A Decadent Rom-Com…

Reminiscent of the bygone era of early 2000s Shoujo ( aimed traditionally at young girls) and Josei ( typically targeted at an audience demographic of older teens and young women) manga setups as well as being based upon the eponymous manga , ‘Tsumari Suki tte iitai n Dakedo’ ( alternatively known as ‘ つまり好きって言いたいんだけど’, or ‘ I Mean, I Want To Say I Like It’ ) tells the seemingly “ unusual” love story between Saejima Chitose ( Ohara Sakurako) and Fujishiro Sena ( Sakurai Kaito). A former teacher-turned manager at a small entertainment company, Chitose’s new position turns into a hellish experience when she’s assigned to be manager to Fujishiro Sena; a haughty playboy actor who also happens to be her childhood bully.

However with a streak of reimbursed and outdated cliches and tropes being inserted into a seemingly decent love story, this does leave Japanese-drama enthusiasts with one burning question ; “ Is ‘Tsumari Suki tte iitai n Dakedo’ ‘s drama-adaptation poorly executed for a modern audience or is it actually worth watching?”

Perhaps one of the greatest things to clear up about ‘ Tsumari Suki tte iitai n Dakedo’ is that it isn’t an inherently over-stimulating drama for your brain . Of course this isn’t to drag down the series entirely based upon this setup alone. “ Fluff” dramas can act as an ideal form of escapism for viewers always from the bogged-down details of reality and fill viewers’ with an uplifting aftertaste. However it should be noted that whilst ‘ Tsumari Suki tte iitai n Dakedo’ often crossed over into more melodramatic plot moments, the drama often reached a cataclysmic standstill upon actually trying to execute these storyline scenes onscreen- generic cliches and setups propping up plot where character-driven moments should’ve been became more prominent even after the first episode , and characters who were initially introduced with strong plot motivation and drive soon felt shoehorned into scenarios which made little coherent sense in regards to their character archetypes overall.

The epitome of this poorly-executed screenwriting was particularly present within main female lead Saejima Chitose. By default Chitose had arguably all the potentially good traits of a well-written character; headstrong with her values (due to the incident in her past with the main lead ), possessing a heart of gold and presenting idiosyncratic mannerisms and qualities which immediately attract people towards her. Yet rather than seeing opportunities for Chitose to become a definitive presence in the series and power through her own personal struggles , the female lead’s greatest downfall was that she rarely had definitive character drive.( Not least of all her initial causes for her jobs, her experiences in relationships- romantic and platonic- in later life and whether her experiences from her early childhood had a traumatic or knock-on effect with these relationships were never explored.) ‘ Tsumari Suki tte iitai n Dakedo’ often seemed to portray Chitose somewhere between the scapegoat for getting into misunderstandings upon “ her behalf” as well as a carte blanche female lead; happily “ forgiving ” her childhood tormentor Fujishiro Sena ( without a coherent reason aside from enforcing their questionable romantic relationship ). However in between staidly keeping her mouth shut or blowing up in order to keep the plot “ tense”, Chitose’s experiences were often downgraded towards merely being a “ Mc Guffin”; a wasted opportunity to explore her ambivalent feelings and sentience in-depth as her character’s persona was reduced to the equivalent of a doormat for other characters to walk upon and maltreat.

Many overt golden opportunities for character growth and relationships were often tossed aside in ‘ Tsumari Suki tte iitai n Dakedo’ and none so was this more for the onscreen role and presence of main male lead Fujishiro Sena.

As the childhood “tormentor” of Chitose and now an aspiring actor with an aloof and haughty attitude, Sena was evidently never supposed to be viewed by audiences initially as a “ likeable” main lead. Yet where dramatic irony became prominent was that when it attempted to “ redeem” its “ unlikeable” characters for viewers, ‘ Tsumari Suki tte iitai n Dakedo’ generated more indecisive feelings amongst its audience demographic. Fujishiro Sena was always supposed to play the role of Chitose’s foil throughout the series; whilst Chitose is sweet and slightly naive , Fujishiro is slightly jaded and arrogant. Yet when the open opportunity arose to present Fujishiro in more “ heroic” light the series attempted to go down the route of Fujishiro Sena seemingly been “ pitied” and “misunderstood” by others. ( Without truly delving into any true raison d’êtres for Fujishiro wanting to become an actor or hints into how others perceived him through his past relationships - aside from some of his lovers.) Naturally whilst this did present some differing ideologies between our main characters ( which were never explored also), the drama seemed unaware of its initial presentation of Fujishiro Sena often as a manipulative and downgrading bully even in Chitose’s adult-life - instead attempting to write off these moments as merely “ comical” rather than allowing these to remain an open topic of discussion and truly allow Fujishiro Sena to redeem himself not through the lens of ineffective “ pity”, but maturity and reconciliation .

Consequently the onscreen “ romantic” relationship between Chitose and Fujishiro Sena remained openly crushed under the weight of shoehorning both main leads into an enforced setup where neither lead could truly free themselves from the heavy burden of their shared past, as well as maturely and openly talk about their problems. ( Aside from then permitting an ensue of “ romantic cliches”, misunderstandings and “ plot tension” through heated arguments- leading to an leading to an awkwardly uncomfortable romantic onscreen relationship which presented neither comfort and joy for viewers, or well-written chemistry between our leads.
)Additionally there’s also the side characters of the series; generically fading into the background after their initial introduction in most episodes, and only truly remaining present during a moment of “ tension” or “ plot drive” in order to attempt to keep the plot engaging with audiences.

Another issue which had admittedly divided audiences surrounds the chosen-cast; some may love main leads
Sakurako and Sakurai Koto‘s nearly-farcical onscreen roles and perceive this as irony , whilst some may be turned-off by poor dialogue exchanges and over-the-top acting leading to some choppy scenes for viewers to attempt to get through. Then there’s the cinematography and chosen OST of the series . Rather than using interwoven mise en-scènes in order to explore the emotions and world-building of ‘ Tsumari Suki tte iitai n Dakedo’, the drama was staidly placed on a pedal stool of insipid and forgettable songs alongside long-shot and singular camera shots which did little to truly promote viewers’ intrigue.

So what’s left to say about ‘ Tsumari Suki tte iitai n Dakedo’ and is it actually worth watching ? ‘ Tsumari Suki tte iitai n Dakedo’ was undeniably lighthearted. Whilst it attempted to offer an ultimatum of “ fluff” and melodrama throughout the story, it often found itself struggle to to subvert itself from unoriginal writing tropes and pitfalls and consequently characters often felt misplaced against scenarios and scenes . The ending was enough to bring events to a close but lacking in surprise by the delivered result.Overall ‘ Tsumari Suki tte iitai n Dakedo’ was not an inherently terrible with a sweet premise and concept which is easy enough to binge-watch . However the drama rarely facilitated golden opportunities to escaping its initial status quo reputation by lacklustre writing decisions and directing techniques leaving the drama with forgettable moments and many loose ends.

Leia Mais

The Road To Happiness Isn’t Always Easily..

Coming across the comment section for “ Hello, God” (2006) it strikes me as surprising that this will be the second review, and the first English-language review posted on this section. Nevertheless it’s important to try to give an honest review for any drama ( regardless of its popularity of time of production) , including “ Hello God” (2006) .

Before we begin with noting the actual critical appraise and inconsistencies of the drama, perhaps it is important to note that “ Hello, God” (2006) is often swept under the rug by a lot of drama fans in favour for more popular contemporary productions from around this period such as “Stairway To Heaven”(2003) and “Hello, My Teacher “(2005) which notably gathers more prolific actors and mainstream appraise by audiences both in South- Korea and amongst the drama-watcher community .

Yet against all odds, “ Hello, God” (2006) is surprisingly a good example of a forward-thinking and philosophical concept loosely based upon Daniel Keyes’ novel “ Flowers For Algernon” ( later adapted into a Japanese 2015 version also called “ Flowers For Algernon” ) , retrospectively trapped in a specific mid- 2000s time warp of dated camera quality, outfits as well as notable romantic cliches .

With evident localisation in South-Korea by screenwriter Kang Eun Kyung ( “Dr. Romantic”, “Where The Stars Land”), “ Hello God” is fairly similar to Keyes’ novel, centralising upon a kind-hearted young man named Ha Ru ( Yoo Geon) who has an intellectual disability and decides to go through a pseudoscientific surgery in order to become “ smarter”.

Yet for a show which attempted to intrinsically focus upon the philosophical questions of morality, “ Hello, God” was often outweighed by its own cliche focus of the “ love triangle” and romantic pairings, particularly between Ha-Ru and his benign feelings for the the “fraud”, petty criminal and love interest Eun Hye ( Kim Ok Bin) , who in turn harboured feelings for the head surgeon of Ha-Ru’s operation Park Dong Jae ( Lee Jong Hyuk).

Although, there was nothing intrinsically wrong with having a romantic love interest for our main lead ( in order to add something extra to the storyline as well), Eun Kyung seemed to overly outweigh the romantic and melodrama cliches, rather than balance this in the show with the more intrinsic philosophical questions which arose throughout Ha-Ru’s journey as an individual.

Arguably “ Hello,God” did have some surprisingly progressive characterisation amongst our main characters - Ha-Ru often acts out emotionally upon his feelings, whilst Eun Hye gradually begins to progress from a self-centred love interest to an altruistic heroine over the course of the series. The acting in the show could be a mixed bag amongst the cliche setups of our main characters,however, Kim Ok Bin, Yoo Geon and Lee Jong Hyuk did help to add charisma and charm to their roles for viewers .

On the other hand , this does not disregard the fact that for a drama with an intriguing and fairly original premise from its source material, the storyline was too heavily reliant upon nonsensical cliches . Nevertheless, whilst there are still some bones to pick with the overall plot inconsistencies brought forth in the ending ( not least the lack of explanation towards the pseudoscience of the series), the delivered finale was surprisingly bittersweet; an appropriate ending , considering the overall storyline of the series.

So, what’s left to really say about “ Hello, God”? Is it a drama which should continue to be buried away by drama watchers , or is it actually worth watching?

Whilst undeniably dated retrospectively with wardrobe attires, format and a mediocre OST, “ Hello, God” has some surprisingly progressive factors for a mid 2000s Korean-drama with a thought-provoking premise, characters who are written as individuals and a fairly well-rounded female lead who doesn’t comply to the typical stock “ generic girl -next- door” heroine popular in contemporary dramas of the time . On the other hand, “ Hello, God” is heavily outweighed by romantic cliches, rather than ethical, moral and philosophical questions (which were naturally hanging over the concepts of the show), as well as the ridiculous pseudoscientific elements (which weren’t explained by the medical professional Dong-Jae at all in the drama). “ Hello,God” is not a terrible show if you’re bored and want something to quickly binge-watch, however, it certainly was not as thought-provoking as it should have been either.

Leia Mais

A Bloodthirsty Journey Down The Rabbit Hole...

“Alice In Borderland” is one of this shows which (judging from what you’ve probably read by previous reviews), attracts typically three main audience types; diehard fans of the original manga, J-drama fans of either particular cast members and a minority of “ casual” drama watchers who have either stumbled upon the drama during a search or have just been recommended it. For those in the former category, it’s fair to say the biggest question which should be raised is if the first season of Alice In Borderland is actually worth watching, or if it is simply a waste of time.

As you can probably guess from the mention of this drama being a “ first season”, it’s wrong to entirely claim that some of the show’s flaws won’t be fixed in later episodes , however, there are a couple of notable reoccurring themes , inconsistencies and problems which should be mentioned to anyone considering watching this first season.As an idea the show is both intriguing, disturbing and undeniably quite ingenious throughout some of its storyline . From “ Liar- Game” and “ Battle- Royale” -style puzzles and fights , plot twists to the notable name references from Lewis Carroll’s surrealistic classic “ Alice In Wonderland” ( Arisu of course being “ Alice” as our protagonist ), there is of course a notable array of reoccurring and intriguing characters introduced into the show who all play intriguing roles . In particular these include; a mysterious girl and mountain climber called Usagi , the taciturn and conniving Shuntarō Chishiya ( Nijiro Muramaki) and his accomplice Hikari Kuina ( Aya Asahina ) as well as strong militant fighter Aguni Morizono ( Sho Aoyagi).


It should be said , however, that the acting in the show is bit of a mixed-bag .Whilst Kento Yamazaki ( Todome No Kiss and Death Note-2015) is undeniably a fairly good actor, there’s no sugarcoating that his performance as our main protagonist Arisu was a little lacklustre to say the least , with several scenes throughout episodes of fairly generic line deliverance . Similarly whilst Tao Tsuchiya ( Mare, Orange) wasn’t bad as our female protagonist Usagi, her performance was a little questionable in consideration to her fame as a fairly renowned actress. Perhaps the one role which was certainly well-performed in the show and must be given some praise to is Nijiro Muramaki’s (Anohana; The Flower We Saw That Day-2015 , and The Isle of Dogs) roel as the intelligent, mysterious and conniving player Shuntarō Chishiya ; a character who against all odds is more likeable than the male lead.

By all default Arisu had all the right traits of being both a likeable and deep male lead; a traumatic past with his family, experiencing loss and loneliness, intellectual and undeniably socially-awkward at times as well gave boundless opportunities for character growth . Sadly, the biggest issue with Arisu’s characterisation was that against all the action and bloodthirsty moments of the series, there was little time provided for us as viewers to either reflect or see Arisu being able to contemplate these moments both through his interactions with other characters and through his own doubts as well. Whilst it can be argued that Arisu’s poor character depth was a it consequence of the show “ running out of time” than anything else, there is still the notable presence of minor well-written characters such as Kuina and Aguni who actually have quite good character depth, interesting pasts and are fairly three-dimensional in comparison.

This resulted in Arisu often coming off as a notable plot device in the series rather than an actual character; impassive to certain events and only really having the “ driven- angst” when it was necessary for a plot event rather than allowing Arisu to be a likeable male lead.

The ending was undeniably open. This is naturally because the show will receive a second season and allows the plot to extend outwards, however, there were several notable flaws in this first season alone from acting abilities, a fairly lacklustre OST and even our main protagonist’s depth which will probably need to be smoothed out or at least focused upon going forwards. Overall, the first season of Alice In Wonderland was far from a masterpiece ( in addition to some questionable CGI as well) , however, nonetheless it was a fairly thrilling journey down the rabbit hole into a bloodthirsty Wonderland ; undeniably ridiculous at times, but surprisingly a fun ride.

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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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Strong Woman Do Bong Soon is a hilarious rom-com, with an undertone of gender issues. The show has the usual k-drama tropes; the “rich and good looking” chaebol heir, his antagonistic family, the sassy female lead, the love triangle, and the “boy gets the girl story” after overcoming difficulties and obstacles. However, surprisingly “ Strong Woman Bong Soon” was able to deliver a fairly impactful storyline and sociocultural critiques about issues in South-Korean society also.

Do Bong Soon (Park Bo Young) is a woman born with superhuman strength. A hereditary ability running through the matriarch line of her family, it can only be used for good or she can lose her strength forever like her mother ( Shim Hye Jin) did. Despite her abilities, Bong Soon adores her father ( Yoo Jae Myung) who is a gentle warm character, and her twin brother, Do Bong Ki ( Ahn Woo Yeon) , who works as a doctor in a hospital. However, our heroine often struggles to tie down a job as well as desperately yearning to be a game developer .

There are two other men in her life. One is her childhood friend, Guk Doo , a stern police detective played by Ji Soo who has been her long-held secret crush since their teen years . Also she hides her strength around him, since he claims to have a soft spot for tiny, fragile women, just like Bong Soo seems to be at first glance. The other man who enters later into her life is Ahn Min Hyuk (Park Hyung Sik) the baby-faced CEO of AINSOFTware, a gaming company. One day he witnesses Bong Soon's superpowers against a group of gangsters, and he hires her to be his personal bodyguard to protect him against an anonymous caller, who has been making death threats against him. At the same time a serial kidnapper starts taking tiny, fragile women off the streets as Bong Soon soon finds herself finally using her powers for good by trying to hunt down this mysterious criminal .


Written by screenwriter Baek Mi Kyung, “ Strong Woman Do Bong Soon” is a fairly mixed blend of slapstick comedy, old fashioned romance ( with various successful and questionable effects) and a refreshing look at gender roles and sexism . The series does not sugarcoat delivering criticism towards chauvinism associated with the South- Korean Patriarchy: the police office, the youth gang, the gangster mob in the local vicinity , and the patriarch of the chaebol's family, are all absurdly dysfunctional and over-the-top to highlight notable critiques of gender roles within South-Korean society .

Park Bo Young was undeniably a delight as the petite super-strong female lead with line deliverances that were pure comical gold in a similar manner to costar Park Hyung Sik. As a character, Bong Soon was fairly intriguing by challenging traditional gender stereotypes, however, she wasn’t inherently a perfectly-written character either due to often being a little boorish and fractious at times ( especially with her treatment surrounding Ahn Min Hyuk early on in the series) which may annoy viewers in the beginning. However, Bong Soon does grow as a character by learning to mature , respectful herself as an individual as well as develop an endearing romantic relationship with Min Hyuk.

Similarly, Ahn Min Hyuk isn’t without his faults either. He is often slightly naive, sarcastic and equally fractious as Bong Soon. Nevertheless, Min Hyuk is given an equivocal chance like Bong Soon to grow as a character from seemingly shallow at times, towards having a more complicated familial scenario and circumstances.

The side characters can be a bit of a mixed-bag especially in regards to the second male lead and Bong Soon’s mother. Admittedly, Guk Doo does become inherently more respectful towards Bong Soon as the series progresses, however, his early treatment of the main heroine by putting her down often from her physical appearance and emotionally flaring up in her face at times did become slightly irksome. In a similar manner to Guk Doo, Bong Soon’s mother was equally frustrating at times by her problematic treatment towards her own daughter. Whilst the circumstances were suggested and put forwards to some extent for viewers , her overall relationship development with her own daughter seemed slightly lacklustre.

In addition to this, it is arguable that the ending was a little anticlimactic as well as finally putting a stop to the seemingly “ unstoppable killer” did feel a little disappointing . Nevertheless, “ Strong Woman Do Bong Soon” may not have been flawless within its delivered problems of characterisation and comedy ( at times), but it was inherently a lighthearted fantasy, romance tale with intriguing characters, a fairly well-written heroine and romantic pairing as well as prominent messages and critiques towards gender in South-Korean society.

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‘ Dear Ex’; A Surprisingly Heartwarming Film…

Directed and cowritten by Mag Hsu and Chih-Yen Hsu as well as screenwriter Lu Shih Yuan, ‘ Dear Ex’ is a movie which will likely not appeal to everyone with its soap-opera style cliches and setups.

However despite some notable flaws and inconsistencies which could be found in ‘ Dear Ex’, the prominent messaging placed upon real-life issues such as homophobia , love, intolerance, teen-angst and familial relationships, arguably presented a somewhat niche plot line with an air of gritty complexity and heartfelt moments along the way.

After his father Zhengyuan (Spark Chen) dies of cancer, it is revealed that the beneficiary of the will is not Cheng-xi ( Joseph Huang) but Jay (Roy Chu), his father’s gay lover. Embarrassed and angered, Cheng-xi’s mother Liu Sanlian (Ying-Xuan Hseih), desperately tries to reclaim her late husband’s money, in order to afford her son’s tuition and the family’s cost of living — a process that alternately entails coercion and attempted blackmail.

Yet Cheng-xi, fed up of his mother’s manipulation , opts to live with free-spirited Jay instead. As Cheng-Xi and Jay become surprisingly close during their cohabitation, Cheng- Xi soon begins to question his loyalties towards his mother and his previous beliefs .

Directors Chih-Yen Hsu and Mag Hsu present ‘ Dear Ex’ with a melodrama edge. Nevertheless during quintessential moments, the directors aren’t afraid to place emphasis upon the narrative’s complex edges; the deeply fraught family history, Sanlian’s feelings of fury and rage by her husband’s decisions and affair, as well as the tragic decline of Zhengyuan’s health and spirit. In particular Sanlian’s change from the niche archetype of the overbearing mother and wife during her initial introduction, allowed opportunities for the directors in order to flesh-out her character as the storyline progressed.

Despite thematic themes hinting that ‘ Dear Ex’ should be a coming of age movie for Cheng-Xi, Chih-Yen Hsu and Mag Hsu placed greater emphasis upon tragic and ill-fated romances and immense pathos for its array of onscreen characters with equal sympathy. However despite Taiwan’s liberal stance upon same-sex marriage and LGBT rights, the movie still highlighted the presiding underbelly of prejudice within Taiwanese culture and society- homophobia and gay slurs often arising during key moments in order to expose this. In addition to this, ‘ Dear Ex’ also allowed some golden-opportunities for character development. One of the most intriguing and climatic in the movie’s narrative surrounding the rocky relationship between Jay and Sanlian; merging from contempt, to animosity before developing into mutual sympathy.

However whilst the non-linear narrative gave a smoothly edited storyline, ‘ Dear Ex’ could often lean into greater problems of incoherent plot holes. Despite some desperate attempts in order to wrap up certain key plot points, viewers were often left in the dark towards reasons and drive within the narrative. ( In particular the decision for Jay to become the main beneficiary, excluding Cheng-Xi entirely.)

The acting performances of the series are solid. Admittedly there were certain line deliverances which could feel somewhat enforced or lacking tact, the main cast were decent enough onscreen. Child actor Joseph Huang and actor Roy Chiu were particularly dynamic onscreen ; offering surprisingly emotional yet dynamic performances throughout the movie.

The pacing of the movie is slow in parts. Naturally it is arguable that certain scenes had to be slowed down in order to focus and build upon characters. On the other hand whilst the storyline did offer some expedited storyline moments, the inconsistent balance could sometimes limit opportunities in order to patch up weaker moments of dialogue, plot holes and character writing also.

Aside from integrating an array of flashbacks into the narrative, it is undeniable that under the directing reigns of Chih-Yen Hsu and Mag Hsu, ‘ Dear Ex’ is visually aesthetic . The emphasis upon vivid palette schemes are brought to life through emerald, scarlet and ruby red tones- helping to bring to life the emotional scope of the movie’s characters. In particular the usage of childish doodles surrounding Cheng Xi, amateurishly superimposed in parts, undeniably helped to captivate the medium for Cheng Xi’s transition into adulthood alongside his ideologies throughout the course of the film. The OST was notably subtle throughout its usage in the background of scenes; a little insipid in parts, but synchronic nonetheless.

Overall ‘ Dear Ex’ is admittedly a niche setup with seemingly archetypical characters and relationships. On the other hand whilst the movie could often fall into the pitfall of barely fleshed-out narrative points, Chih-Yen Hsu and Mag Hsu’s ‘ Dear Ex’ was a surprisingly exposure into the mindsets of its intriguing array of characters, as well as a societal critique into the clashing traditions of new and old in Taiwan. ‘ Dear Ex’ is undeniably flawed in parts, but is surprisingly heartfelt at times also.

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The Detonation Of The Rom-Com…

Takashi Miike has long been known for his blood-soaked and violent movies through his legacy left upon Japanese cinema. Therefore it should come as no surprise that his directed psychological-horror ‘ Audition’ (1999) has led to an onslaught of confusion, surprise, intrigue and horror amongst anyone who has watched Miike’s surrealist film.

Based on the novel by Japanese writer Ryû Murakami, ‘ Audition’ ‘s seeming basic plot-drive could easily be mistaken by the naked eye as a rom-com. Ryo Ishibashi played Aoyama; the middle-aged father and widower who is raising his teenage son Shigehiko (Tetsu Sawaki). Worried about his father Shigehiko suggests that Aoyama should move on and find someone new.

Aoyama soon urged the help from his filmmaking partner Yoshikawa (Jun Kunimara) to film a fake audition for a melodrama as a way of looking for a young and attractive woman. Soon Aoyama seems to have found exactly who he is looking for in Yamazaki Asami ( Shiina Eihi); an ethereally beautiful young woman who is well-mannered and charismatic . However Asami’s perfection soon begins to slip through the cracks as Aoyama stumbles upon darker truths surrounding his seemingly " perfect woman" and her past.

Takashi Miike’s film is tainted with its equilibrated infliction of violence and gore. However unlike many of the director’s previous works which are often soaked in crimson red long before the rolling credits, ‘ Audition’ is a movie which is poignantly self-conscious about its insidious undertones.The notable emotional emphasis upon Shigehiko and Aoyama’s objectification of women early on in ‘ Audition’ has arguably led to a lot of interpretations and mixed-criticism towards Miike’s great contrast between the first-part and second-half of the movie.

Arguably Miike is purposeful within his initial setup of the first part of Audition in equal rendition to a rom-com with the setup and Kunimara’s awkward and flustered micro-expressions around Asami.

Nevertheless even early early on in Miike’s tedious first-part there are hints towards something not being quite right with Aoyama’s dream girl; sitting alone on the floor in an empty apartment, staring at the phone on the ground and all but disappearing after Asami and Aoyama spend the night together. Miike’s clear emphasis upon the expected subservience of women presented a clear critique upon the expectations of Japanese society twisted and morphed into a monstrous reality as the events progress.

However whilst the first-half of ‘Audition’ can arguably be excused as Miike’s presented innocuous romantic fantasy which takes a darker turn in the second half there is an undeniable problem with Miike’s pacing; it is incredibly slow-burn and in parts tedious . Naturally the events are supposed to be gradual but scenes in the first part could often feel dragged out. Overstretched dialogue exchanges could often disengage audiences in parts which whilst necessary often lacked a great ability to coincide with impactful shock and horror amongst audiences by hooking them in the first-part.

However patience is often said to be a virtue. The second-half of ‘Audition’ acts as an enriched reflection of character study where personal traumas and moral, sexual and social boundaries began to blur and frustrations towards gender limitations became more prominent. Aoyama’s fear against women became a reality through Asami became a reality as a sardonic and satirical tone veiled the movie with a boundary where it was hard to truly root for anyone without having to acknowledge the ugly head of the character’s flaws. Reflected in the gradually illusive cinematography techniques which became gradually more vivid throughout this part Miike’s dark irony was perfectly captured in the final part with a shocking twist to its events.

‘Audition’ is a movie which is not for the faint hearted. It is slow-paced and tedious in its initial exposition and whilst failing to arguably wrap up some key points, it is still a movie which unlike many modern horror films understood the impact of suspense and building fear. The cast were were brilliant within their roles and Miike’s emphasis upon themes of gender and limitations disturbingly explode in clear vision for the delivered conclusion of the movie.

Leia Mais

An Unimaginative Gangster Movie…

South-Korean director and screenwriter John H. Lee’s ‘ A Cut Runs Deep’ (1999) is a movie which is often unspoken about and hidden under the radar amongst South-Korean movie enthusiasts. Yet whilst Lee’s visually streamlined movie presented some intriguing themes within its notable Asian-American cast and certain ultra-violent scenes, ‘ A Cut Runs Deep’ could often fall victim to its cliche-ridden script.

The storyline is set in New York and focuses on half-Korean Ben (Alex Manning); the main character and narrator of the film. Ben works as a delivery boy at a dingy Chinese restaurant which he also resides in and during a particular delivery he ends up encountering a suave and introverted young man called JD (David Lee McInnis). There’s an oddly dangerous air surrounding JD which Ben can’t quite put his finger on but after taking a shining to the young male lead, JD ends up imitating Ben into his gang and leads his down a violent and destructive path.

Admittedly whilst the dialogue could sometimes feel slightly lacking during quintessential moments arguably one of the greatest standouts of the film came through main leads’ Alex Manning and David Lee McInnis’ onscreen performances- adding a touch of brutal humanity even during more generic moments of the series.

However where an ultimate downfall lay with ‘ A Cut Runs Deep’ was that Lee didn’t seem to be trying to add his own personal touch to otherwise overused genre of film . Naturally its evident that there were socio-commentaries in the storyline which were brushed over from economic and social injustice in Asian communities, prejudice and racism which can occur also for biracial individuals. However in a film where our main lead is stuck on the edge between his biracial identity and a seeming ticket of freedom out of his deadbeat job, Ben’s own opinions and character drive rarely seemed to reflect more profound reasoning for the existence of these themes in the movie with Lee executing these commentaries into more effect .

Naturally this resulted in the seeming chronicle transition between Ben being an “ innocent child” and a “ gangster” rarely feeling more impactful for viewers due to lacking scenes of being able to see the main leads’ development in more depth. Consequently Lee’s heavy reliance upon an an abundance of snipped and inauthentic “ gangsta”-style dialogue and poorly-developed stock characters ( “ the prostitute girlfriend” and the “ intimidating loose-cannon boss”) often create awkward and forgettable scenes for viewers. A low-budget admittedly did not necessarily give the drama a great start with filming advancement, but the dichotomy between imaginative and generic filming techniques by Lee became evident throughout the film, with an ending which didn’t seem to truly deliver its intended greater impact also.

Overall whilst not an unwatchable film with decent performances by our main leads, social commentaries towards issues which are still prevalent today and certainly should be given some praise amongst attempting to subvert certain generic stereotypes and cliches of Asian-gangster flicks of its time, Lee’s ‘ A Cut Runs Deep’ is a fairly generic gangster flick which lacks elements of ingenuity and memorability also.

Leia Mais

Entering Twilight Zone in Shinjuku ; The Peculiar Humanity Behind “Midnight Diner”...

Alternatively known in Japanese as “ Shinya Sokudou”, the drama first graced the small screen with screenwriter Mukai Kousuke behind the works of one of the most successful Japanese dramas of all time with numerous seasons and adaptations in other countries ( including South-Korea, China and Taiwan).

Notably everything about “ Midnight Diner” ‘s storyline should not appear inherently gripping for audiences. Whilst the “ omnibus” formula can be intriguing, there’s the evident problem which would seem to happen with “ Midnight Diner” at first by falling into a cataclysmic rabbit hole of a formulaic structure around the mysterious owner “ Master” ( Kobayashi Kaoru) accounting his interaction with a customer for the audience with little sense of breaking routine or new ground .

Yet against all odds, Mukai Kousuke presents something greatly attractive about the reoccurring and new characters within the series through a mixture of the mundane and magic realism, without crossing into the overtly supernatural or horror genre.

Whilst some individuals such as the three office women who Master dubs as the “ Ochazuke Sisters” are played for humorous gags in a similar manner to the surreal characters of the series such as the stripper
Matsushima Marilyn ( Ando Tamae) and the pornstar ( Kazama Toru), there was still something fundamentally human behind these characters rather than their labels alone. The trio of office women seem to represent the contemporary struggles of dating for older Japanese women, the pornstar hides a sad past with his mother, whilst other reoccurring characters such as the yakuza gangster Ryu Kenzaki (Yutaka Matsushige) and his odd friendship with gay cross dresser and bar owner Kosuzu ( Toshiki Ayata) as well as transgender bar owner Jun ( Genkaku Yuko) helped to present the versatile range of customers and individuals present within Japanese society.

Perhaps the one notable weakness of “ Midnight Diner” did occur at times within acting quality and line deliverance, often feeling a little discordant from the more realistic and hard-hitting themes of loneliness or individualistic stories in each episode. In addition to this as mentioned before, the formulaic styling does become a little predictable for audiences even when a new episode has shifted onto a new customer or characters. Nevertheless, “ Midnight Diner” can be seen as a surreal and transgressive journey into the bewitching life stories of Shinjuku’s night owls, with an oddly heartwarming edge even for the most unlikely of characters and friendships.

Leia Mais

Orange Marmalade; Stuck In A Very “ Sticky” Problem...

In all honesty this review will probably be ignored or swept aside for more recent reviews by drama fans. Nonetheless, I will say that I actually watched this drama several years back after having read several chapters of the eponymous webtoon .

Not remembering much about the drama ( apart from some lacklustre chemistry and plot) I decided to have another attempt at watching Orange Marmalade . It was only when watching it for a second time . did I realise that Orange Marmalade truly was its own worst enemy when it came to story progression and episode pacing throughout the show.

Of course that’s not to say that the show was entirely dire ; the premise itself of an alternative reality where vampires are outcasts amongst human society ( similar to the webtoon ) was intriguing, the casting choices of fairly top-notch actors such as Seolhyun and Yeo Jin Goo as our leads added to the appeal and even having Lee Hyung Min ( Strong Woman Do Bong Soon and I’m Sorry, I Love You) and Choi Sung bum ( Jungle Fish and My ID is Gangnam Beauty) as the directors nearly sealed the drama’s fate to be a masterpiece.

So just what went wrong with such a potentially brilliant show? Well, the biggest factor was most certainly to do with the episode pacing.

Although we are introduced to our main female protagonist Baek Ma Ri ( Seolhyun) as well as the majority of our main characters in the first few episodes, there’s simply no scenes dedicated for viewers to actually get to know
our protagonists as individuals, such as ; (despite her circumstances as a “ vampire”,) Ma Ri is not shown to be as subjected or act in strong emotion ( apart from supposed “ fear”) against her peers finding out, ( unlike the webtoon) there’s little explanation or motivation shown behind Jung Jae Min’s ( Yeo Jin Goo) enmity towards vampires , and there is also very little reasoning behind Han Shi Hoo’s caution around humans. In addition to these problems, there’s also the added flaw of the show having what’s called a “ loose plot “ motive ( “ the vampire girl hides her identity”) without a greater sense of purpose ( i.e. a greater threat, antagonist or challenge) for our characters or the general progression of the storyline.

When we did actually get to see some character bond development between Jae Min and Ma Ri, a sudden time-skip for several episodes without reason or purpose to the Joseon period, destroyed this relationship’s genuine development in a matter of seconds.

It isn’t necessarily that these flashbacks shouldn’t have been included in the plot, however, it would have made more sense to have either shown us this in the beginning of the series ( as perhaps two episodes maximum) in order to build-up to the characters’ introductions in the present day, having interwoven flashbacks over the course of the drama ( either through parallel actions of our characters to the past or even through dreams) or just simply using the earlier episodes to characterise our protagonists more as individuals before introducing this new storyline into the mix .

Overall Orange Marmalade’s sweetened visage as a romance drama with an intriguing premise, is a facade for the acrid citric bitterness of terrible story writing ,plot pacing and characterisation. Certainly not worth committing time towards.

Leia Mais

The “ Healing” Approach To A Drama...

Healer revolves around Jeong- Hu ( Ji Chang- Wook), a courier who goes under the mysterious alias “ Healer”. Carrying out numerous errands for his clients with the help of “ Hacker Ahjumma” ( Kim Mi Kyung), Jeong- Hu is determined to be able to put together enough money to leave Korea and spend the rest of his days in luxury on his own island, away from the problems of civilisation. His dreams to leave the country seem to be put on hold, however, when he attracts famous news anchor Kim Moon Ho ( Yoo Ji Tae) to use his services in order to protect aspiring journalist Chae Young Shin ( Park Min Young). Going undercover as an unnoticeable intern, Jeong- Hu finds himself torn between his mission and his personal feelings when he realises a connection between Young Shin and what happened to his biological parents nearly twenty years ago.

It can’t be denied that the Healer takes on so many action tropes it’s untrue . From Bourne Identity violence to the Clark Kent setup seen later in the drama as well as some downright strange plot moments, Healer may seem a waste of time, however, what the show certainly doesn’t lose out upon is a well- written plot , a developed male lead and female characters who felt flawed and most importantly human. This is undeniably all thanks to Chang Wook’s portrayal of Jeong- Hu’s contrasting personas throughout the show ; a fairly mind blowing moment of acting in regards to watching Chang Wook going from a stuttering intern to a confident and brazen fighter several minutes into a scene, away from the preying eyes of Young Shin. As a character, I’ll be honest in saying that there was a lot more which could have been fleshed- out with Jeong Hu, not least dropping a gradual build - up to his past from almost episode one rather than rushing this crucial storyline in a matter of a few episodes instead. On the other hand, one of the most impressive features of Jeong- Hu was undeniably crossing the “ moral grey hero” threshold for drama leads; typically sugarcoated by writers to be the heroic moral citizen, rather than beating up corrupt figures( even after they have begged for mercy) , going against the police ( let’s not forget even breaking into a police headquarters as well) numerous times and the shocking scene in the
last episode as well. This really helped to solidify Jeong- Hu as not merely a plot device, but flawed and more importantly, an individual who makes mistakes and possesses a conscience.

Of course, Park Min Young easily matches Chang Wook within her portrayal of Young Shin. Min Young plays the role with a level of comical brilliance as well as heartache, something not entirely to any Korean drama, but certainly refreshing within her character’s mould. In regards to Young Shin as a character, it’s easy to say that Young Shin is the perfect archetype of the “ fleshed- out” female lead, quick to speak her mind and having grown up in an environment of ex- convicts, more than “street- smart ‘’ especially as she grows to becoming accustomed to Jeong- Hu. Whilst the show undeniably relies upon the classical tropes of Korean dramas within the traumas and romantic setups between Shin and Jeong Hu, the one thing which I must give the show credit for with Young Shin, is that she isn’t overly blinded by love to deny her individuality and sense of duty as a journalist, something which I’d certainly hope Korean dramas will do more within portrayals of female characters in more recent portrayals of women in similar shows with strong female leads, such as Hotel Del Luna and Its Okay, Not To Ne Okay.

Last but not least, it cannot be forgotten the comical brilliance of Mi Kyung as “ Ajumma” within her talks to Jeong Hu and her surprisingly touching moments when we begin to learn more about her past as well. On that side note, the one character who you actually grow to adore a lot more than you originally intended to do so, was undeniably Moon Ho. Ji Tae was brilliant in his portrayal as a seemingly minor and somewhat creepy news anchor; one of Young Shin’s crushes ( besides Healer) and who shares an intriguing link to the pasts of Jeong Hu and Young Shin.

It came to my fears at first when Moon Ho was introduced properly in the series when he began working with Young Shin, that the scriptwriters would write him off as either a second Male lead or destroy his characterisation in seconds flat , but, his surprising redemption within his fraternal relationship with Jeong Hu, added to some brilliantly light- hearted and touching moments in the show, something which I valued a lot within bringing out the other characters’ humanity as we saw vulnerable moments between the leftover members of the original gang as well as Jeong- Hu. Overall, the show is trapped in cliches which aren’t entirely new to Korean dramas , but, it easily surpasses these faults through strong characterisation and moments as well to add The extent of the individual humanity to these characters.

Leia Mais

A Drama Which Certainly Doesn’t Disappear From Your Mind With The First Snow...

When skimming over reviews on this website for drama recommendations , I’m sure that most fellow drama watchers can agree that you should take what “ critics” sometimes say with a pinch of salt, especially when a drama gets 10/10 on all categories. Of course, it’s human nature that our tastes differ from one another. I’m sure most drama watchers have been in my shoes, where someone will blatantly say to you that “ this drama, is the best one in the world” , and when you come to watch it via their recommendations, you can’t get even get through the first ten minutes of it without internally screaming at the screen.

Goblin is no exception . I remember the first time watching Goblin and as one of my first few Korean dramas , I was undeniably a biased fan. I denied a lot of evident faults which has arisen to my attention in the drama, because I had been enchanted from episode one by the show’s cinematography. ( As a fan of Ghibli Movies, the drama reminded me a lot of the detail behind characters and setting put into some of my personal favourites ) . For a long time, I remember maintaining this biased opinion upon Goblin , until, I gained a new perspective from a friend who had never watched Goblin ( though she had seen a lot of Korean dramas before) , and out of curiosity, I asked her to give her own honest feedback after watching it.

Her own thoughts on the drama ? She hated it with the passion. It surprised me a lot when she gave me her honest feedback on the show. We’d nearly always seen eye to eye on movies, shows and books, so, it was surprising that her opinion differed so greatly from my own. Out of curiosity, I asked her to elaborate on what annoyed her about it. Her list was certainly endless, but, it did help to bring to mind even at the time, the classic
Marmite slogan ; you either love it, or you hate it, and, Goblin is truly one of the two for drama fans .

I’ll be honest in saying that my thoughts on the show didn’t magically change overnight, however, my friend’s criticisms did make me rethink a lot about my biased views on the drama. As a consequence, I decided to rewatch it, and it was only through watching again without rose-tinted glasses, that I began to understand my original thoughts that I had buried down in place of my love for the drama, after watching the show again .


First off, I will agree with nearly all of the reviews, that Goblin is a fairly original drama . The blockbuster hit across Korea and overseas, does present a fascinating combination of Korean mythology in a modern day setting with intriguing characters, an unforgettable OST and of course beautiful backdrop settings as well. So, where can we find any faults, with it then?

First off, the episode lengths between 70-80 minutes. Of course, in comparison to some dramas, Goblin is about average for a Korean TV programme. It did come to my attention , however, that in a lot of drama reviews, few critics have actually bothered to mention simply slow- paced some episodes became when a “ short” storyline was paced for nearly three hours, rather than finished in one completed episode in order to progress the storyline . Arguably, the drama did use some of this time to establish some key techniques , not least introducing our protagonists and foreshadowing later events as well. On the other hand, it still remains prominent exactly how key writer Eun Sook and of course the cast, were able to truly establish our characters in this seemingly endless amount of hours as well.



Gong Yoo’s performance as Kim Shin, was fairly impressive. I’ll be honest in saying, Gong Yoo was not notably memorable in comparison to other performances that I’ve seen by actors, however, he still portrayed his role with a level of emotional appeal for viewers. Portraying a former general trapped in a cursed immortal body, I’m sure you can imagine the amount of raw appeal and questions of philosophy which were arisen by thoughts of immortality and morality within the show. On the other hand, it did come to my obvious attention watching the drama again ( and a shared criticism by my friend) , that Eun Sook had left out a lot of realistic qualities and characterisation techniques for Kim Shin. This is because Eun Sook had written not suggested any truly profound psychological or pondering qualities towards a man who has lived for nearly a millennium with “ no love interests”. Whilst I appreciate the romantic element of ‘ first love’ in the drama and of course concepts of chastity in Korean culture, it was beyond ridiculous for Eun Sook to even mildly hint that an adult man who had lived for centuries , had never had a one night stand nor interests in any woman before Eun Tak.

By far, Eun Sook did give Ji Eun Tak some story writing justice . This was explored brilliantly by Kim Go Eun taking upon a younger, yet arguably a more complex portrayal of an adolescent at the time and Eun Sook making
Eun Tak a more relatable and empathic character to audiences than Kim Shin . Sadly, this didn’t entirely mean that she was a more ‘ fleshed - out’ protagonist either. Whilst it was certainly a lot more believable upon Eun Tak’s passing fancies for Kim Shin and her old classmate, Eun Sook seemed to be focused a little too much upon Eun Tak as a ‘ younger schoolgirl ‘ for a major proportion of the drama, highlighting an unrealistic correlation between her naivety against her age, intelligence and circumstances shown within the show.

As a consequence, this does raise a lot of issues with the age difference between an emotionally vulnerable high schooler and an adult man as well. Am I being biased and arguing it would have been different if Kim Shin had been given to a “ young and fresher” actor like Sung Jae instead? No. The age gap is not actually the main problem, it seems. Whilst the issue of gaps certainly raised an eyebrow for me early on within the show, I can’t deny that the setup between the two characters does explore a maturation of different love forms between the two leads from friends to near family to a romantic setting in a somewhat gradual development for audiences. Where my criticism lies is certainly within the factor that neither leads are truly explored because of this age gap, as being realistic love interests for one another. There were no explorations of emotional trials, similar tastes or expanding their feelings realistically to one another at all within the show, even in the apparent emotional conclusion of the final episode.

Then of course aside from our main leads, there’s also the portrayals of the Grim Reaper (Dong Wook) , Sunny (Yoo In-Na ) and spoilt Chaebol heir Yoo Deok Hwa (Yook Sung Jae). With regards to his role as the Reaper , Dong Wook interestingly said in an interview once, his embarrassment at not living down his role in the show and it’s easy to see why . Dong Wook’s portrayal from the seemingly callous and sardonic figure to a soft-hearted soul, added to some more touching and humorous moments in a show centralised upon romance. Aside from his comically heart -driven romance with Sunny, the Reaper’s relationship with the Goblin was portrayed in brilliant fraternal-style for audiences which will easily make you laugh and your heart breaking within later scenes in the show. Although there was some out -of -place lines and cheesy acting moments, Eun Sook did undeniably do Dong Wook justice in this role, however, in a similar manner to Shin and Eun Tak, there was a lot of left out realism within the Reaper, especially psychologically.

It’s undeniable that Sunny and the Reaper’s relationship had a level of comical chemistry between essentially a naive man with lacking social interactions , and a social butterfly each seeking their own comfort within one another’s company. Yoo In-Na did give a genuine sense of authenticity within her portrayal as a healthy sister figure for Eun Tak as a character, something which thankfully didn’t drive downwards into the typical cliche of female animosity, however, in a slightly more honest manner, Yoo In-Na nor Eun Sook, truly add anything
jovially new to the cliche female flirt role of Sunny. Whilst she did play her role intriguingly later on within the show, for a high percentage of the drama, she was a perfect example of a ‘ stock female lead’; flirtatious , comical and a perfect plot device, but certainly not a sincere human being with with any exposure in flashbacks , relationships prior to any of the other protagonists or expressions of any sincere emotions.

In a similar manner whilst Yook Sung Jae doesn’t shine out as much as Go Eun or Dong Wook, his performance was still surprisingly well retained as the stereotypical “ spoilt heir” who shows a deeper side to his personality during the course of the show. My biggest complaint with Eun Sook’s characterisation of Deok Hwa was that there was a lot of brimmed potential with Sung Jae ‘s portrayal. Rather than giving Sung Jae any justice in a similar manner to In-Na, Sung Jae is left as the sort of stock ‘ clown character ‘ of the drama. What makes this even more ironic is that Eun Sook suggested later in the show a more complex and intriguing quality to Deok Hwa, which was unsurprisingly disregarded later that episode and once he had been of use to this particular storyline, Deok Hwa was nearly entirely disregarded as a character by the ending of episode 16.


In addition to this portrayal of characters and questionable storyline , there’s the other slightly more trivial complaint of excessive product placement. Whilst this doesn’t entirely take away from the originality of the plot, seeing a Subway or a placement for Paul’s Boutique in the middle of a scene which could have been used for original character progression and storyline considering Eun Sook’s missed links, did irk me a bit personally. Critically, I think it’s fair to say that I can only give you my personal thoughts on the drama. Goblin is one of those shows which you you sort of have to watch yourself to work out whether you love it or hate it. There will be some people who have entirely disagreed with everything that I’ve said in this review, and arguably some who have felt the same as well, and that, is perfectly entitled either way . Regardless of your thoughts on the matter, Goblin has strengths and faults for everyone, but it’s certainly a show you shouldn’t miss out upon as well.

Leia Mais

An “Eternally “ Forgettable Show

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


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

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

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

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

Leia Mais

Compelling, But Ultimately Disjointed...

’Million Yen Women” was undeniably a captivating show with an intriguing premise, characters and pacing, however, a noticeable problem with the show came within trying to piece together parts of storyline which often felt confusing and disjointed.

This drama starts off with an intriguing concept from its eponymous manga : five women are clandestinely given invitations to live at the house of Shin Michima ( Yojiro Noda) a thirty-something struggling novelist. In exchange, they are required to pay one million yen each month to cover living expenses, though this should be far more than is actually required for his apartment. The women have been instructed that they must not answer any questions about themselves, keeping Shin just as much in the dark as viewers about what is going on .

At the heart of this uncertainty lingers the ultimate questions behind the identity of its mysterious tenants - a high-school girl (Rena Takeda) with a mysterious past, a charmer who turns out to be a famous recluse (Yuko Araki) , a polite yet socially awkward young woman ( Miwako Wagatsuma), an amiable bookworm ( Rena Matsui) and a confidant exhibitionist (Rila Fukushima) as well as our main protagonist Shin; the most mysterious of them all.

When Shin is introduced, there is the typical cliche setup inferred towards the protagonist as the ‘’ mundane, yet suffering’’ writer. It would seem apparent in this stereotypical cliche of Shin and his setup of living with his fellow female tenants, to be the ‘ awkward antisocial NEET’ trope- struggling to interact with the opposite sex either due to an ‘excessive trauma’, or a ‘ bad relationship’ which is ‘’suddenly resolved’’ in the following episode.

However, Shin’s backstory provided both to defy this cliche honey trap for writers by inducing a surprisingly well-written and profound backstory .Yet whilst Shin undeniably had the most intriguing backstory of the series, his development as a character was arguably a lot less impactful. There is of course the reasonable argument appointed towards the male’s lead often dull personality being a result of severe depression from his traumatic experiences.

On the other hand, it also seems apparent that depression or trauma can often be provide an asset within characterisation or seeing a character develop over the course of a show- notably, something which Shin was never truly given the chance towards being more ‘’fleshed-out’’ as an individual, rather than just a plot device.

It is wrong, however, not to bring into the discussion the argument upon the importance of our female tenants in ‘ Million Yen Women’. Against all odds, ‘ Million Yen Women’ subverted the cliche expectations of the female characters . Each of the five female tenants in the series represents a stereotype associated with the “ modern Japanese woman”: the insecure student, the demure housewife, the bookworm, the glamorous beauty and the promiscuous young woman, however, as the mystery within the show heighten , the women begin to reveal that their true natures are nothing like their labels.

Yet whilst it is hard to truly fault the talents of our female tenants in the shoe with fairly well-scripted, nuanced and original performances, the backstories behind the characters were arguably less impactful. This is not to say that the backstories for the female characters weren’t interesting, per say, but there was little time to actual contemplate upon each character as an individual through her experiences. As a consequence, the sudden transition of backstories felt half-baked and oddly mismatched in the overarching storyline.


The additional introduction of notable characters and minor antagonists such as the Chairman of the Literary Committee and the literary critic who hated Shin’s guts, served the only purpose of being red herrings. Although they were still interesting characters in their own right , they felt a little useless in the grand scheme of the storyline with posing little actual threat or a cause of concern for the male lead. Other antagonists such as Shin’s, rival author Yuzu and his manager Ryuichi Moriguchi, were ultimately cliche and lacked great depth as worthy or intriguing villains.

Although ‘’Million Yen Women’’ undeniably has some captivating, aesthetic cinematography(like one beautiful scene where light is shown projecting beautifully through a window) and a fairly decent OST, the
was often flouted by quality and precision. This undeniably did offer the drama ‘’ grittier realism’’ ,however, ultimately in more dramatic and emphatic scenes, the tension was often taken away by the low-budget and nuanced filming techniques, making the show feel often disconnected for viewers.

So, was ‘’ Million Yen Women’’ a subtle masterpiece or a waste of time for viewers? It’s fair to say that ‘’ Million Yen Women’’ had an undeniably good cast and an intriguing concept for mystery lovers, however, the show’s ending felt both disjointed and incomplete. Although it did heighten the uncertainty and vagueness of the overarching storyline by leaving it upon a high cliffhanger, it is hard for those familiar with the genre to keep up with pacing and storyline. The show attempts to cram in a lot of storyline in a short period of time, resulting in various parts of the story feeling often lacklustre and confusing for viewers to comprehend. Ultimately, it depends what you’re looking for in this show - a quick, binge-watch to pass the time? Definitely. A memorable storyline which feels well-written and coherent ? Then, probably not.

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A Time Travelling Pop Idol , That’s A New One, Korea...

Hit the Top was a strange mix of cliche and heartwarming plot to say the least. The beginning of the show was undeniably dragged out. Rather than simply introducing us to our main protagonists in addition to our main protagonist , Hyun Jae,time travelling escapade to 2017 and meeting the gang in maybe two episodes max, the show drags this on for more than three episodes. Like most drama scriptwriting, this does give viewers to see a little more upon the individual circumstances of both past and present versions before and after Hyun Jae’s mysterious death in 1994. The “younger” range of characters who Hyun Jae begins to live with , are Ji Hoon, the studious adopted son of Gwang Tae and the polar opposite of Hyun Jae, (however, he also aspires to be a popular idol, )Woo Seung, a young student desperate to pass her university exam and of course MC Drill, one of Hyun Jae’s best friends and trainees at the same entertainment company. The characters which have connections to Hyun Jae’s past, are probably the characters who go through the most development in the show. Hyun Jae’s former manager and friend, Gwang Tae, juggles between his feelings for Bo Hee , managing the dying company and of course trying to be a paternal figure to Ji Hoon. Bo Hee longs for her glory days but is a washed up star, seemingly narcissistic and less than a maternal figure to her son Ji Hoon, however, her character certainly goes through a lot of development in the course of the plot, most certainly finally letting go of her weighed up guilt to Hyun Jae’s death. Then of course, there’s Sundae. The chairman of one of Korea’s most successful groups, now similarly disregarded by his former contractee, Soon Tae’s growing idol business and battling old age. In terms of development, whilst the show did focus upon the main mystery upon Hyun Jae’s disappearance and to a lesser extent Ji Hoon’s twist parentage, a lot of the cushioned storyline such as the relationship between Woo Seung with Hyun Jae , diminished the focus upon familial relationships within the show. Whilst a lot of critics jump to point out the age difference officially between Woo Seung and Hyun Jae in 2017( I.e Hyun Jae is officially in his 40s and Woo Seung is still only in her 20s), my biggest problem did not come through this. ( Although a lot of critics also forget that Hyun Jae is from 1993, and consequently is still in his 20s.) It was not to do with the lack of chemistry between the leads, but, rather it diminished the main focus upon Hyun Jae’s familial relationships, as well of course trying to overcome the plot hole of the butterfly effect which just drags deeper downwards, near the ending of the show due to of course the error of one of the main plot reveals. Naturally, the ending did offer a happy release for viewers and tied down the fates of the characters , however, it didn’t truly feel connected together as a final and complete ending, considering that one of the main plot’s storylines was nearly erased entirely from its appeal.

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