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Intelligent suspense takes its most elegant form in The Bad Kids
My preferences in entertainment go a little something like this: sure, I’ll give it a shot. Wait. It’s scary? Yes, I’m slowly backing out of the room.The Bad Kids is not horror, nor would I—even in all of my yellow-bellied glory—consider it traditionally scary. Even so, you'll be able to tell about five minutes into the first episode that this is not to be watched on any day when you want a fun, happy time. If fully immersed in this drama’s eerie atmosphere, I can wholly believe that you may lay awake that very night, contemplating the series of fictional events that you have borne witness to. It's an addictive kind of insanity. I’m definitely not saying this out of personal experience…don’t know what’s leading you to think that…
I strongly advise potential viewers to go for a totally blind watch-through; hence, I won't be mentioning any aspects of the plot here. Even if you usually do not care about being spoiled before watching something, you absolutely should not look up anything about this show before you finish every single episode. Central to The Bad Kids is how it produces a phantom instinct within your gut as you try to figure out what is going to happen next, and that engrossment in the story evolves into a part of your own satisfaction. Let the show work its wonders and let yourself absorb it fully.
One point about the story that should be mentioned as a selling point, though, is that while The Bad Kids is about crime, it focuses on that through relatable themes like family bonds. A major plus to the watching experience is how you are forced to form and change your opinions about each character based on how they treat one another—and in what situations. I’ve rarely seen characters being depicted with this degree of care in other works. They feel genuinely human: imperfect, self-contradictory, and emotional.
I was also impressed to the extremes with the acting. Imagine the perfection that's in not needing to fall to the level of typical high-school dramas, where the lead teen is played by a dude in his twenties with clear skin. That perfection exists in The Bad Kids, where each of the three child actors—whose roles are incredibly demanding—are literal children who do not falter at all within their roles. Though I’m giving a special shoutout to the kids, I don’t want to gloss over the other actors who elevated the story. Every cast member was flawless in their depiction of their characters and how they collaborated with one another to depict intensely real relationships. Qin Hao is also someone that I will be keeping an eye on in the future; the way that he balanced the good and evil of his character so naturally gave me chills.
The Bad Kids has skyrocketed up to become one of (if not the superlative) my favorite dramas ever. Days after finishing the last episode, I couldn’t fend off the temptation to start again: and this time, I took notes so that I could keep track of every possible hint that the producers dropped. That’s right—this self-proclaimed hater of note-taking in school willingly opened a notebook and clicked a pen just so she could wrap her head around this show. And I loved every second of it. You might take this as evidence that I'm a tad cuckoo in the head (you probably wouldn’t be wrong), but you’ll understand me as soon as the credits roll on the last episode. There's so much detail to process and make sense of.
If this level of writing, acting, and production could be held as the standard for Chinese dramas, then I am impatient for what is to come. Until then, I’m going to treat my drama withdrawal with perhaps a third dive into this show.
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In a society that has been enraptured by the potential of AI and robotics, it’s unsurprising that there’s been a recent influx in dramas that deal with such topics. Despite being based off an older manga, My Absolute Boyfriend is yet another title to add to that list. It addresses the issue of robots assimilating into the human world, a problem that is bound to become increasingly relevant over time.
It all sounds interesting, but I wouldn’t recommend this show to anyone who is in need of a captivating storyline. As is the case with most Korean dramas, the first couple of episodes are all fun and games. The further it gets, though, the faster it tumbles downhill. You’d think that this show should be about the struggles of a robot in human society, and it is…but only in theory. Instead, My Absolute Boyfriend overflows with unexciting conflicts and equally unappealing supporting characters. It’s a romcom that pretends to be intricate and emotional, but lacks any of the proper delivery to make it a worthwhile watch.
Ma Wang Joon is one of the least likable second leads I’ve ever had the bad luck of experiencing, yet he rears his ugly head so many times that it makes for a rather toxic drinking game: take a shot every single time you want to punch him smack in the jaw. His constant, unnecessary interventions in the main couple’s relationship stunt its development so much that it’s hardly satisfying when they’re together. It’s like its own subgenre of jump-scare horror—every time Da Da and Young Goo are having a moment, I’m not enjoying it; I’m nervous, waiting for Wang Joon to poke his head around the corner and interrupt. Diana isn’t much better. Despite her intriguing introduction, she ends up as an incredibly boring villain and contributes nothing but shallow inconveniences to the story. All of the conflicts are uninteresting and oftentimes feel unresolved.
Frankly, the number of episodes does far more harm than good and put the writers in over their heads. The amount of sloppy writing in this show is too much to bear and makes the main relationship a tad unbelievable. Had the drama been shortened to 16 or even 12 hour-long episodes, the story would have been so much tighter and left no room for such plot filler.
What’s truly odd about My Absolute Boyfriend is that the acting is good. While the overall performance of the actors and actresses is nothing to rave about, they’re all pretty impressive, especially for a drama that’s ridden with flaws. I can only sadly imagine what could have been if it were written better. For example, Yeo Jin Goo does an excellent job of portraying a puppy-like boyfriend robot and is exemplary when it comes to showing raw emotion. Yet, his talent mostly goes to waste because the writers have no clue as to what the hell to do with their own main character and just push him off to the side for a disproportionate amount of time. Similarly, Min Ah, Jong Hyun, and Seo Young all have the capacity to act well, but their characters are too flat for their acting to feel completely natural. This becomes increasingly obvious over time, when the writers are so busy trying (and failing) to make the story itself interesting that the characters lose the traits that make them compelling.
Altogether, I would have to recommend a pass on this show. Even if you’re a diehard fan of one of the actors, this can be a tough one to get through (I’ll voluntarily admit that I persisted in watching because of Yeo Jin Goo, and even then, it was a struggle). In an industry that pumps out romcom after romcom, My Absolute Boyfriend isn’t particularly special whatsoever.
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(For in-depth review/analysis with spoilers: https://dramavixen.tumblr.com/post/186224304109)
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It’s a special type of emotional experience, watching a drama like Skate Into Love, which has solid strengths yet also a fair share of wobbly flaws. It took some serious consideration for me to establish how to reconcile all the positives and negatives; but after watching the conclusion, I can say that for its genre, Skate Into Love can stand tall in its field.
The basis of the plot is a concoction of classic rom-com tropes. The leads know one another from early childhood and, upon reuniting years later, their relationship becomes an “enemies to lovers” affair. This show's primary differentiating factor is its inclusion of ice sports, which dictates significant plot points and is crucial in the growth of several characters.
The first half of the show overflows with sweet and humorous moments between Tang Xue and Li Yu Bing as their constant bickering turns into genuine care for one another. Their romance is a strong force because they, as separate characters, are both independent people who have flaws as obvious as their strengths. They manage to grow together and are capable of helping each other because they understand the person opposite them incredibly well. It warms the heart to watch and you can’t help but root for them as a couple and as individuals.
That being said, there are some other plot points that beg to be mentioned:
One: third wheels. It’s a rom-com rule that they have to stick their head into the plot. Listen, I don’t make the rules. Take it up with the screenwriters upstairs. They’re the ones who insist on including several love rivals. Some of them can actually pique your interest as they evolve over time, so not all of them are a total waste of your attention. However, it’s my civic duty to throw one of them – Mr. Bian “creepy chuckle” Cheng – under the bus for starting as a minor headache, then evolving into a complete migraine by intervening in the main couple’s relationships in the most boring and inconsequential ways possible. He is, hands-down, the weakest link of this show. You don’t hate him because he’s an actual threat, you hate him because he could be interesting but just isn't.
Then, there are the side couples. Like the third wheels, I don’t even remember how many of them there are. But nonetheless, they pass around the baton for taking over the show every once in many a while. A key positive point about all the supporting characters is that the writers did try to make them more dimensional. Just like the main characters, they each have unique motivations and insecurities, making them feel a lot more human than what could be said for many non-leads in other shows. Whether it be friends, family members, or rivals of the main characters, I really liked how they all had their own lives and problems. That further helped make all of the platonic relationships much more enticing. Even so, it’s incredibly difficult to have a drama effectively focus on a main couple as well as multiple side stories – some will certainly feel like plot filler, especially in early parts of the show, because we don’t see their full development like we can with Tang Xue and Li Yubing.
There are also some moments involving the leads that feel a bit iffy considering their personalities. Don’t you just love when a relationship, consisting of two amazingly communicative characters who deeply seek to understand one another, abruptly crumbles due to external factors that existed but didn’t matter before? To have problems within a relationship is completely normal; and while I’m glad to see them addressed, the way that they’re depicted is sometimes too theatrical. I’m not going to lie. Seeing all the age-old melodrama cliches enter the picture and challenge the romance is almost entertaining – in the same way that watching someone slip and fall is entertaining after you told them beforehand, “careful, it’s slippery”: the ridiculousness of something happening when it shouldn’t is quite…amusing, to say the least.
These flaws aside, I overall found the story to be a good balance of being amusing (even hilarious) at times and serious during others. I liked how sports are involved in some of the characters’ lives, providing them with dreams and purpose. Part of me wishes that there were more competition scenes shown, as the action during them was fun to watch (and inaccurate, but come on. It’s people on ice with knives on their feet; that in itself is deserving of a thumbs-up). Much of that may be due to my own preference, though, since personally like some ice sports and would hardly object to seeing more of them.
As for the acting, I genuinely appreciated the life that the lead actors brought to the story. Tang Xue is a character who – if assigned to a poor actress – could easily be depicted as annoying due to her outspoken nature, but Wu Qian does an excellent job balancing that boisterous behavior with kindheartedness. Zhang Xincheng also shines in the role of Li Yubing. His depiction of a childish yet determined young man is spot-on. Together, these two actors created an excellent picture of a happy and young relationship, full of promises and hope for the future. When evaluating the supporting actors, I found their abilities sufficient for the roles that they're given and certainly wouldn’t mind watching their future projects.
As far as rom-coms go, Skate Into Love is satisfactory. Though it occasionally stumbles, none of that changes how it put some of the biggest smiles on my face out of many of the rom-coms I’ve seen thus far. You really just have to go in prepared to brush off all the cliches, because what’s underneath all that dust is a very sweet story that is worth sitting through.
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Many things about A Love So Beautiful was a surprise to me. I'll be the first to admit that I harbor a real prejudice each time I enter the realm that is a Chinese drama - watching them throughout my childhood, they were unfailingly littered with a) tragedy, b) horrible CG, and/or c) gagworthy storylines (typically, an entertaining combination of all three). And quite honestly, few nowadays seem to impress me. Call it bias, but I still think the Mainland has much to learn regarding what constitutes a good show.
A Love So Beautiful was different from the moment I picked it up. It does not present melodramatic conflict for you to brood over, but instead focuses on the innocence of a teenager trying to get through the struggles of school and first love. I did not grow up within the Chinese education system, but there is something incredibly charming and nostalgic about seeing a group of five friends trudge through their high school years. Having teachers scold you, finding unpredictable friendships, secretly liking someone...A person is only naive in such a way for a small amount of time, and this drama perfectly captures that foolish yet heartwarming attitude of youth.
It only helped that the cast consisted of young, yet capable actors. How annoying is it when you watch a show about high school and the actors are in their mid- to late-twenties? And then you spend the entire duration brooding over how old they look and how nothing about them reminds you of a cute teenager. A Love So Beautiful never suffers from this issue; because not only do the main actors look young - they are. They act their parts perfectly, accurately presenting the turbulent feelings of their characters and how they grow over the course of the drama. It's difficult to find five lead actors who interact with one another with so much natural chemistry that it's hard to believe that they're acting.
But turn on the sad music - I'm done gushing about all the things I absolutely adored. Here's what dragged it down from a perfect 10: as soon as the characters left high school, the plot began to wander. There is a distinct imbalance between the warmth that is their high school lives and the confusion that is their "growing up."
I would like to ensure you that I don't hate the fact that they got older. It was the delivery; how the writers depicted their "maturing" that was irksome. What I found particularly problematic was how you spend over half of the drama watching them in high school - and you love it to pieces - but then you have less than eight episodes to watch them speed carelessly through cliche relationship problems and time skips. The transition is rough and the trip doesn't get any smoother. It would have made far more sense to me to either limit the story of this show to their high school years, or add more episodes to spread out their time as they age past university and through adulthood.
I simply didn't feel the magic in the latter part of the drama, which follows their post-graduation lives. It's still fine to watch, but it just isn't the same. I wanted to see the ways they carefully sort out problems between themselves and thus mature, not watch as they get angry at one another and resolve it merely because - well, merely because that's the way the writers want it to be. I did not feel as connected to their characters; not because they aren't bubbly teenagers, but because the story slowly becomes more about their problems and less about who they are. To me, their characters are one of the greatest strengths of the plotline, and as it fades throughout, so does the show's primary charm.
I would feel bad shutting this drama down entirely, since that would be unfair to the refreshing fun that it brought to me as I marathoned it. It is not without its flaws. However, it made me remember my first feelings of romance and filled my heart to the brim with both happiness and bittersweetness. It's hard to find a drama capable of such an effect on a viewer - and I'm glad this one found a way.
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If ghost stories lie within your watching preferences, perhaps you would have a better time with Hotel Del Luna. As for myself, I was not a fan of the overall plot. It came off as a tad too shallow. For one, there’s a severe imbalance between plot filler (which is how I classify every individual ghost’s story, each of which occupies 80% of each episode) and the truly interesting main plot, which falls off to the wayside. Unless you enjoy brief appearances of random guest ghosts, you’ll probably end up like me: sitting through over an hour’s worth of time per episode, helplessly asking when the Hong Sisters will address Man Wol’s story—which is rarely, until you cross the halfway point of the entire show. What the writers do with Man Wol’s history when it is addressed feels lackluster, if only due to all the unnecessary time buildup prior to it.
The real problem is that we are hardly given reasons to care about each visiting ghost in any major emotional capacity. Although they have interesting stories, it’s a bit like walking down a city sidewalk: you see someone with a pretty wardrobe, “ooh” at it for a second, and then forget your appreciative impressions of it an hour later. Maybe it seems as if I’m being coldhearted, but as much as the Hong Sisters try to emphasize that these ghosts were human with human sufferings, the way the show frequently relies on shock value and horror elements over the ghosts’ pain and healing resulted in me not being able to build true sympathy for these souls. Imagine repeating this apathy for every episode: it’s exhausting trying to force an emotional connection.
The only saving grace of Hotel Del Luna is Man Wol. The way IU presents her character’s conflicting ego and heart is as poignant as it is mysterious, and she executes the identity of a CEO with a low economic IQ with hilarity. Had it not been for this quirkiness of Man Wol’s character, I would not have stuck around until the end. And that’s despite my love for Yeo Jin Goo: though his acting is excellent as always, Chan Sung is a perfect example of a supporting character who hides behind the guise of being a “main character.” There’s only one protagonist in this story, her name being Man Wol. There’s nothing wrong with this, but it is a bit of a letdown that everyone else has the potential to be equally interesting, yet doesn’t get nearly enough development. Chan Sung, for example, is a nobody—beyond pushing Man Wol to address her emotional wounds, he doesn’t possess the individualism that a lead character should have. This means that while the interactions between him and Man Wol may be compelling to watch, the moment that you isolate Chan Sung away from her, he devolves into a character who’s mediocre at best and painfully boring at worst. Seeing as I view Chan Sung like this, that should give you a pretty good idea of what I think of the other supporting characters: meh.
That all being said, I can see the reasons behind the hype. I just wouldn’t say that they’re justified: gorgeous cinematography, a cast list riddled with famous names, and an amazing soundtrack are all great assets to have within a drama. If future shows could continue Hotel Del Luna’s ability to create an effective atmosphere, I would have zero complaints. But what use is all of that if the show at its core doesn’t match up to the level of its decorations? Hotel Del Luna is almost sadly entertaining in that it may be fun in the moment, but doesn’t leave a deep enough impression to be phenomenal.
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It’s been a solid period of time since I decided to allow this confused mess of a drama sink into my nerves, and seeing how the reviews are scarce in number, I thought I’d give potential viewers a rather large piece of my mind.If you’re here and considering watching this, I’ll assume that you at least somewhat enjoyed the show to which this is a sequel. Master Devil Do Not Kiss Me sits somewhat high on my rom-com list despite being littered with Asian drama tropes (my favorite of which has to be "cohabiting rich guy and poor girl who refuses to take his crap but sometimes takes his crap anyway because dramaland"). It was youthful, cliched, yet endearing.
This sequel, though, was absolutely terrible in comparison.
There are cliches like in the prequel, which the writers delivered as cute and gave you some giggles. And then there are cliches like in this one, which will have you laughing psychotically as you sharpen your metaphorical knives and prepare to hunt down the people who turned the plot into absolute - for lack of a better word - horseshit.
It’s important to compare this sequel with its predecessor because it is a direct continuation from where MDDNKM left off. There are many problems to be resolved, particularly the one where the relationship between the two main characters remains very ambiguous. Yet, frustratingly, the second season never delivers satisfying closure to any of the questions you may have and instead piles on dilemma after dilemma that don’t serve any real purpose other than pissing you off.
If you have disdain for any of the following cliches (contains spoilers; but who’re we kidding, this show isn’t worth watching anyway): lying ex-girlfriends, clingy third wheels latching onto the male and female main characters, a lead couple whose most effective form of communication is giving one another the cold shoulder, ridiculous birth secrets, "the girl you like is actually blood related to you", etc.; ditch this drama now. It’s pathetic how bad this all became. Every single episode of this show became the longest 20 minutes of my life and I just about wished that I would spontaneously have responsibilities to attend to so I’d be put out of the misery of sitting through them.
The acting is okay. I liked the actors way more in the first season; which might have had something to with the characters’ quirks. Some aspects of them were endearing in the first season, but rapidly became extremely annoying in this one. See reference: Qi Lu deciding that every single time Chu Xia gets pissy with him, he’ll call her stupid or some other variation instead of asking “what did I do” like any normal human being would. Gets old when it happens every episode for 20 straight episodes, boy.
Also, I’d like to mention that the editors confused the hell out of me. Why on earth would you play fun, happy background music during a scene in which two antagonists are plotting how to get rid of their rival? Whenever this happened, I half-expected a squirrel to jump out and maul them or something else that would be entertaining, but nope. It would just be a possibly suspenseful scene, ruined by a playful little jingle in the background. It seriously ruins the mood.
In a way, I consider it intelligent that none of this content was included in the first season. The quality falls so short that it’d be a real shame to drag down the fun of the first season with this trash.
tl;dr: did the director hit his head during production and decide to continue being the director?
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W was certainly one of the most anticipated dramas of the season, and for good reason: a creative storyline paired with an exemplary leading cast. I, like many others, was captivated by the idea of a webtoon coming to life. And Lee Jong Suk? Huehue. Say no more.
The writers of the show crafted a plot that is bound to keep you on your toes and send your brain into overdrive. It’s not the most intelligent story I’ve seen. At times it's confusing and borders on being nonsensical, but it’s logical enough to make it worth watching. W is especially intriguing because of its unpredictability - even if you grow used to the plot, each new problem creates an addicting mystery. You become determined to understand exactly what will happen next.
While I enjoyed W and the anxiety its suspense caused me, this drama is not perfect. A show amazing in concept, it fails to deliver in some of the most important aspects.
One thing I found particularly problematic was the romance. Some might disagree, but I found Kang Chul and Yeon Joo’s loveline to be one of the most poorly-written in any K-drama I’ve seen. I’ll admit that there was incredible potential in their relationship. However, the writers never give you any reason to like this couple except that they just are a couple - it’s the unspoken drama rule that because they’re the main characters, they have to be together. Fair enough, but that doesn’t get my heart racing.
Is the romance necessary? Yes - to an extent. Love is the easiest way to connect the two main characters. But trust me; that romance sucks badly. In the beginning episodes, you find it cute. What’s not adorable about a cool guy who’s curious about this ditzy girl? Then, you suddenly hit the point of doubt: but…but why, though? Why are they together? How? Sadly, there is no satisfying answer to these questions.
Yet, as much of a letdown as the romance was, what ultimately kept me from giving this show a higher score was its characters.
I have a burning passion for well-written characters, and I thought W would be the perfect drama to see it being done. The idea of the story is that the boundaries between reality and fiction are blurred, causing a mere created character to act and feel as a real human does. What we viewers deserve out of such a concept are heart-wrenching characters whose personalities you could find within a human in this world; who would persuade you that creations are self-aware. But disappointingly, nearly every single one of W’s characters are dull.
Strangely enough, the best example is Kang Chul. Our main character happens to be perfect. That sounds great! He’s rich, goodlooking, with an incredible sense of justice (this is where I swoon). He wants desperately to live, and you feel for him because…well, he’s not just a webtoon character; he’s a human being goddammit! Look at his perfect skin. And his eyes (oh his eyes). Also his backstory is so sad! But there’s something sadder than his backstory - his personality, which is as two-dimensional as the lines that were drawn to create him.
I’ve seen a lot of people share the same justification for why he has no real flaws: he’s a webtoon character, thus not real, thus does not have to be bound by the unspoken law that all people are imperfect. Fine; that makes sense. But isn’t that ironic? His whole gist is that he’s a human being. Where does he come off claiming such a thing if he’s so flawless? You’ll begrudgingly accept this character because of Lee Jong Suk, but that’ll be the extent of it.
And, the side characters are just that - side characters. Oh, sure, they exist. Yet I never really cared about them. Most of the time, they were convenient plot devices, not people. (I’ll say that I did very much like the role of Yeon Joo’s father - out of everyone, he feels the most realistic.)
If this were any other drama, I would let this go. I understand that a show can’t have everything, and characters are often the afterthought in the face of such a complex plot. However, I want to make it clear that if the writers are going to create a show based around the idea that these webtoon characters seem human, then they have to create characters that are human, and as a result, elicit my empathy. By the end, I should have been setting up a shrine in my house and counting prayer beads in hopes that they all get a happy ending! Uh…maybe that’s an exaggeration. But do you get me?
I know this review sounds bad, but I do want to get across that altogether, I did have a good time with W. Doesn’t sound like it, but it’s true! Its problems may be obvious, yet its strengths are enough to keep you going.
Its control over suspense had me hiding behind my hands at certain parts. And the cast itself is great - particularly the actor portraying Yeon Joo’s father; I cried womanly tears for you, sir. I’ve never watched Han Hyo Joo on screen before, but I did enjoy her role and thought she did a pretty good job with her character. I will also again emphasize my love for Lee Jong Suk: those emotive eyes. Gah. Almost made me like Kang Chul.
I recommend you to watch this drama, but simultaneously caution yourself against the blinding hype that it received. The end product of this show was nothing near to the perfection that I expected it to have, but it also wasn’t anything close to being bad.
Don’t expect a masterpiece. Watch it; have fun with it!
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Beautiful Gong Shim began as a drama with infinite promise in the rom-com area. The two main characters are quirky and at first glance, you just expect a cute little romance that you can enjoy without much thought. I'll also point out that the first few episodes included some of the most ridiculously funny moments I've ever experienced in any drama, so my expectations were incredibly high as the rest of the episodes came out.
A little past halfway through it, though, the plot tried way too hard to be serious and suspenseful, thus losing its initial humorous merits. The feeling is somewhat like listening to your grandparents tell stories: at first, you're pretty interested, but it quickly gets boring, yet you feel an obligation to sit there until the very last word. I stopped finding things to laugh at. The romantic moments were less rewarding in the midst of the mess of the conspiracy plot the writers drew up for no apparent reason. The characters deteriorated and lost every trait that made them unique.
If there were one redeeming aspect of this drama, I'd have to say that it's Nam Goong Min. Usually a professional in depicting a psycho serial killer in other dramas, this time he's the lead male with a fair amount of goofballness. He was a joy to watch, but his character was not spared in the enormous *let's-make-everyone-generic* massacre. Everyone else fulfilled their roles nicely, but Goong Min's really the star of this show. (Which is interesting, as I thought the directors would give Minah more of a spotlight but she really dropped off the radar late into the drama. I could say less of the wig they made her wear though.)
The music was fun; there were multiple tracks that cheered me up along the way and altogether, they were nice to listen to.
In general, I'd recommend watching maybe the first ten episodes, if not less. The beginning is worth watching, as it puts a smile on your face pretty frequently. It's just the second half that becomes appallingly boring (trust me, you probably wouldn't even miss anything if you skipped straight to the last episode as soon as the story even starts to drag).
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Incoming: mild fever dream
Wow. What an…experience.Objectively, I had a few issues with the drama’s execution. Not-so-objectively, this is a perfect show to accompany a couple of spiked seltzers (ahem...only if you're of legal age, please): it’s cra-zy. Loco, I tell you.
The School Nurse Files is not your conventional television show, let alone your run-of-the-mill K-drama. It really does have a “Netflix original” vibe to it (as I would describe such a “genre”): creative and at times disturbing, but most importantly, outlandish. Each episode is a trip into peculiar jelly (warning: gross to look at) encounters, meeting eccentric characters, and the resulting chaos. Mixed together with moments of dry humor, the show can feel overwhelming at times, but is unexpectedly entertaining.
I can picture this drama as suiting those with more niche preferences, so I wouldn't recommend it on a whim. The computer graphics are done so well that the resulting creepiness can be physically off-putting. And though our main character may be a toy sword, BB gun-wielding fanatic, this show’s themes are quite serious and—on certain occasions—dark. Altogether, it’s a weird cocktail of comic tomfoolery and harsh reality that’s the first of its kind in the K-drama realm.
In terms of writing, the length of the drama turned out to be a handicap. The story was interesting enough, but the progression was slightly faster than what I prefer. With even one more episode, I think the pacing could have been smoother and the message of the show would have come across much stronger.
While I liked the characters, none of them were developed to their full potentials. In the fantasy genre, where plot tends to be overpowering by nature, it’s important to build characters as interesting human beings in order to complement such compelling stories. I don’t think that was entirely accomplished here, and that’s my main qualm with the show. The characters are supposed to be strange. Most of them are supposed to rub you the wrong way. But then what? They fall flat. Altogether, the freshness of the plot is what carries you through the show.
Admittedly, my initial interest was due to Nam Joo Hyuk. Jung Yoo Mi being on the cast list was an extra plus. It shouldn’t come as a surprise that the two of them performed excellently. Jung Yoo Mi excelled in her oddballish yet emotional lead role, and Nam Joo Hyuk’s portrayal of a mellow and genuine sidekick was equally fun to watch. Oh, Nam Joo Hyuk. Never could I have expected him, of all people, to lead me...here. But here I am. In jelly-world.
Because it’s such a unique drama, there’s really no way of predicting whether you’ll enjoy it unless you try it. This is one of those rare shows where watching the first half hour is likely enough for you to make an accurate judgment about how much you’ll like the rest. So, empty your mind and jump in…just…your head needs to be totally empty to accept the amount of insanity it’s about to encounter.
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How do I even put this into words? Though just missing the mark of perfection, "Go Back Couple" is quite the emotional ride and one that I can't stop thinking about.
At its core, this is such a simple drama, but its execution is breathtaking. This tells the story of deep emotions and complex relationships under the guise of a lighthearted romcom. Everything about its surface will have you believing that this is a refreshing watch to relax yourself, but once you set foot into the first episode, you will realize: you have made a horrible, beautiful mistake.
I’m a crybaby. Over the years, my tear ducts have truly widened the scope as to what can get them going. Even so, nothing could have prepared me for this drama. “Go Back Couple” had me bawling every episode. Yes: every. Single. Episode. My tissue box is a bit tired. The emotional impact of this plot hits like a cement truck and results from the writers’ decision to focus not on the couple’s romance, but on the leads as individual people who harbor their own struggles. Those struggles then translate into their relationship. As we see them learn how to cope, their reconnection is natural and more satisfying.
The plot is not overly convoluted or “smart,” which occasionally causes it to slip whenever it tries to introduce bigger conflicts; but ultimately the lack of plot twists is what gives it its beauty. The simplicity but poignancy of our leads’ interactions, along with all the characters around them, increases how much we as viewers can empathize with them. There’s none of that theatric suspense that has become the trend in so many dramas: just humans dealing with incredibly human problems. Sometimes I forget that a time slip isn’t exactly normal; it weaves so well into, but doesn’t completely overpower, the story.
The cast plays a huge part in all of this success. Because the plot relies entirely on the personalities of its characters, there is no room for error on the side of the actors—and there are no errors made. Jang Na Ra is always spot-on when it comes to her roles, especially in scenes that are emotionally heavy. As soon as she hits the switch for the crying, it’s almost impossible to not follow along. Son Ho Jun is a new name to me, but he could be Ban Do in real life and I wouldn’t question it. These two together are as great as they are as individuals. All the side characters and so-called “secondary leads" are also incredibly important in their own ways. None of them are “there” for the sake of diluting the plot and dragging out time. They each bear their own hardships in ways that pry at our hearts and help the lead couple along their journey.
Everything about “Go Back Couple” feels priceless to me. There are so many little moments that are heartwarming yet claw at your innards. It’s one of those shows that has something incredibly personal to say to you, regardless of what stage of your life you’re currently in. That’s such a difficult trait to come by in any type of media these days, and that alone makes this drama worth watching.
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Let me first say that how this drama was marketed made it incredibly misleading. The summary and the promotional posters make it appear as if this is a show that's at least partially about our main protagonist achieving stardom despite all the obstacles that can get in her way. Spoiler alert (one for potential viewers' benefit): it's not. The plot is instead a disgusting mess of irrational decisions made by barely-likable characters that had me mentally writhing in my seat for 40 minutes at a time. There are predictable stories that can still be amusing to watch, and then there are stories like this that are just outright maddening. This whole show I was waiting for the promised moment when our main character would show her talent to the world and I was brutally disappointed.
The cast was possibly the least of all the evils that this show had to offer, and I ask that people take this even with a grain of salt. The reason for that is because no matter how in-character these actors were, the characters they played all were so unbearable by the end of this show that I wondered what on earth was going on in the writers' heads. Take for example Victoria's character, Mei Li. The drama shoves her in your face as the innocent, selfless, embodiment-of-kindness protagonist who, when she does something wrong, was righteous in doing so. Over the period of 40 episodes, this gets old pretty fast and a previously likable character becomes someone so unrealistically depicted that I was left astounded.
Admittedly, the only thing that saved this show from bombing even more than it did with me was the acting. Especially with some of the older actors, they portrayed some of the more emotional parts with enough persuasion that I did feel some sympathy.
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tl;dr: This show was a combination of irritation and crying from boredom.
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Ever read a fanfiction written by a twelve-year-old whose biggest concept of conflict is that she doesn’t have a boyfriend even though she’s only twelve? Now, imagine if this twelve-year-old had rich parents who paid for the most top-notch cinematography in order to make this fanfiction into a television production. And there you have it; this is what Long For You felt like from beginning to end.
I’ll give the production crew props for such pretty promotional posters and consistently beautiful shots throughout the drama. I genuinely appreciate their efforts in presentation which frequently resulted in brilliant results. But "don't judge a book by its cover" gets a whole new kind of importance in this show's context.
The story was absolute crap. That MDL has this listed as related to You Who Came from the Stars is an absolute insult to the Korean drama industry. I didn’t even like that drama as much as most people did, but I can still say with utmost confidence that You Who Came from the Stars would mop the floor with Long For You any day of the week. Aside from similar plot elements, you can’t even begin to compare the two. Forget being on the same level. They aren’t even in the same building. Or continent.
I have honestly never been so frustrated by a drama plot due to its lack of proper flow. What exacerbated this was the fact that the synopsis was the reason I started watching it: what’s not to like about a story that combines supernatural elements with romance? Yet, Long For You somehow took an interesting concept and turned it into something that was worse than nothing. The stunning cinematography was wasted on a plot that, again, felt like it was straight out of the mind of an immature pre-teen.
Conflict in this drama never feels like conflict. It always feels like a very slight inconvenience. Take for example, the main female character. You can tell from the story’s summary that she’s lonely as all hell. But the most we get of this characterization in the actual show is at most one minute of her being like, “Oh, woe is me. I am so. So. Lonely.” Are you now? Because I’m sorry, but just saying that you’re lonely doesn’t mean sh*t, especially when it only comes up once or twice. The problems in this show were written trivially, almost like the writers couldn’t wait to get back to the romance, but felt the necessity to include something else.
It was quite the shame, as well, that the romance sucked. There was zero chemistry between the main couple and zero logic behind their getting together other than the dramaland rule that states "main female lead and main male lead must end up together." For me, every time I saw them on screen, it was easier to picture them as brother and sister than a couple. Gross. The secondary couple was comparatively much more fun to watch, in addition to the situational pairing of the two male leads. These two pairings made this show slightly bearable.
We now arrive at one of two reasons why I didn’t drop this show like a hot potato: Song Wei Long. Not his acting, though. Kid’s got a long way to go. But there’s just something about those not-yet-legal-age eyebrows that entrance you. I swear I’m not being creepy. Going off of this, though, none of the acting really captured me as being amazing. Though, I imagine it must’ve been hard for the actors to play characters that are about as dimensional as a piece of paper that has been transported into the first dimension.
I’ll conclude this review with the second reason why I kept watching. I just wanted to see how bad it could get. It’s been a while since I’ve completed watching such an utter trainwreck. I’m sure you’ve gathered, but it only got worse with time.
(Also, if you would like to spare the production crew with the excuse that 20 minutes an episode at 20 episodes total is too short to do anything amazing, I will ask you to contact the closest weeaboo available. They can provide you a very long list of anime that construct stories infinitely better than this show's. And in only half the episode count.)
tl;dr: I'm more disappointed in myself for finishing this than I am in the producers of this show.
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A warm ode to our youth – one day, we will become someone that our past selves can be proud of.
Mental turmoil latched onto me the moment that I attempted to evaluate this drama with a rubric. To claim that this show is close to objectively “perfect” would be awfully far from accurate. But the more that I told myself to be impartial, to judge this drama as fairly as I did every other show that I’ve ever consumed, the more squeamish I got. After all, it's one of the most magical dramas I've ever had the pleasure of watching.The overarching plot of Dear Diary starts with a woman by the name of Chen Meiru. Like many young and hormonal creatives, she wrote a self-insert love story when she was 12, and paired herself with a handsome and devoted prince to boot. On her 24th birthday, he appears before her very eyes: a buff Babylonian man, wildly proclaiming his love for her. Hilarity ensues as the jaded careerwoman attempts to return to her normal life, haunted by the gorgeous prince, his loyal subordinate, and a beautiful love rival – each of whom she designed under her own pen as a starry-eyed child, but who are now composed of flesh and bone.
On the surface, Dear Diary is yet another kooky fantasy rom-com mess. In a genre teeming with titles, what instantly sets this one apart is that it’s legitimately funny…hmm, nope; “hysterical” is a more fitting term. Not once does it rely on cheap gags. All the jokes fit perfectly with the situation and are delivered impeccably. I had just gotten my wisdom teeth pulled when I started watching this drama, and the amount of pain I suffered due to failed attempts at suppressing my cackling was not trivial. Totally worth it, though. (Side note: some of the jokes may only be effective if you have prior understanding of Chinese culture. I took a look at the official English subtitles and they don’t provide any relevant context to understand these references. Booooo. If you're interested, you can visit my profile for a link to my fan-subbed version, in which I translate and explain these references.)
Is good humor this show’s sole asset? No, no, no. That’s the mere tip of the iceberg. Once you go for a deeper dive, you’ll discover that this show possesses a power that many others can only dream of: logic. Halle-freaking-lujah, it’s not mindless antics! Not only is there a methodical sequence of interesting events, there are actual reasons behind those events. I would like to thank these writers for displaying to their industry peers that “fantasy” is not a synonym for “has no rules.” In spite of a few plot holes (which are inevitable due to production reasons, as I’ll explain in a bit), the overall story is one of compelling, nonstop developments.
As you learn how and why certain events occur, more serious themes emerge. Whereas a great deal of creativity went into the layout of the story, an equal amount of thought went into tying it all back to reality. The fantasy elements become increasingly metaphorical in nature and the initial humor recedes to reveal the characters’ internal struggles. While I adore the comedy, the tone shift is truly brilliant and utilized fruitfully. Savor your joy – the higher your mood flies in the beginning, the more tears you’ll shed when later episodes wrestle you back down to earth.
How do the funny and somber components both work so well? Obviously, the writers and directors put in excellent work. But it would be a severe injustice to not applaud the actors. Across six lead characters (that’s right; six, with each of them bearing equal weight in the story), there’s not a single weak link to be found. They all interpret their roles very seriously, which allows you to immerse yourself into every scene – be it one of comedy or one of tragedy. I’m especially appreciative of the actors and actress playing the three characters risen from Chen Meiru’s diary. These characters would be extremely easy to exaggerate to the point of being awkward caricatures. However, because each actor gave due respect to the role that they played, every character feels real and their reactions suit the situation. Also, special shoutout for Bu Guanjin, who I swear has some of the best line delivery skills in the industry.
For the sake of clarity, I’ll go over the drama’s characters by splitting them into two groups: “human” and “paper,” the former being those in the story who are regarded from the get-go as “real” people, and the latter being those who rose from the pages of Chen Meiru’s journal. These paper characters, Murong Jielun, Ouyang Wenshan, and Jiutian Longnu, all start off as you would expect – horribly cringeworthy. Flat, one-dimensional; the pinnacle of an adolescent girl’s imagination. But, over the course of the story, their growth is the most impactful and satisfying of all. It’s through them that we witness the departure from supposed destiny, and the subsequent importance of taking your future into your own hands.
As for the humans themselves: you have Chen Meiru, Jiang Huizhen, and Duan Shuiliu. Each of them live drastically different lifestyles, but are ultimately as similar to one another as they are to you and me: full of youthful dreams, and also full of doubt. Perhaps we’d expect that them teaching the paper characters about life would be the primary focus. However, what is of more interest is watching them—the “real” humans—find hope within cruel reality by cherishing and loving those fictional, yet genuine paper characters. It’s poetic cinema, I tell you.
At its core, this drama is a tale of growth and self-worth; about overcoming insecurities and reaching for greater heights with the support of those around us. This storytelling is especially valuable for us women in the audience, who need more media in which ladies are permitted to be vulnerable, to be flawed, to be irritable. Of course, this message applies to you; whoever you may be. We all have our moments of weakness. We all have negative memories that hold us back. But through others and through our own self-reflection, we can find happiness.
Alright, so I’ve talked your ears off about all the good points. Then what made me initially waver away from giving Dear Diary such a high score? For one thing, the dubbing leaves a lot to be desired. It is extremely obvious that they recorded over existing dialogue for numerous scenes. I’m sure it was unavoidable, but dubbing will always get me in a huffy mood.
Secondly, and possibly most importantly, the pacing is far too fast. Like, “someone needs to dish this production a speeding ticket”-level too fast. 24 episodes at 20-some minutes a pop? It’s whiplash waiting to happen. In regards to the overall story, the length is tolerable; but as they say, the devil is in the details – the compressed timing creates a good number of plot holes, which leads to clunky development, which in turn harms intricacies in the characters and their relationships. Frankly, I didn’t find it to be a major issue; but the progression definitely doesn’t feel as natural as it could be. Here, I’d like to mention that the producers edited the entire show twice before it could air (due to reasons like our beloved censorship). Twice. Can you imagine how much precious content got cut out in the process? I could cry just thinking about it. Anyways, if the crew is willing to release an extended director’s cut—even if it’s secretly in some kind of drama black market—I might have some pocket money at the ready…just saying.
These issues could prove fatal for any other show, but I’m more than willing to overlook them all for Dear Diary. This is a rare drama where you can truly tell how much care and effort went into making it something of emotional value. You never get a sense that those involved in this production were in it to make mad bank or to revolutionize the Asian drama scene or even to be super dramatic. It’s just here with the modest goal of telling us a fun, soothing story. Whether it be in the realism of the acting, the craftsmanship of the dialogue, filming in Morocco and having the cast learn the Akkadian language for scenes referencing ancient Babylonia – there is no shortage of genuine dedication. There’s something exceptional about witnessing a passion project, bursting at the seams with honesty and sincerity, coming to life upon your screen. It warms my cold, cold heart. It inspires me to be just as heartfelt toward my own life.
While Dear Diary may not be “perfect,” it’s a perfect example of the sentiment that a show need not be flawless in order to receive love from its audience. When a writer cares deeply for her script and an actor his role, a viewer can instinctively feel it. That emotional connection, that soul alone can be enough to make a show into something special. Dear Diary possesses that soul. And I couldn’t be more grateful that the team behind it shared it with us, because it really is something special.
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Esta resenha pode conter spoilers
(For a spoilerful review, I wrote a separate, much more in-depth version here: https://dramavixen.tumblr.com/post/177526794854/)Was I expecting a trainwreck when I first started watching? Perhaps. Actually, yes; unquestionably so. Thus, even if I call this show a trainwreck, it wouldn’t be accurate to say that Meteor Garden was "below expectations."
Meteor Garden was possibly one of the most anticipated Chinese dramas of the season, rousing the nostalgic instincts of those of us who have long been attached to this story. Of course, that’s a great burden on the cast and crew. This is especially true in China, where viewers tend to prefer the “original” version of everything—novels, dramas, movies; you name it. Any kind of remake or adaptation is asking for trouble; and Meteor Garden fared the worst that I've seen, with a whopping rating of 2.8/10 when the first episode aired.
We can say that viewers in China are being overly judgmental, but the one thing they’re right about is that choosing to remake this was a shaky decision to begin with. At its core, Meteor Garden overflows with cliche after cliche; all the ones that make us roll our eyes whenever we see them: the poor girl-rich guy combo, the trash male lead/nice second male lead dynamic, the meddling mother-in-law; the list just writes itself. This isn’t to say that cliche usage equates to a bad drama, but historically, Meteor Garden has never elevated these elements to anything past mediocrity.
This adaptation still uses all of these tropes: without improvement. We can argue all day about how the writers toned down the bullying that existed in the previous versions; how Dao Ming Si isn’t as bad of a guy as he used to be. That doesn’t change the fact that this story is incredibly weak.
The conflicts between the main couple start off making sense because they have a lot of moral disagreements. Meteor Garden intends to show the evolution of a relationship as it progresses between two enemies to two people in love. However, with 48 episodes worth of problem after problem solely for the sake of dramatics, the instability of their relationship quickly becomes less heartbreaking and more obnoxious. All the side plots involving the other characters are also either boring or mindnumblingly frustrating—or (if your goddess of luck has abandoned you) both!
How do the characters play into the plot? In a word, badly. The sheer level of bullcrapery that is injected into the script makes it impossible for anyone to truly develop or interact with each other like normal human beings. Each character does have their good and bad points, which I appreciate. But more often than not, we don’t get to see them act as people; they’re just used as paper dolls for the sake of toddling through whatever conflict the writers feel like putting into the episode. It’s a real shame, especially since the actors all have so much potential to do better.
In all honesty, I’m surprised that I finished this show. Well, I guess I could be more surprised; from the very beginning, I wanted to see this ordeal to the end so that I could be as thorough in my roasting as possible without any false pretenses. So here, I have to say that Meteor Garden is but a pile of burnt potatoes. And just like there're a lot of better things to eat than burnt potatoes, there’re a lot of better things to watch than this.
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When Love in the Moonlight first hit my drama radar, everything about it put me off. The promo posters just radiated cheesiness, so much so that I’m pretty sure I internally gagged. Not to mention, everything about its premise was overdone and oftentimes badly so. The crossdressing girl, the handsome prince, the political intrigue mixed somewhere in there...Was it worth the risk of watching and likely being disappointed?
The thing about Love in the Moonlight is that it is definitely a good show. Well, partially. It suffers from what I like to call “K-drama syndrome,” where it starts off at its peak and then plunges down into its inevitable doom, where the plot and characters deteriorate in a cesspool of their previously glorious existences. It's exactly as revolting to us viewers as it sounds.
The storyline of Love in the Moonlight is incredibly unoriginal. Its desire to take on the tropes of a crossdressing female who falls in love with a higher-class man was quite impressive, and for a good half of the drama, the execution was phenomenal. I found myself practically twitching while I waited to watch the next episode upon release.
There’s something about cliches done well that’s just as appealing as a never-before-seen storyline, and that’s what Love in the Moonlight accomplished. Its cheesy romance was bolstered by a talented leading couple, and its political aspect was intelligent, yet not overly difficult to follow. Not to mention, the characters were all lovable, each with their defining characteristics that made you love to see them. I admired the drama's ability to make the usually predictable storyline both unpredictable and addicting, and making me take back all my doubts from the beginning. Touche, writers; but that victory only lasts for a little while.
The problem with Love in the Moonlight is that as time goes on, you begin to see the infection of K-drama syndrome more and more. I'll admit, the writers keep you on your toes enough so that you barely even notice the problems unless you take a glance backward. But holy cheese, did this show throw away its potential at being perfect.
The romance is great, that much I will stand by. However, I attribute that much more to the capabilities of the leading actors than the characters themselves. I adored the Crown Prince at the beginning, and I likewise appreciated Ra On’s quirkiness. But over time, the writers lost sight of what made these characters unique and reduced them down to “male lead” and “female lead.” I don't even want to talk about the atrocities of the side characters, particularly Ha Yeon, who faded further and further into the background. It got to the point where she would come on screen and my reaction would be, "who is dis," because she had become that irrelevant. I’ve seen static characters, but I was puzzled with how the ones in Love in the Moonlight somehow managed to all move backward in development - their quirks disappeared. To me, there was nothing sadder than the moment I admitted to myself that the only reason I still liked the Crown Prince was because of Park Bo Gum.
Additionally, I have to say that the writers really lost themselves nearing the end of this show. It was cliche in the beginning, but at least they carried it out well. By the end, they were throwing so many tropes in your face that it almost bruised me. Most of which, I didn’t appreciate at all. There’s a difference between using previously-seen plot elements to better a show, and using them just because there is a need to. By resorting to the latter, the writers failed what could have been an absolute gorgeous ending.
For me, the one trump card of this drama was the cast, and this is the one basis I will recommend this drama off of. I sat down in front of the first episode knowing no one out of the main cast aside from Kim Yoo Jung, who I sneered at for being far too young for her role. By the end, I was impressed with everyone’s ability to portray their respective roles.
Park Bo Gum is phenomenal. He’s obviously goodlooking (those puppy-dog eyes though hehehehe), but the level of emotion he puts into every line and movement is awe-inspiring. Everything about his acting feels real, from the look in his eyes and - I swear - each shift of his facial muscles. He brings the Crown Prince to life in a way that I’ve honestly never seen another actor do with their character. And now I have posters of him on my walls. I wish this were a joke, but I guess I’m prouder to say that it’s not - he was just that good.
Yoo Jung is where I’m split. There’s no doubt she’s talented, but I’ll still enforce the idea that she was too young for the lead role in a romance drama. If you’re going to forget how weird it is morally that 23-year-old Bo Gum is interacting romantically with a minor, just know that her acting was far better in scenes where there wasn’t any handholding and whatnot. I’ll give it to her that she tried, and did well alongside Bo Gum, but she still needs more experience to pair with that acting talent. Soon enough, she’ll have a scary level of skill.
I would also like to comment on the music, most of which I loved. They chose a good collection of strong singers for it, and the instrumentals were beautiful (I listen to some of them when I work now because they’re that entrancing). I am going to go out on a limb here though, and say that the song they gave to Park Bo Gum was subpar. I know he’s capable of better music, and I just wish that they provided him the chance to blind us even more with his unlimited talent.
I’d say that Love in the Moonlight is worth the watch, if only to see how the actors are able to bring quality to a usually mundane plot. Despite the bits of disappointment I felt at the ending, I am still glad that I watched the whole thing through and I can say that I enjoyed myself for the most part.
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