The Secret Life of My Secretary (2019)

A bit conflicted on this show. Sure, the boss-subordinate romance trope is recycled. Sure, What's Wrong With Secretary Kim (2018) probably did have some sway on my opinion. Sure, this show is full of writing nonsense we thought was left behind in yesteryears'.

But still, the show is relatively lighthearted and remained that way for the most part. It's a bit cute, a bit emotional, a bit dramatic. Both also a bit frustrating, a bit annoying, and a bit draggy. You really have to turn off your brain and just take things at face value here. It's literally "oh my god are you kidding me?" multiplied several folds over. The plot gets a bit wacky, production is just there, and I wasn't particular fond of a lot of the characters.

In that same vein, yes, as we all know very well a particular female secondary character became a fan favorite and a show stealer. VERONICA PARK, that is. The statement "My favorite parts were the Veronica Park scenes" or "I only kept watching for Veronica Park" isn't hyperbole at all. And that's honestly not saying much for the show itself considering it was supposed to be more about the secret life of a certain secretary.

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Goblin (2016)

A constant in the standard K-Drama diet and it's very easy to see why. An emotionally compelling story. Stunning and visually appealing cinematography. An OST that's still highly regarded in today's time and complements the screenplay perfectly. The cast have a clear chemistry with one another and do justice to their characters and the writing.

So, what's wrong?

Let me preface this with, I have zero, absolutely zero issues with actor or character age gaps whether physical or theoretical. Chemistry and acting chops over everything. If you can sell sand to a beach, I'm in. But something was off with the main "couple" in this show. The male lead and female lead just didn't click for me. They gave off a father/daughter dynamic as opposed to romantic interests. And as hard as the show pushed this relationship I just wasn't convinced. K-Drama fans love buying up fairytale romances so that's exactly what Goblin sold--- alongside those product placements, amirite?

I'm also very much in the opinion that the best parts of the show were the Goblin-Reaper (male leads) relationship and banter. Scenes that included those two generally meant a good time for the viewers and was strong enough to magnify any other characters in the scene. The show also went through a lot of "not much is happening" sequences and with the romantic aspects being more of the bittersweet, ill-fated variety there wasn't much left in the tank in terms of substance.

And as much as an emotionally-charged cluster bomb the ending sequences were, I thought it was both fine and fitting for all of the characters and especially for Mr. Goblin--- Guardian, the lonely and great god.

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W (2016)

A creative premise that was well thought-out and has aged relatively well in terms of production and presentation. The show blurred the lines of reality, blurred the lines of good and evil, and ventured into concepts that were waiting to be explored.

BUT.

Sometime after establishing the, uh, logistics and rules of the universe the show decides to flip the script and break all of its own conventions. At first it was just minor details that were occasionally to mildly annoying. Then you notice inconsistencies, Then the story develops too many ideas without knowing how to finish them. The twists and turns throughout and effort to commit to things that are not usually done/done well in the k-drama world does deserve credit.

But effort isn't everything. You still have to know how to execute and have an idea of how things should play out. Unfortunately, the show began to lose itself in its own proverbial plot. And that friends, is not exactly a W.

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Start-Up (2020)

Start-Up came flying out the gate. Vibrant, modern, and visually appealing. You can see the solid starting foundation for which the story will be built upon and it even showcases the delicacy needed to tug at the proverbial heartstrings. The characters were endearing, lighthearted yet at times raw and emotional.

So where did it all go wrong?

- The writers produced a secondary male lead that seemingly overpowered the primary one and had to find their ways around it
- Lack of/insufficient character growth despite how far the core group of characters had actually canonically come
- Casually brushing off and/or not fully fleshing out certain storylines
- Leaning, more than it needed to, into the romance aspects and that messy love triangle
- Using a time-skip plot device that nobody asked for, that satisfied even less

Don't get me wrong. The show was still an absolute joy to watch. But there was so much potential left on the table. You were asked to invest your time and emotion into the story. Asked to believe in and support the characters. But then they pulled the rug up under you.

That's not very becoming of a start-up.

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Boys Over Flowers (2009)

The show has essentially become a cult classic over the years. For many, it was their first foray into the K-Drama scene and thus carries a strong sense of nostalgia and reminiscence.

But it should really stop there.

Cliché after cliché , trope after trope, stereotype after stereotype. Iffy characters at best trying to navigate their way around a wildly over the top plotline. It romanticizes unhealthy relationships that offer heavy emotional baggage with little to no payoff. Without a doubt, the show's core is an ugly mess protected by its presentation and production values.

Ironic, since it claims to prefer boys over flowers.

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18 Again (2020)

18 Again asks you to come along on its journey of togetherness, healing, and forgiveness.

Backed by great production and a strong, albeit slightly bloated script. The story progression is fine but it does seem to venture a bit off track at times. The ending sequences also could've been a little more refined. But still, by then I was already caught; hook, line, and sinker. I was emotionally invested in the story and honestly, I just wanted to see the characters simply be happy once more and forever.

The show strikes a good balance of lighthearted fun and emotional depth. A bit childish at times, sweet and endearing other times, and knows exactly when to be a real tearjerker. The emotional weight is evident and the lighthearted moments never fails to complement it every step of the way. The cast of characters had fairly good chemistry with one another and with the Male Lead pulling, essentially, double-duty--- it's evident that he very much carries the show from start to finish. The romance aspects are a bit sidelined as the show definitely leans more towards a slice of life, family-healing/bonding theme. And as it should because it does its best during those times.

I can see why the show is relatable to many because, well, who doesn't want to be 18 again?

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While You Were Sleeping (2017)

A creative premise that's contrasted by relatively simple point A to point B episodic content. The performances from the main leads and the secondary characters made the story flow pretty smoothly. Though I can see how the simplistic nature of the show presented in individual stories could turn some people off.

One thing that really bugged me early on was when one of the main antagonists was pointed out by his own client to have falsified evidence. Why wasn't he investigated, suspended, or disbarred? I mean yeah, this is TV and all but this is like a HUGE thing in the world of law. Keeping him around for the sake of plot and/or stuff like that in general made the show feel a bit cheap at times. To add to that, I think the amount of "filler" in the show kind of ruined the mystique of the concept. The more (quantity) they leaned into the supernatural aspects the less (quality) it was memorable. Don't get me wrong, the writing was still good to watch as details and stories were fleshed out reasonably well but I think condensing things would've been more impactful.

The show has just enough drama and suspense to sustain itself and yet manages to keep a relatively lighthearted side of things. It has its fair share of emotional bits as well as parts where it falls flat without anything particularly memorable. So while enjoyable, it won't linger around in your thoughts or have you think about it in the shower or in bed, while you were sleeping.

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Pinocchio (2014)

A fairly entertaining script, driven by an alright cast, portraying characters with an okay on-screen presence and semi-decent chemistry.

The setup is an interesting idea but it is a bit slow before it ramps up to the juicy bits. There's hardly much in terms of the romance subplot so you'll pretty much have to be engaged with the suspense and drama bits the majority of the time. Which, again, isn't the greatest at times.

In terms of the characters, I don't feel as if they developed as much as they should have from the series start to finish. While the performances from the leads were fine I feel as if the writing didn't match up. Some storylines or plot devices were a bit boring(?) or draggy even though, oddly enough, the show passes the eye test in terms of pacing.

In any case, I think they could've done something a little more impactful with the Pinocchio setup. While I credit the writing in an attempt to create something magical out of the "Pinocchio, the boy who lied", well, "Pinocchio, the girl who hiccupped" just doesn't hit the same.

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Fight for My Way (2017)

Despite it's oddly prudish nature, the show does an good enough job in showcasing the adult relationships of four best friends. I can't say I'm fully supportive of how the characters were written e.g., weirdly childish but it's sorta acceptable due to the well-rounded chemistry between the cast. Honestly, just slightly toning down the childlike antics and have the characters act like somewhat serious actual working adults in their mid to late 20s would've done wonders for this show.

The story while very endearing, affectionate, and at times emotional, was a bit awkward and overly melodramatic when it came to moving the plot along. Though I will say, the juxtaposition of one pair of friends chasing their dreams versus the other pair facing relationship issues was an enjoyable contrast to prevent the show from being too one-dimensional.

All in all, it's a fine show to watch for the cute, casual, slice of life-y, romance-y bits. It's decent enough on the both the romance and comedy to qualify for a romantic comedy. And it for sure has enough drama to qualify for being a drama of all time.

The lesson learned here: always fight, whether physically or mentally, for your dreams, goals, and aspirations. Don't do it for others, do it for yourself--- your way.

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When Time Stopped (2018)

An interesting premise brutally devastated by nonsensical writing and plot devices. The core story was as dull as it's presentation. Which by the way, gets negative marks across the board. The color grading, the cinematography, the visuals--- poor at best. The OST might be passable I guess?

Theoretically all shows deserve a chance but there's just no upsides to this one. A plot that becomes less and less appealing once it actually starts ramping up. Character dynamics that becomes less and less appealing the moment they interact with one another. World-building that becomes less and less appealing the moment they start crafting.

A lot of "oh, so that happened... huh" moments all throughout the course of the show. Combined with the shallow plot, iffy chemistry of the leads, and low-effort execution... unless you're a die-hard fan of something in this show, there's just no appeal to it.

Honestly, I'd rather rewatch older shows ad infinitum than this one--- even if time stopped.

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It's Okay to Not Be Okay (2020)

The show delivers a multi-angled story and executes it quite well. It does well in invoking many different emotions from its viewers; backed by very polished production and a strong cast of characters to support the story. Even though the show is focused on the character-driven development it still provides an adequate well-rounded story to keep you hooked episode after episode. The plot's turning points aren't a complete blindside but when complemented by the very alluring presentation, it gives just enough leeway to catch you off guard at times.

The thematic styling works well although the Romeo & Juliet-esque, ill-fated lovers, will they or won't they back and forth shimmy between the main leads got a bit weary at times. Nevertheless, the show still manages to strongly deliver on both the bright and fun moments as well as the more emotionally heavy ones without compromising either or.

Those that make it to the finish line are rewarded with a developed journey of selflessness, healing, and acceptedness. And while the show does seem to romanticize mental health to some extent, the message is still loud and clear--- it's okay to not be okay.

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Playful Kiss (2010)

A fun little romantic story that probably doesn't see the light of day in modern times. A seemingly cute premise fronted by a pair of characters that are hardly redeemable in any aspect makes the show a hard sell. Like most shows of its time and genre, the show once again proves that toxicity and abuse doesn't mean much of anything as long as you show up with a little carrot on the end of that abusive stick.

While the cast of characters do play off each other well, you'll have to make it through the at times slog of a story. And after it's all said and done, you still don't think much of the show as it doesn't leave much of an impression on you, like a playful kiss if you will.

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The Good Bad Mother (2023)

"Why are we still here? Just to suffer?"

The Good Bad Mother takes a 'good' setup and layers plot-dense concept after concept to it but the excessive amount of 'bad' things barely allowed the audience to catch their breath. I mean, it's borderline makjang how emotionally-heavy and tragic the story plays out. It felt like the show's core was lacking so it relied on unfair emotional checks to keep the audience engaged. The story spent so much time building up the big bad evil plot line and teased the climax for a bit too long that it resulted in the end game payoff to be not as satisfying (oh, how often we see this sentiment in k-drama land). That aside, personally I was looking forward to one thing the most. How the show would handle and wrap up the "estranged father and his children" story line. But we got all of nothing with it; a cutesy one-off'er that lacked any emotional payoff. Borderline criminal.

The interpersonal relationships between the villagers were great. The audience is shown that, despite being together for so long, things aren't as happy-go-lucky as most shows would try to depict. They argue, fight, compare, criticize, yet still have tons of love and admiration for one other. Though sometimes lacking substance, these parts of the show were very enjoyable.

Now let's cut to the chase--- the "mother" character. It just doesn't make sense. We're led to believe that the former helicopter parent/tiger mom seemingly learns from her mistakes and tries to change for the better... but does exactly none of that as the audience watches her act the same way time after time again. Why?

While the characters in the story were able to understand and come to terms with this good bad mother i.e., perhaps a "good parent" but a "bad mother"--- the show did not afford the audience the same privilege to do the same.

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Go Back Couple (2017)

With the help of an interesting setup, Go Back Couple delivers a fun yet emotional trip down memory lane.

There were fewer time travel-related shows by the time this was released much less one that had a married couple doing the traveling. While one would assume terrible events had occurred or mistakes that were made which triggered the time slip, in this particular case it mostly just years and years of poor martial communication between two people who never got the adult playbook.

The story had good direction, progressed pretty smoothly, and kept the filler in check. It touched on a range of storylines though I felt some should've been explored a little more. The best parts of the show were the main couple's interactions with their/each other's families. These scenes not only pushed the story along but served as some of the more emotionally-engaging plot points throughout. It took a bit of a cheap emotional setup to get into the end game... but I'll allow it.

The characters, for the most part, were pretty good all around. The main lead couple weren't the complete focus of the show as the supporting side characters also received their fair share of development. While a lot of the signs pointed to him being the "bad guy", the male lead seemed to get really piled on episode after episode for being a bad husband. While certainly warranted, surely the writers could've thrown in a few more scenes that fleshed out some of the female lead's "past" as well.

It's always a pleasure and emotionally-satisfying to watch these type of shows; wishing to be 18 again, wishing to reunite with past lovers, or in this case--- a broken couple wishing to go back and hit the redo button at life.

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The Master's Sun (2013)

Relatively fine.

I'm not much into the spooky-based shows, especially with the "I see dead people" twist, but I was pleasantly surprised by The Master's Sun. Although the spook factor is toned down as the show progresses and the show turns a bit into a slice of life-y, pseudo-romance-y, melodrama; take that as you will.

While the ghost story lines are directed pretty well, they are sometimes awkward and logically head-scratching. The cinematography is uncreative and the dialogues are oftentimes stiff. And yes, a lot of the classic K-drama tropes come into play as well:

- dismissive man meets pitiful woman romance
- arrogant woman falling in love with the uncaring man romance
- amnesia plot device
- "bad step-mom" character
- airport scene

The climax of the show where all the "big reveal(s)" happen--- were unexciting. An anticlimactic, awkward ending sequence featuring an unconvincing villain resulting in an endgame that just sorta... happens?

And the show never stops annoyingly beating the proverbial dead horse with the "sun" wordplay. Female lead is the Male lead's sun; big sun, little sun, The Master's Sun; yeah I get it... enough already.

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