how ideological constraints can limit narrative freedom

This movie is still one of the best in K-Ddramas: you can see that they really pulled out all the stops with the budget, visuals, top-tier casting, one of the best hit screenwriters, top directors, and beautiful music.
The movie is truly well done, and you watch it until the end. All the characters are well developed. I really like the two lead actors, as well as the supporting ones. As with most sci-fi films, it's hard to write something that is 100% coherent, so there are many plot holes... but maybe it's all about just one message: that you have to live, love, and enjoy every day, not think about the future, and live in the present? Committing to love for a day equals loving for eternity.
It's nice, it's romantic, but I wonder, as someone who's not Korean, if I still see propaganda in certain ideologies, which I think harms the artistic side of the work, especially regarding the plot. Why is it that in Korean dramas, characters often don't want to have children? Like getting pregnant, for example? The propaganda mostly focuses on work, personal comfort without making compromises (I think love requires a little effort, and a balance or equilibrium is good), and there's also a patriotic element about not leaving the country. ’m writing this because I see it systematically in many dramas. It’s great to incorporate a message into the storyline, but changing the narrative just to push an agenda is unacceptable for me.

[spoiler] At the end of the story, the female character could have logically married the male lead as proof of their commitment. She could have visited her father and friends on weekends, like an adult managing her life, right? But the writer avoids taking risks. It feels like they don’t want to show her choosing a more personal life, because it would suggest she prefers a life of luxury, a "king," over her country and the republic it represents. She avoids leaving her country or job, which aligns with this patriotic message— [END SPOILER] working for the state and doing the hard jobs no one else can do. This pattern is seen in other works by the same writer, like Descendants of the Sun, or other k-dramas, such as Crash Landing on You. In both cases, the stories fall into similar traps, forcing the characters to stay within these ideological confines, which ultimately weakens the plot.

This critique highlights how ideological constraints can limit narrative freedom, making storylines feel forced or unrealistic.

Another issue with this drama is the excessive product placement; entire scenes revolve around showcasing products rather than advancing the plot. I get that they need to finance the stars, but it's a bit much, isn’t it?

Lee Min Ho has crazy charisma, Kim Go EUN she act really well ! and the others are perfect too ( Kim Kyung, Do Hwan, Young Ok,

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Suspicious Partner: Entertaining Cast, But a Flawed Investigation Drama

At first, I watched *Suspicious Partner* seriously, but eventually, the storyline came off as childish, with numerous unrealistic and illogical details—especially when it came to the so-called investigations and crimes. It was clear that the writer seemed to lack knowledge in this field. For instance, what kind of criminal lawyer would set up an office at home, inviting clients and even criminals to share meals with him? It was absurd!

Throughout the show, characters constantly learn about new developments from the TV, as if there's no connection between police, prosecutors, and investigators. It's almost as if criminal investigations are being conducted by attorneys. This depiction doesn’t align with real criminal justice systems, where investigations are based on strict hierarchy and defined roles. Typically, the police handle on-site investigations, gather evidence, and conduct initial questioning following established procedures. Specialized investigators take charge of particular cases such as homicides or organized crime, often coordinating with various agencies.

The attorneys, on the other hand, have a different role. They represent parties in court but are not directly involved in gathering evidence. Here, however, these roles are blurred, creating a portrayal that feels disconnected from how investigations truly work.
And the romantic storyline lacks depth and fails to captivate.
All in all, two stars for *Suspicious Partner*—and only because of Ji Chang Wook and Ji Eun Hyuk, as well as Byun Young Hee and Jung Hyun Soo, who kept the show engaging despite the script's flaws.

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while I adore certain aspects, there are also significant flaws

Crash Landing on You is a drama I have mixed feelings about; while I adore certain aspects, there are also significant flaws.

First and foremost, the cast is phenomenal, featuring some of Korea's top actors who deliver stellar performances. The chemistry between the female lead (FL) and the male lead (ML) is incredible, and their characters are initially well-developed and relatable. The show starts off brilliantly, and I would argue that it could have ended halfway through for a more perfect conclusion.

However, the second half takes a turn for the worse, particularly with the FL's arrival in South Korea. Here, the ML's character begins to falter, and the narrative shifts towards excessive South Korean propaganda. While it’s reasonable to exaggerate North Korea's flaws, the show fails to mirror this approach with the South, missing an opportunity for a balanced portrayal. This lack of subtlety detracts from the storytelling and leaves viewers without a chance to form their own opinions.

Additionally, the blatant product placements become overwhelming as the FL returns to South Korea, taking away from the narrative’s authenticity. The conclusion feels politically correct and disengaged, disappointing viewers who are left yearning for a more credible resolution. The show's insistence on prioritizing career ambitions and long-distance relationships over genuine emotional connections makes it feel unrealistic—if love is truly powerful, shouldn’t it inspire more effort?

Overall, Crash Landing on You starts strong but ultimately falls short of its potential, with narrative choices that compromise its integrity.

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