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That’s not my point. It’s not about preferences or romance—this happens across all genres. Even widely praised shows tend to have relatively low scores, so the ratings don’t always reflect the overall reception. That’s why, especially with Korean dramas, I don’t pay too much attention to the ratings anymore and just check them out for myself.

I’m not sure if it’s just me, but lately, Korean drama ratings seem to be coming in lower than expected, regardless of genre or cast. They often come out low—even for dramas that are widely praised. Of course, that might just be my impression, but the ratings don’t always seem to reflect the overall reception.

I think it’s less about him struggling to let go and more about Weather Man as a metaphor. The show keeps linking the state of the world to whether there’s “weather” or not — a world without movement or response — and it reinforces that idea through how it defines what it means for the world to be “alive.”

That feels closely tied to Dong-man’s life, where nothing ever comes back to him — no response, no acknowledgment. So it’s not just a script he’s holding onto, but something that reflects his whole experience.

I think the timing might be off here. We Are All Trying Here airs around 10:30 PM KST, not 8:40. So it actually comes on after Perfect Crown, not before.

end game.

If criticism is allowed, disagreement should be too — that’s how discussion works.

And maybe that’s also why the title is We Are All Trying Here — because it’s not just about the male lead, but about everyone in that group slowly trying to grow and move forward in their own imperfect ways.

I don’t think it’s as simple as the male lead being “bad” or his friends being “mean.” It feels more like a group of people tied together by a long, unresolved history where boundaries were never clearly set.

He lacks awareness and crosses lines, while they tolerate him out of history and obligation rather than genuine comfort.


It’s not really a “just cut him off” situation — it’s more like a dysfunctional dynamic held together by years of shared experience, where no one really knows how to step out cleanly anymore.

I could’ve sworn it was around 8.4 about two hours ago, but it suddenly dropped.

Really liked your take on Goblin, especially how you described its emotional tone and character dynamics — that stood out to me too.

If that kind of emotional, character-driven storytelling is what you enjoyed most, you might like It’s Okay to Not Be Okay. It’s Okay, That’s Love might also work for you, though it’s a bit older in style.

It’s about people in the film industry struggling with envy, failure, and not feeling good enough, and how that affects their relationships and lives.

It’s more of a psychological, character-driven slice-of-life than a plot-heavy drama, focused on inner conflict. There might be some romance, but it doesn’t seem like the main focus.

I don’t agree.

I enjoyed the drama overall too, but I did feel like something was missing — and I think this might be exactly what it was. It also feels like they might end up getting married someday 😊

It’s easy to mistake the loudest voices online for the majority, but that’s rarely the case.

Great review—really enjoyed reading it! You captured the characters and their growth perfectly, especially Gunwoo and Woojin. I totally agree that Season 2 felt much tighter and more satisfying.

I wouldn’t say ‘a lot’. There are a few well-known cases like Moon Lovers, Mr. Queen, or Family by Choice, but they’re relatively rare. Most K-dramas are actually based on webtoons or original scripts.
If there are more examples, I’d be curious to hear them.

If you're calling it ‘westernized’ based on the execution, most genre shows these days follow pretty similar global conventions.
So within that same genre, what criteria would you use to distinguish a show that isn’t ‘westernized’? Any examples?
Or would you say most of them fall into that category?

96.

I might be wrong, but I saw him more as an intermediary rather than a subordinate. He even says at the beginning that whenever he’s asked to handle something, the money just falls into his lap.

I wasn’t expecting much, but after the first episode of season 2, it turned out way better than I thought—and honestly, it felt even more immersive than season 1.