in the wrong way because the show was never really settled to balance it out . Simply put, it felt like watching three very different shows at times, without a lot of opportunity to fuse them together.


Another major problem lay with character writing. The acting was decent enough. Rowoon is okay here too. He is certainly a good actor, and the idol has proven it in shows like Extraordinary You and Tomorrow. The problem is that Rowoon is not given an opportunity to really shine. His character is the trope-inducing “ cold male lead”.

Admittedly this is not entirely the fault of Rowoon as it is the writing. The cold male lead trope is a preference in romance dramas. It is not bad per say and can be used well in romances to explore characters’ backgrounds and fears. The problem with Shin Yu is that he is a bit of a paper-thin character. Yes, the audience gets he lacks social etiquette, a few “ sob” moments in his backstory and is stoic, but what else is there to say about him?


He is seemingly self-assured and confident in public , and suffering from his curse in private, but his composure rarely breaks beyond this even early on. We see some loose plot threads into Shin Yu’s mysterious family and their weird connection to shamans, but aside from being a necessary plot device, we are never shown the full effect on Shin Yu and how this has influenced any form of backstory or careful character development. In some later episodes we do see a “ softer” side to the male lead by playing into the romantic element and some angsty plot backstory , but aside from this, it’s hard to really see any pivotal or particularly poignant development, apart from going from being churlish then jealous to lovey-dovey with the female lead. This is the a little disappointing considering the fact that he could have been a really interesting character, especially from his written role and introduction with the female lead.


Hong-Jo is unsurprisingly Shin-Yu’s polar opposite. Jo Bo Ah is a good actress and does have some good moments of the show. However similar to Rowoon, her talents are never really given an opportunity to be explored further as a consequence of the writing.

It seemed like a really good writing point to have Hong Jo as the “ underdog heroine”. In theory, she has so many parallelisms that could have been explored to parallel metaphorically with the male lead’s literal “ cursed” predicament. She is outcasted at work, has an abject love life and often feels lonely. She is by all accounts, a “relatable” underdog heroine.


Before I go into the problems, I will say a few good aspects of Hong Jo as a character. She is fairly headstrong, both getting the job done such as the demolition case, confessing to her crush ( even if she was a little childish ) and remaining resilient against the toxic culture of her workplace. They were good attributes in the female lead, and did show off some of her strengths.


However, the problem is Hong Jo is never really fleshed out to the extent for the audience to truly connect with her. Sure, there were moments of pity for this character when it was needed in the plot, but on a deeper level, it was hard to really feel as strongly as the show wanted us to do so for her. For example, one major driving point early on is that she is very bullied and isolated from her work colleagues. She is not invited out after work for drinks, and spends most of her time alone. Yes, this shows she is alone, but why is it so significant for Hong Jo? We do learn a bit of history of being bullied, but, why is she so determined to be friends with people who have hated her? These may seem nuanced, but the show seemed to have multiple opportunities to really go into character’s backstories or growth early on, yet rarely did so even in later episodes.


Then there’s Yoon Na Yeon ( Yura), an interior designer with a bad history with Lee Hong Jo. There’s definitely a lot of mixed things about Na Yeon as a character.



On one hand, she is fairly complicated in the fact that she she puts on a lot of different sides as well as being a bully , and is more than the meets the eye, especially when Hong Jo renters the picture. On the other hand, while it feels like Yura has been typecast once again, the character feeds into a bit of a tiresome cliche of the cruel second female lead.


This isn’t to say that there can’t be animosity between a bully or victim, or alternatively see the character’s pettiness come to light, but rather than using this as an opportunity for Na Yeon to either be explored further in a more subtle manner,this storyline still seems to perpetuate a lot of archaic stereotypes . ( Particularly the oldest cliche in the book of two women at odds with one another being pitted against one another further for a man .)

Adding to this, there’s also the actual fact Shin Yu, probably one of the most misanthropic and seemingly “ isolated” characters in the drama, is in a dating relationship with Na Yeon. Understandably, relationships are not always straightforward and people can meet in a lot of different circumstances. Shin Yu never seems truly happy with Na Yeon, often trying to break up things with her or sitting in sullenness, while Na Yeon fawns over him and becomes more obsessive when she sees Hong Jo as a threat and love rival. Shin Yu does attempt to put their relationship on hold, but Na Yeon is obsessed and does not back down. The relationship displayed a good aspect of difficulties between dating partners, but, aside from just adding fuel to the fire on plot devices and drama, it did seem a little questionable as to why Shin Yu would even agree to date someone like Na Yeon, ( knowing about her past or not) .


The potential romantic pairing between Hong Jo and Shin Yu is fairly good, even if the screenwriting does not always justify it. One of the major parts that came to play here was the romantic sparks flying between Rowoon and Jo Bo Ah’s onscreen characters. They have surprisingly good chemistry as actors. For the characters, it’s a bit of a mixed bag. There is certainly romantic development ( in typical romance fashion) early on, but it was admittedly a little hard to root for the characters when Shin-Yu was often just plain rude to Hong Jo from gossip he overheard as well as his attitude. To make matters worse, even later on, he never really apologised for his actions. Later episodes improve this a little, but then there’s also the elements of Shin Yu’s obsession and later actions ( though there is a suggested cause), as well as feeding into some overused cliches.

On the pacing side, Destined With You is very slow to begin with. It’s understandable even in the first episode alone, there’s a lot to get through, but the first few episodes were fairly slow with pacing . Later episodes did pick up the pace more briskly, but there were later moments, which struggled to really get off the ground, even by the ending. Speaking of which, the ending was a little anticlimactic. Sure we saw a few loose threads tied, but it felt as though some characters and plot was left greatly unresolved.


The cinematography is definitely one of the show’s major highlights. It’s fairly stylish and sleek, with a glossy element of different palette schemes to reflect the mood and tone of the scenes. There are later episodes which feel a little insipid on the staging side, but scenes with the cursed hand, definitely helped capture the more horror and fearful element, with careful attention to detail.



Destined With You is a very odd show. It has a good cast, an intriguing premise and beautiful cinematography, but in execution, it has some very noticeable inconsistencies. The themes were so imbalanced that it was hard to work out what the show was going for in its general setup. While there’s nothing wrong with using classic tropes with a new spin or using them to address a message, Destined With You took them with a fairly copy and paste manner and nothing more . At times, it often made the show feel like it would have been less out of place in 2013 than 2023.


Writing and pacing is another major issue. There were some potentially brilliant characters in the show ( particularly the main leads) , but rather than fleshing them out to their full potential, they were rarely allowed to change and grow ( a key stage in any character’s development). Overall, Destined With You is an average show which is probably best to watch during a forgettable binge-watching session to pass the time .

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Uncanny Counter 2; A Disappointing Follow-Up To A Brilliant Series…

When Uncanny Counter hit our small screens back in late November 2020, viewers were in for a great treat under the writing of Yeo Ji Na . The series was filled with intriguing characters, lore and high stakes to keep the plot engaging and well-written. What was delivered to our screens in 2023 left a lot to be desired, not just straying from the original webcomic, but being poorly written.

The basic plot premise of the second season returns to our ragtag group of heroes, The Counters. Now slightly older, Mun ( Cho Byeong Kyu) has begun helping to train the other counters. Ga Mo Tak ( Yoon Joon Sang) has doubled up as a cop and Counter to help the team, while Do Ha Na ( Kim Se Jeong) and Chu Mae Ok ( Yeom Hye Ran) are left to harness their powers.

However, trouble is soon on the horizon when a trio of evil spirits Hwang Pil-Gwang ( Kang Ki Young), Gelly Choi ( Kim Hieora) and Wong ( Kim Hyun Wook) become an increasing threat to the counters. With the help of new Counter Na Jeok-Bong ( Yoo In Soo), the heroes find themselves running into more problems than one, especially for Mun and his friend Ma Ju-Seok’s (Jin Sun-Kyu)‘s journey down a dark path…


To understand where one of the major issues of the show lies, I think it is essential for us to address the writing change. Yeo Ji Na’s talents as a writer really shone through in season one. Her ability to address complex issues and themes, as well as facilitate them to shape our characters made the series engagingly dark, comical yet also filled with mystery and adrenaline. The story had stakes because the main villain was threatening and similar to Mun, viewers were new to the world of Counters and learnt about the lore and world of spirits along the way. It made the story engaging and proved Ji Na to be a talented writer.


After season one and for various conflicting and directional reasons, Kim Sae Bom took over from Yeo Ji Na as the main writer for season two in production. Kim Sae Bom, most likely standing out for his involvement as a screenwriter for Bad and Crazy, has a very different approach to writing than Ji Na even from the offset. Is this a crime in itself? No. In fact, the initial premise of season two did seem quite interesting alongside theme shifts, especially with new characters introduced onto the field. So where did things go wrong with Sae Bom’s writing? The big issue lay with the plot and character changes feeling jagged and convoluted , as well as the evident decline of writing between seasons.


Season one was well-balanced between themes of action, angst, friendship, supernatural and aspects of tragedy. It was far from a flawless masterpiece ( and did struggle a little with balance in places), but it was self-aware of its themes and characters. Season two tries to mimic a “ similar balance” in the mould of a mystery comedy setup. The fights are still there , but while the action is present, the emotional deliverance leaves a lot to be desired, even from the balance of themes. This resulted in a notable struggle with the writer attempting to imitate Ji Na in his own style while falling short of being a decent copy. As a consequence, witty jokes from season one turning into toilet jokes ( repeatedly) and yelling random English phrases to enact as the comic relief of the series.

When the series attempted to take a darker turn in parts, it struggled a lot to be poignantly reflective as the previous season. A mixture of sloppily rushed writing ( particularly out of character choices) as well as questionable connection with the audience, did often make these scenes feel more arduous than moving. ( One of the best examples being early on when we see the guardians first reunite with their Counters. Considering the emotional impact of their challenges throughout the first season, the cheesy happy family moments between the characters was somewhat out of place. It gave little opportunity to reflect on the actual development in the relationship between the Counters and their guardians from the previous season.)

The acting of the series was admittedly a little mixed. Although the series has a good cast and some brilliant names introduced into the lineup , a mixture of overreacting and wooden dialogue did have a big part to play with some more cringe-inducing scenes . Some noteworthy performances did come through Seo Byeok-joon as Park Do-hwi, Ha Na’s first love, and Hong Ji Hee as Lee Min Ji, the tragic wife of Ju Seok, in particular. Both actors delivered good performances as their respected characters, even if the writing did not give their onscreen personas full justice.


Character writing is another mixed bag. Main lead Mun stands out in particular as the epitome of the show’s changed writing quality between seasons. In season one, Mun was very much the tragic bullied teen, who goes through a lot of character growth from naivety to teen angst ( mixed with powerful abilities) and then to genuine acceptance of his circumstances . He stood out as a fairly good protagonist because he changed and grew a lot from beginning to end, while still remaining true to himself. In season two, Mun is noticeably different from his earlier counterpart.

Of course, he is meant to be older and thus a little different from his teen self, but the more noticeable traits of Mun being somewhat anxious at times and fairly defiant, is changed for him playing the role of the comic man in the first- half . It isn’t necessarily bad seeing Mun grow out of his shell, but it felt odd considering how much Mun’s noteworthy personality traits were not carried over more in season two, especially by replacing a key aspect of Mun’s personality as a fairly reserved individual. In particular, season one featured heavily on Mun’s deep bonds with only a few people in his life. He needed deep connections with people such as his two best friends and grandparents ( and eventually the Counters) to form genuine relationships. These were important parts of Mun’s life and helped him to carry on. In season two, while these characters do feature in some background scenes, it was beyond out of character to see Mun having such a “deep” bond a practical stranger. It did not reflect Mun as an individual, and even more disappointingly, did not convey the character we had come to love through his gradual growth.Episode eight and nine attempted to offer a “ twist” to Mun’s circumstances, but having already repeated the same concept from season one, it felt a little overused . Perhaps the only good aspect we saw through this “ twist” came through an opportunity to see some more traumatic sides to Mun’s inner-self, as well as his strong bond with Ha Na coming to light. However, the resolution to this convoluted “ development” episode was both rushed and incredibly sappy, giving little opportunity to actually explore Mun’s darker and more difficult issues at heart and growth.


Then there’s the other counters. Mo-Tak was beloved in season one for being the sarcastic “cool guy”, who helps out Mun. The fact that Mo Tak was going to play a bigger role in season two gave so much potential for this character, yet, rather than giving him an opportunity to be developed further , the show rendered him as the show’s jester; often spending most of his time making unfunny jokes and being the butt of someone’s jokes. To add insult to injury, there was also the attempt to weaken the previously strong fighting abilities of Do Ha Na and Chu Mae Ok. Considering their poignant backstories and strength, it was sad to see them being put on the back burner for most of the show . The series did attempt to offer some “ intriguing” aspects with Ha Na’s first love ( one of the few good aspects of this second season) and she did feature in some later episodes, as well as Mae Ok with her son, but aside from that, they were rarely given as much exposure as within the previous season. Choi Jang-Mul ( Ahn Suk Hwan) features again in the series, though while in season one he was the comical rich man (with a not-so secret crush on Mae-Ok), in season two he plays more of the role as a clown in some of his featured scenes.


Then there’s the new counter Na Jeok Bong ( Yoo In Soo), arguably one of the show’s greatest letdowns. Yoo In Soo is a good actor, but even he cannot entirely save his character from failing. Jeok Bong is meant to be the definition of the “ fool with a hero’s heart”. He is beyond awkward and useless at fighting, but he is seemingly a “good person”. The problem with Jeok Bong is that the writing confuses creating the unlikely and foolish hero with being likeable as playing the useless fool all the time. Rather than seeing Jeok Bong gradually grow or develop into a better person ( even through nuanced scenes like comforting others, or be given a more difficult issue to face ) he is still played out to be the fool for most of the series. Instead, a never -ending cycle of toilet jokes and failing fights pretty much encapsulates this character’s screen time time and time again . Whether the writers didn’t want Jeok Bong to grow from out of Mun’s shadow or be the “comic relief”, it is hard to say, but the writing direction this character was taken in was a sad reflection of wasted potential, questioning why another counter was even introduced in the first place . ( Aside from plot fodder.)


The villains of the series were unintentionally a little mixed. Their initial introduction did hold a lot of potential; a trio of nefarious evil spirits who gain Counter powers and are not afraid to kill others in their wake. The problem is that while they are played by very good actors, their characters struggle to be well-developed threats . In season one, the big bad of the series was just that; evil to the core and driven to complete his goals of bringing destruction and ruining the Counters . In season two, it’s hard to really work out what the trio actually wants aside from some measly power grabs here and duped powers . Sure, they want to stop the Counters from getting in their way, but where are the true stakes? Why are they so fixated on them to the point of going as far as they have done? What are their true goals aside from just being plot devices? As antagonists, they are fairly “evil”, just not particularly with a sense of impending threat or being a true foil for the Counters. The stakes could have been there, but season two does little to make them an imminent antagonistic force beyond obvious “ plot drive”. This is sad considering the fact that especially Hwang Pil-Gwang, as the leader of the trio, could have been a really interesting character if he had been developed properly as early hints suggested. Gelly Choi did get her moments later in the spotlight by proving that she is quite devious, but considering her featured screen time, Gelly and Wong were certainly underdeveloped and underused .


Last but not least with characters, it is hard not to mention Ma Ju-Seok, one of the show’s most divided characters for viewers. On paper, Ju Seok had a really interesting role; a “ nice guy” driven to the edge and Mun trying to help him. On the other hand, Ju Seok was simply a cause for plot rather than well-developed. One of his major flaws came through his “ deep bond” with Mun. The show constantly forces the message that Ju-Seok is a “good “guy, but the series forgets a key point in writing: show don’t tell. Rather than showing us these acts ( aside from helping Mun’s grandmother in some scenes ) we constantly hear the same narrative in dialogue that Ju Seok is a “nice person”, but not through very sincere actions or scenes in particular. To make it stranger, Mun is established to be intimate with a small circle of his family and friends, and takes time ( as shown with the Counters) to really develop intimate bonds. It makes little sense for Mun to suddenly trust Ju Seok on such a level ( helping his grandmother or not), without actually getting a sense of what has really drawn them to form such a friendship. For example, had Ju Seok played a role in scenes as an older brother/ uncle figure by encouraging Mun in other respects , then maybe this relationship would have been more poignant, or at least viewers could understand some of Mun’s trust in such a character . Instead, it rarely delivered the full intimacy it was suggesting, making it an odd spectacle to see Ju Seok try and go dark-side and for Mun to be so set on helping a near stranger . Ju Seok’s “ character arc” did have somewhat of a resolution, though it was rushed.


Perhaps the few strengths of this second season came through showing Mun’s darker issues ( though not in resolution), as well as the return of Mun’s friends Kim Woong-min ( Kim Eun Soo) and Im Ju Yeon ( Lee Ji Won). Although very much background characters, their teasing potential romance between the two characters: as well as their long-standing friendship with Mun, did provide quite fun and heartwarming in most of their featured scenes. Another minor character, Park Do-hwi ( Seo Byeok-joon), Ha Na’s first love, was also quite a delight. ( The series did seriously go about a very cliche way of his resolution , but his featured screen time was certainly engaging .)



The other issue at hand comes through execution. To put it simply, Uncanny Counter 2 struggles with pacing a lot. The major part of the series nearly drags along at a snail’s pace, trying to place some action in training montages and some villain scenes to lead up to the “ big showdown” . Later episodes did bit up the pace slightly and were slightly more engaging with the plot and some themes , but most episodes, especially the first-half, felt underdeveloped and quite repetitive. The ending was probably one of the show’s greatest letdowns. It certainly brought a bittersweet note for the show, but last minute plot points, which could have easily have flourished and been developed earlier on, were rushed and thrown in for quick angst. This lead the resolution to feel a little unresolved.


The directing of the series under director Yoo Soo Deong follows a fair sleek and basic cinematography. The CGI is decent enough, though compared to some of the more sleek palettes in season one, there is a little left to be desired for the eyes. The OST was okay; there were some good songs such as CRAVITY “Ready, Set Go” which helped set the mood in some scenes, and was quite catchy too.


Overall, Uncanny Counter 2 is not quite on the same level as its previous season both across the writing range and execution. It is understandable the show wanting to go in a different direction. Mun is no longer the naive kid we saw in season one, and has begun to grow beyond playing “ the heroic role” all the time. However, the way the show tried going about this with poor writing decisions made Uncanny Counter 2 feel a little rushed and convoluted in parts. There are definitely a few good aspects to the season , including accessibility to viewers who have not watched the previous part as well as some interesting characters and general setups . However, poor pacing did make this season feel out of place across thematic and writing styles. Overall, okay for a quick binge watch but that is about it.

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Can You Sink Your Teeth Into This Vampiric Romance?

There seems to be an odd resurgence in fantasy dramas with the vampire trope. I am not one to complain. Vampire shows and narratives can be really interesting for writing if approached well, and Heartbeat certainly had an interesting premise from the offset.


Heartbeat was written by Kim Ha-na and Jung Seung-joo, and directed by Lee Hyun-seok and Lee Min-soo. The narrative focuses on Seon Woo-hyul ( Ok Taek-Yeon),
an ancient vampire who is desperate to become human and end his immortality . Having waited centuries to fulfil the wish of his beloved, Yoon Hae-seon ( Yoon So-Hee) to finally become human, Woo-Hyul enlists the help of his vampire friends Lee Sang-hae ( Yoon Byung-hee ) and Park Dong-seop ( Ko Kyu-Pil) to seal him in a coffin in order for him to finally become human.


In the present day, part-time school nurse Joo In-hae ( Won Ji-An) ends up accidentally awakening Woo-Hyul a day short from the ritual being complete. Now a half- human, In-hae and Woo-Hyul awkwardly end up living together, while beginning to slowly develop feelings for one another. However, nothing is ever simple in this relationship, and soon trouble looms on the horizon for them.


Heartbeat is a fairly lighthearted take on the fantasy vampire story. For the most part, the series is fairly easygoing and comical, playing out mostly as a slice-of-life and rom-com series. The fantasy element submerges from the depths in each episode with a small push to direct the storyline. While there are some more angsty moments in the series ( particularly around Woo-Hyul’s backstory), the series is fairly engaging on this part . However, where this issues lie comes through the second half of the series; especially in the very rushed execution and conclusion.


In many ways, this did offer a fairly good balance of genres. The comical setup highly relied on the polar opposite types of In-Hae as the cynical, cold yet surprisingly empathic individual to Woo-Hyul’s egocentric, , yet, surprisingly kindhearted role in the series. This dynamic did work well for the most part, though admittedly, building on the fantasy element and especially lore, was a little undeveloped at times. ( So many unanswered questions left hanging in the air over the vampires and their existence as well as their state of being.)


The acting of the series is decent. Ok Taek-Yeon really shines through as the main male lead. It could have been easy for Woo-Hyul to have become a somewhat irritating character with his misunderstandings and egocentricity at times, but, Taek-Yeon really adds a charismatic edge to the character through both lighthearted and more serious moments.


As a character, Woo-Hyul definitely grows on viewers. It could have been easy for the show to have fallen into old tropes with the immortal vampire being sullen or brooding for most of the series. While Woo-Hyul definitely has his more morose moments through flashbacks and backstory with Hae-Seon, his charisma definitely comes through with being able to remain fairly allured by the modern world. Woo Hyul is self-absorbed with his appearance and qualities, yet almost maintains a sense of comical naivety, to the point of annoying In-Hae beyond belief ( and leading to his shopping spree incident early on). However, despite often being egocentric, Hyul does show his kindness towards others in small acts even in the first episode .


Perhaps one annoying element of Woo-Hyul’s backstory is that while Hae-Seon is a major part of Woo-Hyul’s life, we do not see a lot else about his backstory and character prior to these events, or even in the short aftermath. Sans the necessary plot points, which could have been used instead to have shown the true impact of Hae-Seon’s influence upon his life and decisions .


Won Ji-An stood out as Joo In-Hae also, offering a fairly strong performance as the downtrodden female lead. Refreshingly, In-Hae is a character, who, similar to Woo-Hyul, is a lot more than meets the eye. She has her own personal demons ( which are touched upon slightly in the series though not to their full potential), and maintains a fairly upfront and straight- laced persona in front of Woo-Hyul. Despite appearances, In-Hae does have a softer side. Viewers see glimpses of this early on ( such as helping one student in the school after being bullied) and throughout the series during key moments. ( For example thanking Woo Hyul for taking care of her after she is bed-ridden from a fever.)


In-Hae does have her own potentially interesting backstory, but like some minor elements of the series, this was often pushed aside slightly in later episodes. This was not bad per say but it did put her backstory on the back burner a fair bit. The majority of In Hae’s development revolves around her potential romances, as well as glimpses into her softer nature.


Both main leads are interesting in their own right, and by far, enact as a major highlight of the drama’s storyline . Ji-An and Taek-Yeon have fairly good chemistry. Their characters have a good balance between being a polar comedic duo, while also learning to rely on one another and help each other out during times of the crisis. It was surprisingly sweet to see their relationship unfold in the drama and gradually develop during the series.


However touching upon the romantic element of the series, it is hard not to bring up the issue of the love triangle trope ( you could even argue love square or even pentagon depending on viewpoint). Having a complex romantic pairing and unrequited is not unusual in Korean dramas, and is a trope which is executed a lot within narratives. They are not inherently bad and can be diverse and well-written, but one problem they can often run into is whether they are truly necessary or well-resolved in the long-run.


In this case ( and for the sake of argument), love triangle/ square comes through Shin Do-sik ( Park Kang Hyun), an old classmate of In Hae and a successful real estate development specialist.


Do-Sik’s role in the series was pretty evident early on; he was to be the potential love interest as the second male lead, and the exact foil of Woo Hyul. Do-Sik is the epitome of the “ nice guy” trope at drift ; he is well-mannered, reserved and constantly looking out for In-Hae while his feelings remain apparent to everyone (except the female lead).


However , Do-Sik spends his time fawning over In Hae or practically stalking her from the shadows to the point of being more than a little obsessive. While in some cases, it is evident Do Sik is concerned about In Hae’s circumstances ( such as walking home drunk late at night) and mental well-being , he spends a lot of time watching her from the background or following her around similar to a lost puppy . Do Sik’s character arc only exists around In Hae, to the point of most of his flashbacks being centred around this too. It is a shame as while is not inherently bad, Do-Sik’s more interesting elements are often put aside and he becomes somewhat flat. The series did seem to possess some self-awareness of Do Sik’s character arc by attempting to involve him more in later episodes, but, a mixture of still being centred around In Hae at the end of the day did draw some further questions on this development as well as his antagonistic role in the series .


Another key side character includes Na Hae-won. Without major spoilers, Hae-Won is connected to the characters in more ways than one. She is a wealthy heiress who has returned from a long time of being overseas. She is an old friend of Do Sik and has an active interest in the old house. Naturally when she hears that Woo-Hyul and In-Hae want to turn it into a guest house, she helps to invest. Hae-won acts as a major driving force ( both negative and positive) within the relationship between the two main leads. It was sad to see the initial hints of Hae Won’s calm persona being driven out the window in the second half of the series, as well as her growing obsession over Woo Hyul. While I understand the series wanted development, it was cliche and sadly undermined her character in the long run.


Additional key side characters include Lee Sang-hae and Park Dong-seop, the goofy vampires and friends of Woo Hyul. Both characters enact as comedic relief in the series and while they are fairly entertaining, it would have been equally interesting to have touched upon how long they have truly known Woo Hyul, and why their friendship does run so deep. Despite this, both characters do show genuine care for Woo Hyul and do come to his aid in key moments.


Ko Yang-Nam ( Kim In Kwon), a catman being, is another key character and ally of Woo Hyul. Yang-Nam very much plays the role of the wise sage in the series. He is concerned over Woo Hyul’s predicament and begins to realise ( for conclusions he has come to even unknown even in the series), that Woo Hyul is in serious danger.



Rose ( Seung Yoo), a vampire and close friend of Woo Hyul and his friends, helps them out a fair bit on minor plot events, and Ri Man- Hwi ( Baek Seo Hoo), an antagonistic side character, who proves to be a thorn in Woo-Hyul’s side. Other side characters include the tailor Kim-Ok ( as well Young-ki) and his son ( Kim Do Geon), and the butcher Ko Ki-Sook ( Baek Hyun-Joo). There is a running comical subplot about Ki-Sook being determined to run out Woo Hyul and In Hae from the house. In all honesty while I understand this was meant to generate some laughs, it was a little irksome to see Ki-Sook constantly trying to annoy them. The fact that In Hae and Woo Hyul’s guest house could generate serious business and revenue into the area ( including for her business) seemed pretty reasonable to anyone, making it even odder than she was often condescending or rude to the duo with little reason aside from being petty . ( Despite Woo Hyul becoming one of her regular customers.)


The execution of the series was okay with a brisk sense of pacing and action and conflict development in early episodes . Perhaps my one complaint came through the romantic development. Don’t get me wrong. I like a drama to be well-paced, but it seemed the series often tried a little too hard on the trope of “ will they? Won’t they?” without giving us the time or opportunity to see these breadcrumbs in place. The ending seemed to push this romance full force before attempting to throw in a major “ plot twist” in the ending, with major questions arising over this arc development. This resulted in this second half feeling just rushed and anticlimactic and this in the long run, half-baked.


The cinematography was fairly good. It was fairly sleek for the most part and the CGI was okay too. My one complaint is that the palette schemes were a little uninspiring in some scenes and could have easily been used more carefully or frequently to match the emotional effects of scenes or key moments. The OST was fairly decent with some songs such as Hang Seung Yoon’s “ I Revive” being particularly catchy .


Overall, “ Heartbeat” is a decent romantic fantasy drama. The series has a decent plot premise and good cast, but struggled to develop and characterise beyond the limits of cliches and rushed execution. Overall, a decent watch for a binge session.

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See You My 19th Life; A Surprisingly Sweet Adaptation…

See You In My 19th Life is based on the eponymous Korean webcomic. When news arrived of the series receiving an adaptation, I must admit, like many readers, I was sceptical of the idea.Nevertheless, the series did offer some of the brilliant charm from the webcomic as well as offering a new take on the initial concept. However leaving out some key details did miss the mark a little, especially when it came to the execution of the series.


The drama is initially focused on nine year old, Ban Ji-eum (Park So-yi) who begins to remember her past lives. In particular, she can remember her past eighteenth life as Yoon Ju-won , the playmate and childhood friend of the wealthy heir Mun Seo-ha (Jung Hyeon-jun). When Ju-won died tragically, she was reborn as Ban Ji-eum, a girl surrounded by poverty and abuse.


Running away from home after her megalomaniacal father took away her money, Ji-eum meets restaurant owner Kim Ae-kyung (Cha Chung-hwa), and convinces her that she’s her reincarnated uncle Kim Jung-ho (Lee Jae-kyoon),as well as remembering her past incarnations .


Over the years, Ban Ji-eum takes time to cross paths with Seo-ha, the boy she promised to stay with in her past life. Now in her 20s, Ban Ji-eum ( Shin Hye-sun),has spent years trying to become a high-achieving individual in order to purposefully apply for Seo-ha’s company. However, fate has other plans. When Ji-Eun and Seo-ha cross paths, certain mysteries and deep wounds will soon emerge from the surface.


See You In My 19th Life was based on the webcomic of the same name by Lee Hey and was adapted to the small screen by director Lee Na Jung and writers Han Ah Reum and Choi Young Rim. The concept of the webcomic and the series is pretty straight forward: it is a fairly lighthearted romantic drama about boy meets girl with a fantasy twist. In typical Korean drama fashion, there are multiple surprise twists to try and keep viewers entertained, some of which lean heavily into the original work, others of which were taken into a completely different direction and leaving the series feel a little rushed in the twelve episode format.


The writers interestingly don’t really bother with the small details on the element of reincarnation for Ji-Eun. I suppose a lot of this came from the fact the premise is very straightforward about Ji-Eun possessing preternatural intelligence, skills and abilities from her past incarnations as second nature. While we do get to learn a little about her past lives, a lot of details were often absent or missed out for sake of the time frame, a shame for such a rich opportunity to explore how Seo-ha possesses so much knowledge.


The acting front was okay. Nothing particularly flawlessly outstanding, but Lee Bo-young delivered a good performance as Sang-a, the individual who help drive Seo-ha to coming back and running the hotel .


As characters, there’s a lot to unpack about the drama’s depiction. Ban Ji-Eum starts off fairly similar to her webcomic counterpart; calm, composed and collection, but the drama takes her personality in a different direction through being quite quick to fly off the handle at times. While I think it was refreshing to see Ji-Eum develop beyond just being composed and collected and have her own complex inner turmoils , it did sometimes take away from the witty charm of Ji Rum’s character and mystique. After all, Ji Eum is meant to be a tough nut to crack. Her ability to remain laidback and mysteriously charming while Seo-ha enacts as being naturally anxious and turmoil driven, allows the pairing to work. Without it, Ji Eum did not have quite the same screen time impression or character drive.


Adding to this ( and without major spoilers), there’s the issue of her reincarnations. We learn some of these past incarnations are very interesting individuals. However when addressing the biggest issue of her first incarnation ( something which was very pivotal to the webcomic), it is hard not to draw some obvious disparities between the two works. I don’t have a problem necessarily with the direction the drama took it in. After all, the series is only meant to be based on the concept, not a page for page adaptation. However, it is hard not to point out how in these late episodes, the way this past incarnation was handled and rushed did not truly give it justice for Ji-Eum’s character development and arc.


Then there’s Seo-ha. Compared to his webcomic counterpart, Seo-ha seems to play more active and dominant role in his potential romantic relationship with Ji-Eum. To some extent, this worked really well; Seo-ha is a traumatised and kindhearted individual, so it would stand to reason that he begins to connect with Ji-Eum over time. On the other hand, it is hard not to bring up the issue of how the drama tackled certain aspects of Seo-ha’s character development. Seo-ha’s mother and her circumstances, his childhood trauma and of course the ear issue, are all quickly played off at times for the romantic side, while only reappearing when it was necessary to add some drama and conflict.

Speaking of which, the issue over Seo-ha’s ear has remained a point of debate for fans and watchers alike. On one hand, I think it is a very positive step to see a Korean drama depicting a male lead with a hearing impairment even on the small screen, particularly in a positive light . However, I believe the director and writers could have easily have driven home more about the day to day issues for Seo-ha or its implications for his mental and physical well-being more than they did onscreen.


In addition to the main leads, there is also Yoon Cho Won ( Ha Yoon-Kyung), Ji Run’s sister from her past incarnation, and Ha Do-Yun ( Ahn Dong Goo). While the second leads get their screen time, it is a shame that the series cut off their subplots and potential character development in later episodes. As a result, their screen time and potential onscreen romance fell a little flat.


Perhaps one of the biggest issues of See You In My 19th Life came down to pacing. The early episodes seemed to struggle a lot with picking up a brisk pace. While it is understandable to have a slow first episode to explain the basics and establish the plot, the fact this went on for at least two or three episodes was a little concerning. After this point, the series did pick up slightly and was sable to be fairly entertaining. By the latter half , the series tried to speed run the major conflict of the webcomic. In all fairness having a twelve episode format is limiting to exploring a major plot in such a short space of time. However rather than accommodating the plot more succinctly or executing it a few episodes earlier on, the series rushes through major events ( such as the murder plot and important past life ) and seems to miss the initial purpose of some of the plot events to propel the romantic storyline. Instead, viewers are left with an odd imbalance between the romantic side of the series, and this odd thriller plot hole, leaving the themes and tone of the drama to feel a bit at odds with one another. The final episodes were a little rushed but did end on a bittersweet note.



The cinematography was fairly innovative in early episodes and did seem to pull every trick to make it eye-catching. Sadly this consistency was not the same in later episodes, but the series still possessed a fairly glossy and stylish tone. The OST was decent also with some good tracks such as “Here With Me” by Doyoung and “무음 (Silence)” by sunwoojunga.



See You In My 19th Life was a fairly standard and sweet romantic series. It was nothing particularly out of the box when considering the intriguing concept, but despite some notable issues over pacing and writing development, the drama was fairly engaging and remained a fun watch. Overall, a decent series for a binge watch.

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A Sweet Fantasy Web Series, Though Sadly Lacking...

My 20th Twenty is pretty much what the title suggests; Kang So Won ( Choi Yu Ju) was turning twenty during the millennium ( 2000). However, after encountering a bitter witch ( Go Soo Hee )who takes offence at So Won's actions, she is cursed to remain at the age of twenty forever.


While sounding like a dream come true to remain youthful, So Won finds her situation turning into a living nightmare. Her friends and those close to So Won cannot remember her after a year. She is forced to move from different jobs and places after a year ( due to the spell) and remains like a living ghost.


Now chronologically in her forties, So Won is desperate to try and find a lead about the witch and finally break her curse. After several mishaps, she meets cold and stoic Min Kang Hyun ( Jung Su Bin) and the kindhearted Jo Sang Wook ( Dawon). Despite bearing a close resemblance to her first love, Kang Hyun is the opposite of him in both temperament and personality. However, as the series progresses and So Won finds herself chasing further leads, she becomes more involved with the two youths.


For a short web series, My 20th Twenty has a surprisingly interesting premise: a girl is cursed to remain twenty forever, it is not all it cracks up to be, and she finds love along the way. It is simple, yet sweet. Naturally, it is fair to say the series was never going to be a tour de force example of flawless writing and execution. The characters are fairly cookie-cutter from other drama and pretty much ticks all the boxes you would expect from a short romance series; the oblivious, yet charming female lead, the stoic male lead and the bubbly second male lead, jealousy, and a hidden secret somewhere in the midst. It is a fair cliché series with characters only playing their roles to be assets to the short plot.


The acting is better than you would think, shockingly. Naturally, there are some more questionable and cheesy acting moments, but the main leads delivered fairly well, with all things considered.


The execution of the web series was one of its major downfalls. It would naturally be a rush, and try to fit in as much as possible into such a short time. Still, the heavy focus on the romantic factor for most of the narrative often left the more intriguing elements of the female lead's quest to find the witch in the background, leading to a rushed resolution. The ending was fairly sweet but was a byproduct of this writing direction.



Overall, My 20th Twenty is a fairly lighthearted and sugary web series with a romantic factor and a surprisingly interesting premise. Sadly, time restraints, a restricted budget and writing did mean the series felt a little easy to forget from short web dramas with similar plot scenarios and setups. Overall, it made an easygoing binge-watch, but little else.

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Tale of the Nine Tailed Fox 1938; An Action-Packed Sequel...

Tale of the Nine-Tailed Fox 1938 is the long-awaited and highly anticipated sequel to the 2020 series, Tale of the Nine-Tailed Fox. Following the adventures of gumiho, or nine-tailed fox, Lee Yeon ( Lee Dong Wook), the series uproots the modern setting to a time-travelling experience during the Japanese occupation. Lee Yeon and Koo Shin-joo (Hwang Hee) chase after a mysterious masked being that has stolen the Samdocheon Guardian Stone, a gem that maintains the barrier between the living and the dead. Stuck in 1938 until they can recover the stone, they encounter old friends, the former mountain deity and wealthy socialite Ryu Hong Joo ( Kim So Yeon), a hostile former friend and guardian spirit, Cheon Moo Young ( Ryu Kyung Soo) and Lee Yeon's younger brother, Lee Rang ( Kim Bum). Can Lee Yeon travel back to the future while saving the past from malicious entities, or will history be doomed to repeat itself?


The same screenwriter wrote The Tale of the Nine-Tailed Fox, the first series, Han Woo Ri, and the series is s directed by
Kang Shin-hyo and Jo Nam-hyung. By far, the sequel takes a more whimsical approach than the first season regarding the fantasy element. The decision for Jo Bo Ah to not return ( aside from a brief cameo) in the second series, probably caused a major rut in the works of the original direction of writing for the drama and led Woo Ri to try and come up with a plot that could work. In some ways, this did grant the series some golden opportunities to venture out from the heavy romance for Lee Yeon in season one to a more dynamic explanation of his character and platonic relationships and the action at heart.


This gave the series a lot of advantages to being revamped from a fantasy romance into a fantasy action-comedy. The comic relief is certainly a lot more present in the series. Refreshingly rather than relying on cheap gags for comic relief, the series offers more witty jabs and self-awareness towards its previous shortcomings ( with Lee Yeon's encounters with his lovesick past self and, of course, Lee Rang's violent tendencies being primary sources for some laughs). There are certainly some darker moments in the storyline, including the subplots revolving around the Japanese Army and the intentions of Moo Young. However, rather than being heavily dominated by this theme, the sequel is a lot more easygoing in some regards.



The acting in the series was good. Lee Dong Wook and Kim Bum did not disappoint as the main leads and offered fairly stellar performances. However, a surprising performance came through Kim So Yeon's performance as Ryu Hong Joo. So Yeon showed a fairly flirty yet complex edge to the character, which truly helped bring the character to life. There were admittedly a few corny performances in the series, yet, they could sometimes be ignored with the direction of the writing.


With this in mind, viewers should be surprised that one driving element of season two ( similar to its predecessor) came through the bromance and fraternal bond between Lee Rang and Lee Yeon. After the bittersweet conclusion for the brothers in season one, the return of Rang and Yeon's tragicomic bond was a gold mine for writing opportunities, and the series took it to its full advantage. Lee Rang is still caught up in his hatred and secret admiration for his brother; while armed with the knowledge of the future, Lee Yeon tries to spend more time with him and play a brotherly role in his life.


With this being said, there does come a more decisive issue with Lee Rang's romance with half-mermaid Jang Yeo Hee (Woo Hyun Jin). On the one hand, seeing an antihero character such as Lee Rang fall in love was quite sweet. On the other hand, while fairly well-paced, the romantic element show did feel somewhat contrived, with Yeo Hee falling nearly head over heels with Lee Rang at first sight to give the season its '' romantic couple''. The show's focus on this relationship was fairly driven, though it did not entirely overshadow the main plot either.


New character introductions helped the show to go a long way. Ryu Hong Joo was a new main character for the series, which offered a starkly different personality from Lee Rang and Lee Yeon. Headstrong, playful and surprisingly more complex than her first appearance would suggest, Hong Joo's past with Lee Yeon helps to drive a major part of the series. She is a very morally ambiguous character, neither truly playing the role of hero nor villain, instead being more driven by her personal goals and motives. Similarly, Moo Young acts as a frenemy character in the series. He goes way back with Hong Joo and Lee Yeon, though as viewers find out, his grudge against Lee Yeon is very personal. When trying to tie up loose ends with Moo Young's storyline, the series felt rushed, but it was still fairly entertaining.


Other subplot characters include nefarious Kato Ryuhei ( Ha Do Gwon), a man determined to bring down the local Korean deities and gain power and status, and Seon Woo Eun Ho ( Kim Yong Ji). Kim Yong Ji, the actress of Yu-Ri from season one, returns to play the reporter under Sunwoo Ilbo, Seon Woo Eun Ho. The character's striking resemblance to Yu-Ri is noted even by Lee Yeon ( ironically commenting they are lazy with faces in the birth cycle). It would have been interesting ( irony or not) to have touched upon the reincarnation cycle lore from season one a little more, but Eun Ho was still a fairly interesting character. Perhaps the only major weakness of her character came from needing more screen time, meaning some of her more interesting plot moments were cut short.


The execution was good for the most part. The storyline played more episodic than season one, often giving more opportunities to focus on specific areas or characters than a jetstream narrative. My one complaint came through this often, feeling as though the series lacked a greater sense of direction until the final part of the series. As a result, some story elements ( including the ending) needed to be more timely.


The cinematography was fairly nice. The sets were impressive, and the costume design was a major highlight of the series. The OST included some good tracks, such as "Kiss The Rain" by Thama and "Wind Song" (바람의 노래) by Kei.




Tale of the Nine-Tailed 1938 offered a great sequel to the original series and exceeded expectations. Learning from some of the previous season's past mistakes, the drama provided a more entertaining watch than season one, with an intriguing storyline, a good balance of themes, beautiful costumes and sets, and characters. With news of a season three on its way, it will be interesting to see where the series is taken, and what adventure Lee Yeon will be on next. Overall a good and entertaining watch.

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Unknown; A Drama with Wasted Potential...

Unknown is arguably one of the weirdest dramas from 2023 so far. This statement does not come from the plot itself. In fact, on paper, the drama was engrossing; a vampire called Yamihara Kokoro ( Takahata Mitsuki), pretending to be human, falls in love with a human policeman Asada Toramatsu (Tanaka Kei). Toramatsu's skeletons in the closet come to light as the drama precedes. As Kokoro and Toramatsu attempt to navigate their new sense of the everyday, their lives are interrupted by a series of brutal murders.


Where the problem became apparent with Unknown came through the writing and execution itself. Initially, the story began on a solid foot. Viewers learn early on that Kokoro's family are vampires. She is dating a human and struggles between her identity and shielding elements of her life from Asada. The early teasing by the screenwriter Tokuo Koji ( Ossan's Love and Eiga Engeki Success So) for the series is a mystery thriller with elements of slice of life was soon interrupted by the attempts to bring about '' shocking twists''.



Of course, a dramatic twist or moment of sudden reversal for the characters can work well in a drama, given that it is well incorporated into the plot. The problem with Koji's writing came from trying to outdo the last twist in a series of events, which becomes increasingly ridiculous in later episodes. By the end of the series, the more relevant plot twists were so lost in the multitude of loose plot threads that they lost their true significance in the series.


The acting of the series was okay. It was nothing particularly award-winning ( especially considering the more over-the-top performances), but it was watchable for the most part.



Takahata Mitsuki offered arguably one of the best performances in the series as the vampire and journalist Yamihara Kokoro. For the most part, Kokoro is a fairly kindhearted character who attempts to live a simple life by adapting to the modern world. She has a close relationship with her parents ( though her relationship with her brother is rarely explored, even in minor scenes to their full potential). She cares deeply for her boyfriend and fiancé Yamihara. One element which became apparent in Kokoro's character was that she rarely seemed to have a more profound sense of authority or putting her foot down. It is understandable not to want to upset others ( in fact, this would have been an exciting flaw for Kokoro to have possessed). Still, her questionable relationship with Kagami Keisuke ( Machida Keita) was bizarre. For a character like Kokoro, it seemed odd for her not to question or worry about how she practically had a flirtatious relationship with Keisuke, even in front of Yamihara. The series attempted to add a shocking twist on this front, but how this was left lacked a lot.



Tanaka Kei starred as policeman Asada Toramatsu and Kokoro's fiancé. Toramatsu had a lot of potentials to be morally ambiguous and complex. His backstory and relationship with his father were hinted to have been a major driving force of the series, and while it did possess some intriguing aspects, its blunt deliverance and rushed conclusion lacked a lot of dramatic impact and buildup. This resulted in Toramatsu's character being a bit weak in his writing. He certainly had kindhearted elements to his character and a good heart. Still, considering the number of deaths and conflict around Toramatsu, it seemed odd that this character was not given full justice through his development.


Other vital characters included Kokoro's theatrical father, Yamihara Kaizo ( Yoshida Kaizo), an attempted piece of comic relief for the series, which, while funny in scenes, became a bit exhausting at times. Kokoro's mother and Kaizo's wife, Yamihara Iori (Aso Kumiko), is a reasonably fun character in her own right. The series was going for a Morticia and Gomez dynamic, with the couple seemingly being head over heels for one another in a more morbid manner. However, a lack of romantic chemistry between the characters and a lack of dynamic between the actors often meant this relationship fell slightly flat.



Kagami Keisuke enacts as Kokoro's co-worker and potential love interest. Keisuke and Kokoro's relationship dynamic was arguably one of the most bizarre in the series ( including an attempted threesome date with Toramatsu, despite the male lead disliking him). The drama tried to pull a sudden, surprising twist in the final part of the series, but a lack of proper build-up and writing made this feel rushed and poorly developed.



Other supporting characters included Yoyozuka Yukio (Kote Shinya), Igarashi Matsuri (First Summer Uika), Yamihara Ren (Inoue Yuki), Igarashi Daigoro (Sota Ryosuke), Niwatsuki Genji ( Sakou Yoshi), Minamijuji Hajime (Niiro Shinya), Soga Shinichi (Ishikawa Zen) and Imafuku Ume (Kino Hana). Although these characters were fascinating in their own right, they were rarely given enough screen time or development to be explored to their full potential.



The OST was decent. Kono Shin composed some decent tracks, such as ''UNKNOWN MAIN THEME'', which were haunting. The cinematography was strange in that the opening had the highest production budget of the whole series. Directors Kanai Ko and Ruto Toichiro attempted to add to the mystery element by revealing minor parts of the ending in the opening credits per episode. This was quite a creative take with all things considered but a mixture of rushed execution and convoluted plot twists often resulted in the impact of the opening losing its meaning over time. The actual quality of the series was average.



Unknown was a drama which was filled with wasted potential. Poor writing decisions and a lack of character development meant they needed further development. The acting was not bad, but they were not performed in a way viewers could take entirely seriously. Overall while short in length, Unknown was a waste of time and potential despite its exciting premise.

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Doctor Cha; How to Ruin A Good Show...

Watching Doctor Cha was similar to Marmite; people either loved or hated the drama's ending, and there was not much in between. However, looking at the series throughout, it was hard not to notice some of the drama's more apparent flaws.


Jung Yeo Rang wrote the series, while Kim Dae Jin and Kim Jung Wook directed it. The plot focuses on Cha Jung Sook (Uhm Jung Hwa), a housewife for more than two decades and the wife of surgeon Seo In Ho (Kim Byung Chul). After a health shock, Jung Sook questions whether she wants to complete her residency as a doctor. Jung Sook can fulfil her dream with the help of the kind-hearted surgeon Roy Kim (Min Woo Hyuk). However, as melodrama brewing elsewhere, Seo In Ho's involvement with an old flame from the past and work colleague Choi Sung Hee ( Myung Se Bin) threatens to create other melodrama.



The series was a mixture of genres. It leaned into medical, romance and melodrama for the most part. The balance between these three genres could sometimes be difficult to mediate, significantly as the series progressed. This often made the show feel like a different watching experience in these various genre shifts, mainly when early profound topics and themes addressed ( such as murder, medical malpractice and treating criminals) were rarely tackled in later episodes.




The drama's acting is admittedly very mixed. Uhm Jung Hwa starred as the main female lead, Cha Jung Sook. Jung Hwa will likely be unfamiliar to newer drama fans, though some drama watchers may recognise her from the movie Dancing Queen and the show Get Karl! Oh, Soo Jung, Witch's Romance and Our Blues. Jung Hwa arguably offers one of the best performances in the series as the main female lead.


As a character, Cha Jung Sook is undoubtedly a mixed bag. She is kind-hearted and sincerely desires to care for patients and those close to her. Nevertheless, Jung Sook's character arc, particularly her relationship with Seo In Ho, remained one of the most problematic areas of the show. The series attempted to delve further into this relationship's complications and difficulties. Still, for the most part, it was an incredibly controlling relationship With In- Ho. Rather than delving into these complications further and allowing Jung Sook an opportunity to get away from him early on in the series, the narrative dragged out this arc beyond its limit, particularly for comical relief and further dramatic tension. Jung Sook's potential relationship with Roy Kim remained one of the most grating elements of the series. The conclusion to this relationship remained a subject of significant criticism by watchers and fans alike, mainly due to Jung Sook's character arc on this front feeling rushed. One of the few strengths of Jung Sook's character development came from her concluding circumstance. Although anti-climactic, it was reasonably befitting for her as a character to follow that particular path.



The series attempted to make In-Ho’s character more ‘’empathic’’ in parts of the drama. This would have been an understandable move if it was not more to do with the fact that In-Ho had little guilt or redemption throughout the series. Even if it had been a case of In-Ho coming to acknowledge or reason with his actions, this would have allowed him to grow as a character. Instead, In-Ho spends most of his time whining about Jung Sook, unable to make his mind over her and Choi Sung Hee, sidling up to his mother, Kwak Ae-sim (Park Joon-geum ) and then letting his anger out by attempting to destroy his daughter's dreams (Lee Seo-yeon). There are a few moments where we see a softer side to In Ho, but considering his attitude throughout the drama, these moments lack impact when faced with his treatment of others.



Roy Kim is another central character in the series. His character's personality acts as a perfect foil to In-Ho. While In-Ho is arrogant, jealous and egocentric, Roy Kim is sincere, kindhearted and cares deeply for his patients. His relationship with Jung Sook, from patient to crush, remains one of the major driving forces of the series. Sadly, Roy's character arc was not given a lot of justice, with a rushed storyline and a potentially intriguing backstory wasted.





Choi Sung Hee enacts as an antagonistic force in the series but is arguably one of the most morally ambiguous. Myung Se Bin offered a surprisingly bittersweet performance as the second female lead. Sung Hee and In Ho's relationship, alongside her rivalry with Jung Sook, remained one of the major driving points of the series. It was surprisingly refreshing to see the connection between Sung Hee and her daughter Choi Eun-seo (So A-rin ) progressing in parts of the series and the unforeseen bond between Sung Hee and Jung Sook's mother, Oh Deok-rye ( Kim Mi-Kyung ). Nevertheless, Sung Hee and Jung Sook's rivalry seemed oddly contrived. It is not out of the question both women would be at odds, but Sung Hee's odd attraction to In Ho, despite throwing her under the bus and her odd resolution with Jung Sook, did not seem to justify her character arc truly.



Seo Jung-min (Song Ji-ho), In-Ho and Jung Sook's eldest child and a first-year medical student, had a minor role in the storyline with his relationship with Jeon So-ra. So-ra and Jung-Min were among the few couples in the series who were worth watching. However, melodrama and limited screentime offscreen time interactions are less significant in later episodes. Later in the series, Jung Min attempts to be given a more complex character arc through a particular circumstance, but a rushed conclusion rarely makes this feel well-developed. To make matters worse, viewers learn from Seo Yi-Rang that Jung-Min did not want to become a medical student and only did so to keep his father happy. This could have been a perfect ground for exploring Jung-min's character and relationship with his parents ( particularly his father) more, though sadly, the series did not take full advantage of this.



Seo Yi-rang had her character arc too. Many more events were shaping Seo Yi-Rang's initial development than some notable characters in the series. Her relationship with her mother had some reconciliation. Still, the series rarely builds on this parallelism between mother and daughter trying to chase their dreams, often leading their interactions to fall somewhat flat. ( Especially as Yi-Rang wants to break the family tradition of attending medical school by becoming an artist.) Another major arc revolves around Yi-Rang and her friendship turned rivalry with Sung Hee's daughter, Choi Eun-Seo. Without major spoilers, it is fair to say a significant revelation divides the characters. Each character acts out independently, but considering how Yi-Rang learns more about her father, it seemed odd that the show did not try to resolve this conflict earlier rather than simply trying to drag it out for filler time until the ending.




Oh, Deok-rye has a minor role in the series alongside Kwak Ae-sim. Both characters have surprisingly sweet moments and squabbles. Another surprising performance was by Jo Ah-ram as Jeon So-ra, Jung-Min's girlfriend and Jung Sook's superior. It could have been easy for the drama to have dragged out the tension between Jung Sook and So-ra, but their bond in later parts of the theatre was oddly sweet. Her performance was remarkably likeable, adding to her onscreen persona's charm. Baek Mi-hee (Baek Joo-hee ) was another minor character as Jung Sook's best friend, though aside from trying to play a matchmaker and listen to some advice, she did not play a significant role as she should have done so.


The execution of the series was mixed. The first half was a little slow to get off the ground, but the narrative could progress further after a few episodes. However, significant proportions of the series relied heavily on dragging out conflict and melodrama rather than exploring or resolving previous character arcs or plots. This was a shame because the series had much time to cover these elements.



The cinematography was decent enough. There was nothing particularly striking, though the scene with Jung Sook joining Roy Kim to go running remains pretty sleek. The OST was okay, with a few decent tracks such as "Shine Like a Star" by Sondia and "A Day For Me" (나를 위한 하루) by Shinae An remaining particularly memorable.



Overall, Doctor Cha was a drama with much potential to be lighthearted and well-developed, but it lacked the correct execution and development. Poor character arcs rushed plot events, and an anti-climatic ending made the drama feel pieced together than a concise watch and an engaging experience. The series certainly had its sweeter moments, though sadly, this was often ignored due to these issues. Overall, a disappointing watch.

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The Good Bad Mother; A Good or Bad Watch?

I will be frank in my honest thoughts about this drama; it very much met my expectations. I will be open to saying it
did not exceed them, but it was a reasonably engaging and entertaining watch for the most part.


The Good Bad Mother was written by Bae Se Young ( Intimate Strangers, What a Man Wants and Life Is Beautiful) and directed by Shim Na Yeon ( Hip Hop Teacher, Beyond Evil and Moment at Eighteen). It focuses on pig farmer Jin Young Soon (Ra Mi Ran). Young Soon is left to take after her son and the farm as a single mother after the death of her husband. Her son, Kang Ho ( Lee Do Hyun), is reared by Young Soon to study and succeed, even at the cost of his unhappiness. Kang Ho grows up seemingly unhappy, pushing away his mother and long-term childhood friend and sweetheart, Lee Mi Joo (Ahn Eun Jin), to climb up the social leader as a prosecutor.


However, when Kang Ho is involved in a life-changing accident, Young Soon gets a second chance to spend time with her son. Kang Ho's past soon catches up with him and Young Soon as they find themselves in their sudden change of circumstances.


This is a story we have seen in Korean drama screenplays, where a character is forced to go through difficult circumstances and reconciliation. Mostly, The Good Bad Mother is a melodrama focusing on numerous tragedies but with a more slice-of-life comical edge through the country life trope. One surprisingly profound element of the series came through some of the themes tackled, including disability, illness, political corruption, murder and cover-ups. Admittedly, these themes were only partially addressed to their full potential, but the drama did highlight where characters encountered these issues.



The acting for The Good Mother Bad Mother varied, though most of the main cast was pretty good. Ra Mi Ran ( familiar to some watchers for her performances in Sympathy for Lady Vengeance, Avengers Social Club and Cruel Intern) offered a fairly stellar performance as Jin Young Soon.



Jin Young Soon is a problematic character to explore. On the one hand, she is very multifaceted; it would have been easy for the writer Bae Se Young to have cast Young Soon in a villainous light or wholly attempted to have redeemed her character. Instead, we get a surprisingly good middle ground with Young Soon; she is neither truly forgiven for her actions nor demonized. This was surprisingly refreshing for a Korean drama. Of course, Young Soon is not without her writing flaws, one of the main issues being that while we do get to see her character develop and her ending is teased throughout, it still felt a little anti-climactic against the backdrop of the other events of the series.



Lee Do Hyun ( a familiar face to many for his roles in Sweet Home, 18 Again and The Glory Part 1 & 2) starred as the male lead and son of Young Soon, Kang Ho. Kang Ho goes through a multitude of character arcs throughout the drama. Without major spoilers, Kang Ho starts as a reasonably callous individual at first glance before developing into a more well-rounded and kindhearted individual through his accident. As the narrative progresses, the drama elucidates that Kang Ho is a character that has more to him than meets the eye, and this certainly proves to be true. Perhaps one element which did feel somewhat absent through Kang Ho's character arc came through a very deus ex machina ending; his trauma is unresolved, he goes through issues and then finds a solution. There is nothing wrong with this formula per se, but considering the amount of tension building behind his character arc, it felt a little odd that these circumstances came so quickly.


Another central character to talk about is Lee Mi Joo—Ahn Eun Jin (More Than Friends, The One and Only and Goodbye Earth) plays the role with a calm yet bittersweet edge. Mi Joo's relationship with Kang Ho and the mysterious identity of her children's father remains one of the major driving forces of her character. One element of her character that I felt I was a little lacking was that while her goals and dreams were built up a lot or explored to their full potential, they rarely followed through by the drama's ending.



Then there are the primary antagonists of the drama, Song Woo Byeok (Choi Moo Sung) and Oh Tae Soo (Jung Woong). Their role in the drama plays out similarly to moustache-twirling villains; they are necessary to keep the conflict going, but aside from that, their characters are rarely explored further. Other noticeable characters include Bang Sam Sik (Yoo In Soo- Strong Woman Do Bong Soon, Alchemy of Souls and The Uncanny Counter Season 2: Counter Punch), the childhood frenemy of Kang Ho and Mi Joo, who acts as the primary comic relief of the drama series. ( However, Sam Sik has his surprising redemption arc in parts of the series.) Of course, there are the villagers who help propel the comedy and more lighthearted moments alongside Song Woo Byeok's henchmen. Young Rak's wife (Park Bo Kyung-Shadow Beauty, Little Women and Moving) remained an amusing character. Her gag of constantly wearing odd face masks for beauty routines and eccentric comments fantastically lit the mood. Her character resolution was a little weird, but it seemed befitting of her character's personality.



The execution of the series had an odd progression. The first episode delved into the setup and conflict, then slowed down until the halfway point. Although this was necessary to help flesh out specific plot points, it did cause a scenario where certain teased plot arcs and characters were left free-falling by the second half of the series. As a consequence of this execution, certain plot events were left unaddressed. The one element of the narrative that was achieved came through pacing. There were a few scenes which were unnecessary in parts of the drama. Still, for the most part, The Good Bad Mother was engaging with its narrative due to being able to balance the elements of angst, lighthearted moments and comedy reasonably well.



The cinematography of the series was pretty stylish. It was not particularly innovative, but there were a few striking scenes, such as when Kang-Ho and Ahn Eun Jin were caught in the rain or the final scene with Jin Young Soon. The OST was reasonably upbeat and dynamic for the most part. Admittedly, there were a few more tracks which stuck out more than others, such as ''A Dreamy Town'' by Ha Jin and ''Talk About Love/ 사랑을 말해요'' by Lee Moon Se, which were pretty good.



Overall, The Good Bad Mother was a surprisingly engaging watch. Although it may have borrowed from many tropes in Korean dramas, the series remained engaging through its equilibrated themes and an intriguing array of different characters and plot. Overall, worth a watch.

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Surprisingly Divine...

The Heavenly Idol ( alternatively known as The High Priest Rembrary, Holy Idol) has gained a lot of mixed reception from watchers due to its over-the-top plot and narrative. A mixture of personal responsibilities over the past year and drama titles which have yet to appeal has made me slightly disengaged from watching Korean dramas. However, though certainly not without considerable flaws, My Heavenly Idol was a surprisingly engaging and sweet drama at its heart.


The tvN drama was written by Lee Chun Geum and directed by Lee So Yoon ( otherwise known for his involvement with the drama special tvN O'PENing: XX+XY). My Heavenly Idol focuses on Pontifex Rembrary ( Kim Min Gue), a divine worshipper in another land. To protect his people, Pontifex has been caught up in fighting The Evil One, who is determined to create havoc and unrest. However, when Pontifex is caught up in conflict, he is transmigrated into the body of an idol singer Woo Yeon Woo. Yeon Woo is a member of an unpopular idol group called Wild Animal. As Pontifex attempts to navigate his newfound situation, he soon finds himself coming face to face with his archenemy ( Lee Jang Woo). With the help of his bandmates and Yeon Woo's long-term fan Kim Dal ( Go Bo Gyeol ), Pontifex is determined to finally bring down The Evil One, once and for all.


The Heavenly Idol has a surprisingly exciting setup for a twelve-episode drama; a fantasy world and lore of magical powers, demonic entities and effectively multiverses where viewers learn different deities exist. One of the biggest problems with the series was how myth and worldbuilding were explored. While there were some fascinating ideas, there were a lot of moments and concepts which could have been more fleshed out further or investigated further. ( Without significant spoilers, two central characters are introduced halfway through the show. While interesting, their existence raises many questions about their relevance in the storyline and what that truly means for other multiverses. In addition, the show takes a lazy approach, with the main lead being able to understand and speak Korean already. Although not out of the question, this would have been interesting to have explored a little more.) Additionally, it became apparent in later episodes that the show was influenced heavily by some well-known fantasy dramas. While not out of the question nor particularly odd considering the show's genre, it did seem a little disappointing because some of the plot's more exciting and original fantasy elements were left unexplored.



The drama series mediates between fantasy, comedy and melodrama. For the most part, the series could interweave these genres reasonably well in the first- half of the series. The final part struggled a little to maintain this balance and often shifted heavily between melodrama and fantasy with little respite or middle ground in later episodes. Surprisingly, the comic relief worked quite well in this series. It was slapstick and reasonably mundane for the most part, but it will likely generate a few genuine chuckles here and there. ( These moments would often consist of the male lead struggling to understand social etiquette or being honest and direct to the point of being perceived as false by others.)


The acting was decent, if not a little wooden in parts. Kim Min Gue is known for his roles in Perfume, Backstreet Rookie and A Business Proposal and for offering one of the series's best performances. He played the role of Pontifex with a reasonably innocent edge, adding to some golden opportunities for comic relief. Another surprisingly fun performance came through Ye Ji Won's ( Thirty But Seventeen, Never Twice and Brain Works)'s performance as Im Sun-ja. It could have been easy for Ye Ji Won's performance to have become grating as the CEO of LLL Entertainment, but her humorous edge and her character's romance added to her charm.


As a character, Pontifex is odd to describe. He is sincere, honest and kindhearted, though his stubbornness and obtuseness can often lead him into trouble. One major weakness of Pontifex's character came from his backstory and beliefs. We learn a few elements of this backstory through passing references. Still, considering one of the significant and most earth-shattering revelations for his character, it seemed odd we ( as viewers) did not get to see this being explored further.



Another major part of Pontifex's character is his relationships with his newfound bandmates and his potential love interest, Kim Dal. For the most part, both connections are lighthearted and sweet. There are moments of tribulation and trouble in both, though where weaknesses lie occurs mainly as a result of writing decisions.



Adding to this, several characters in the show could have been explored a lot more onscreen, Kim Dal being one of the most apparent. Kim Dal has a fascinating backstory, teased in early episodes, though rarely questioned or extended further. It would have been interesting for Kim Dal's past to have been used more to indicate her parallel relationship with Pontifex, which was rarely explored in the series beyond its initial usage. Many of Wild Animal's bandmates were left as background characters rather than building further on the relationship between the main lead and his fellow members. Youngest member Cha Hae-Gyeol ( Shin Kyu Hyun-Cramped Love) and lead vocalist Kasy ( Choi Jae Hyun- Love with Flaws, Dalgona and Peach of Time) had lots of potential to be explored further in parts of the series. The show hinted at both characters having their fair share of character depth and backstory, but this was rarely carried out or delved into further. Fellow bandmates Choi Jeong-seo (Hong Seung-Bum- Show Me the Ghost, Judge vs Judge and My Strange Hero) and Hwang Tae-In (Shin Myung Sung- Extracurricular and Duty After School) as well as antagonist Shin Jo Woon had a lot of potential but were rarely well developed.



The execution of the series varied greatly. The first part of the series introduced an intriguing premise and an array of characters. The plot premise was established early on in the series, and it was apparent from the outset when the plot narrative would be. The second half of the series admittedly struggled to carry the storyline further. Although the series had a reasonably sweet conclusion, it was apparent the drama was rushed in this final part. Significant parts of this storyline in these last episodes were left rushed and somewhat anti-climatic, including how some of the relationships between characters and their fates played out further.




The cinematography of The Heavenly Idol was pretty decent. It was glossy and well-defined for the most part, and the CGI was decent, though the palettes and styling were lacking. The OST of the drama was pretty decent. Some of the songs were admittedly a little forgettable, but there were a few catchy songs, such as "Suddenly (문득 내게 와)" and "Suddenly You Come to Me (문득 넌 내게와)" to name just a few.




The Heavenly Idol was a reasonably engaging show. The writing could have been handled better, especially regarding characters and direction, but the comic relief and fantasy elements were pretty fun. Overall, the series was worth it during a binge-watching session.

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Aliens, Friendships and Corny Comedy: The Three Formula Ingredients of ‘ Glitch’.

Aliens,aliens, aliens: any k-drama fan will know that since ‘ My Love From The Star’ came riding on the hallyu wave, there’s been a certain infatuation in Korean popular culture with narratives focusing on supernatural love interests and smoulderingly sexy paramours from out of space. However ( as the title would suggest), ‘ Glitch’ is an odd anomaly in the equation of science-fiction in the Korean drama industry . The female lead is not in love with some hunk from the far reaches of the galaxies, nor is she an aspiring actress attempting to “make ends meet” or swept off her feet by the “ one”. Instead, viewers are made to question one major thing; is the little green man that the heroine begins to see in dreams real, or is she finally losing her mind, and how can an old friend from the past help with her boyfriend’s disappearance ?

Written by Jin Hansae ( ‘ Extracurricular’) and directed by Roh Deok ( ‘ Very Ordinary Couple’), ‘ Glitch’ tells the story of mundane office-worker Hong Jihyo ( Vincenzo’s star Jeon Yeo-been). Thirty years- old and still living at home with her parents, Jihyo is used to taking part of her daily drudgery at the office. However, Jihyo has a secret: after her boyfriend Lee Siguk (Lee Dong-hwi)’s disappearance, she has been receiving surreal visions and dreams of a small green alien.

Unsure of whether she is losing her mind or onto a possible lead, Jihyo enlists the help of old school friend Hong Bora (Nana), a hostess for an online show about outlandish conspiracy theories about aliens. Bora agrees to helping Jihyo as they attempt to find out answers to Siguk’s mysterious disappearance.

As proven with the chosen director and writer, ‘ Glitch’ is a show which aims high with its concept and ideas: its not afraid to be unconventional with its mystery sci-fi elements, unusual female characters ( especially those who enjoy smoking and are fairly indifferent to romance) , and an odd camaraderie which comes into place between them. Nevertheless while certain elements of ‘ Glitch’ can be perceived as purposefully fun with its genre-switching or surprisingly relevant with its address ( including towards the current issue in Korea of pseudo-cults and repressed mental health), this is admittedly where one of the show’s flaws can often be underpinned: the issue of the drama’s presentation as a comedy.

It shouldn’t come as a surprise that for a show about crackpot conspiracies and little green men in visions that comedy does play out a lot in the show. Naturally, it would be wrong to try and make out that for a show where this is highly relied upon, that it’s unwatchable or overly bad. ‘ Glitch’ is fairly quirky and witty with its style of comedy; things falling off walls, slapstick moments and bon mots exchanged between characters ( especially in the UFO enthusiasts club) . Fun at times but certainly variable for individuals also. However, the comic relief also brings about the issue of being heavily relied upon in large chunks of the narrative even when it was not always necessary or required. Although this issue will be explained further by tying into the problem of pacing for the show, ‘ Glitch’ struggled to get its feet off the ground in early episodes. The running theme of craziness vs. reality is a concept that has been tackled a lot in tv shows, but writer Jin Hansae almost seemed to be caught in a slight rut with how to lift this further by propelling events or exploring characters early on. Indeed, while there were many interesting plot points and characters ( including with regards to relationships and past trauma), attempts to enforce laughs in episodes often led to the major moments of suspense and tension feeling somewhat undermined and dissipated at times.

Nevertheless, it is hard not to talk about the show without bringing up the main cast. As mentioned previously, Vincenzo breakout star Jeon Yeo-been plays the main role as heroine Hong Jihyo. Jeon’s performance is fairly good. Although the actress admittedly feel a little enforced with her line deliverances ( although often as a result of her written dialogue), she did add a surprisingly likeable charm to Jihyo which made her character who you can grow to like in the frame of the narrative. ( Even if her character wasn’t always given the same opportunities to grow and develop also,)

One of the surprising stars of the series was Nana as Hong Bora; eccentric, somewhat over-the-top yet surprisingly sincere, there was something oddly captivating about Bora which made her a likeable character against all odds. She certainly had her grating moments as a character at times, but Nana really helped to embody an extra sweetness which will likely melt your heart .

Ryu Kyung-soo delivered a fairly consistent performance as Kim Byung-jo; a character well-rounded in his intentions but slightly less memorable in comparison to the dominating presence of the female leads. ( Especially with regards to his unrequited feelings for the heroine.)

As mentioned previously, ‘ Glitch’ heavily relies upon the essence of slow-pacing. This isn’t always necessarily a bad thing per say as it did allow for opportunities for suspense to build and for numerous questions and intrigue to build in the viewer’s mind. ( Including the notion about the two female leads’ broken friendship, the manifestation of aliens and the actual, true fate of Lee Siguk.) Nevertheless while slow pacing can be a blessing for a series, it does admittedly have its foibles; especially when it boils down to the issue of keep viewers hooked. A noticeable problem that has arisen a lot with ‘ Glitch’ comes through the dilemma of the series failing to really get going in the first few episodes or picking up the pace in certain scenes to enliven the elements of suspense and tension to their fullest. In particular, where major plot moments could’ve done with an element of quick-paced deliverance or shock value, was sometimes largely absent from the series. ( Especially with regards to the ending.)

The aesthetics of ‘ Glitch’ are surprisingly tactful. Director Roh Deok seemed to have a keen eye for engraving the show’s inspiration from naughties sci-fi classics. Through flashbacks to the era, warm and effervescent neons and hazy urban scales with a surprisingly familiar warmth (that starkly contrasts the cold and brutalist settings of sci-fi tales), ‘ Glitch’ is surprisingly stylish with its artistic approach. ‘ Glitch’’s OST wasn’t entirely bad per say but it was hard to really pinpoint any particularly mesmerising or standout tracks either.

‘ Glitch’ was an odd drama on reflection: it was evident that attempting to appeal to a wide audience of fans ( from sci-fi, comedy and mystery) but it often felt as though it struck a lot of loose chords along the way. ( Especially as the comedy felt somewhat enforced in parts also; including with awkward moments and dialogue exchanges too.) Nevertheless, the series did have an interesting premise and fairly good performances by our main cast as well as some stunning aesthetics. Perhaps the one thing ‘ Glitch’ could do with on reflection would’ve been better character writing as a lot of the characters ( including the heroines) rarely felt fleshed out. However, for those looking for something entertaining on the surface level and a quick binge-watch, then ‘ Glitch’ is likely to hit the mark exactly.

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Cruising Through Nostalgia; The Retro Film That Missed A Few Gears…

There’s something about Moon Hyun Sung’s ( ‘ As One’, ‘ The King’s Case Note’) ‘ Seoul Vibe’ that held a lot of potential on paper; a group of 80’s youths caught in between the past memories of the autocratic government of South Korea, as well as the newly democratic era marked by the Olympic Games and economic growth. However , while ‘ Seoul Vibe’ possessed a certain nostalgia of 80’s fashion brands and VHS camcorders, the general progression of the narrative and car chases played out like a paler imitation of a 'Fast & Furious' franchise movie interpolated with a less gritty Scorsese action film .

‘ Seoul Vibe’ opens up inexplicably in 1988 Saudi Arabia, with ace driver Dong Wook ( Yoo Ah-In-‘ Burning’, ‘ Hellbound’) skirting around a rough desert track in his dilapidated Chevy with his videographer and younger brother Joon-Gi ( Ong Seong Wu-‘ Moment At Eighteen’ and ‘Would You Like a Cup Of Coffee?’). Returning back to Seoul, the duo reunite with their old friend and taxi driver friend Bok-nam (Lee Kyu-Hyung - ‘ Life’, ‘ Dr John’ and ‘ May It Please The Court’) , resident DJ John (Go Kyung-pyo) and Dong and Joon’s sister Yoon-hee (Park Ju-hyun), learning that their part of the city has pretty much been demolished to the ground ahead of hosting the Olympic Games. The only thing left is their father’s old auto body garage, somewhere that the group seeks refuge inside.

Enter the big nuisance of the film: Prosecutor Ahn ( Oh Jung-se). Knowing all about Joon’s illegal involvements overseas, Ahn strikes a deal with the group that he will eradicate the group’s criminal records in exchange for the crew bringing down the money laundering operation of underworld kingpin Kang In-sook (Moon So-ri).

As mentioned previously, ‘ Seoul Vibe’ possessed an edge of nostalgia that was as warm and bubbly as its neon palette schemes and Coca Cola bottle shots. However against its sweet and entertaining edge, ‘ Seoul Vibe’ struggled when it came to its execution. The comedy was variable from scene to scene and while the mindless car chases and lack of physics can be taken with a pinch of salt, the writing of the movie was a mixed bag to say the least.

It’s necessarily bad per say that ‘Seoul Vibe’ was heavily inspired by movies such as from the ‘ Fast & Furious’ franchise. However rather than interspersing the film with lively and fleshed-out characters ( aside from a few backstory mentions that rarely play a bigger role), a plot boasting unique, key and central messages against its backdrop of an ever-changing late 1980s South Korea or helping to explore the relationships and dynamics of the group to their full potential ( especially considering most of them or siblings or old friends), the film often felt somewhat cut and pasted from other works. In particular, this was shown by the formulaic events of the narrative; the setup, the big chase scenes, the final showdown and then the fairytale ending for the main characters.

The acting front of ‘ Seoul Vibe’ was fairly consistent. The chemistry between Dong-wook’s gang of old friends and misfits was decent enough but rarely did it feel awe-inspiring. There wasn’t a lot of opportunities given in the movie to actually explore these bonds or for viewers to fully understand the significance of their achievements together. One of the few spotlight performances of the movie was Park Ju-Hyun ( ‘ Extracurricular’) , who starred as the two brothers’ sweet and lively younger sister.

The OST of ‘ Seoul Vibes’ was certainly one of its few soaring prides with tracks such as “You be Illin’” from Run-DMC and " One for the Treble” by Davy DMX, helping to add to the cartoonish and easygoing vibes of ‘ Seoul Vibe’.

‘ Seoul Vibe’ is a fun and energetic action romp which is filled with a lot of lighthearted fun. However while ‘ Seoul Vibe’ was entertaining and did provide a small lens into a bygone era, the storyline felt as though it could’ve been taken from any car chasing action film. Perhaps with better execution, writing and special effects, ‘ Seoul Vibe’ could’ve been a lot more than the finished product.

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