Love in the Time of Coronavirus

Because this is the time to revisit all-time favourites.

These are probably my all-time favourite Korean romantic/romantic comedy dramas. They are not entirely the ‘best’ ones (some even have red flags all over them), but the ones that I keep coming back to over and over again.

1. Emergency Couple (tvN, 2014)

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Oh Jin Hee (Song Ji Hyo) & Oh Chang Min (Choi Jin Hyuk)

Emergency Couple is my first love, as with Oh Jin Hee (Song Ji Hyo) and Oh Chang Min (Choi Jin Hyuk) with each other. The drama follows the rise and fall of Jin Hee and Chang Min’s relationships post-divorce – including the people around them – as the couple’s separation left so many unfinished businesses. There’s no excruciating push and pull in sorting out their unresolved feelings. No glorious wake-up calls and grand romantic gestures, only reflections and introspections in retrospect of their failed marriage. Their going back and forth came from confusion and uncertainties towards their own feelings. Their enlightenment appeared slowly as they find small awakenings along the way.

The beginning and ending show Jin Hee runs in the emergency room as patients come rushing in, but for a moment she stopped and paused to reflect on her life in the slow-motion of the emergency room’s chaos. Jin Hee’s life has come to a full circle.

2. Discovery of Love (KBS2, 2014)

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Han Yeo Reum (Jung Yu Mi) & Kang Tae Ha (Eric)

I guess unfinished business always gives a spacious room for exploration. Or maybe it is the spot on depictions that makes the story feel so familiar.

Han Yeo Reum (Jung Yu Mi) has been dating Nam Ha Jin (Sung Joon) for a year when her ex-boyfriend, Kang Tae Ha (Eric), suddenly appears in front of her. As the three of them try to resolve their past and current feelings, they find the answers to their long unanswered questions.

“And… let’s break up. Let’s break up properly now. I didn’t know why we broke up, so I couldn’t break up with you. And you’ve hated me this whole time. While you still hate me, it hasn’t over yet.” – Kang Tae Ha, episode 10.

(By the way, still one of my favourite lines of all time)

“Can’t you be happy? Don’t think about lying, just because you’re doing fine. I know you’re not okay. Tae Ha, you said you wanted me to be happy. I too want you to be happy. But, why do you keep looking for me? Go and live your life. Why do you keep looking for me? If you keep looking for me like that, I’ll start waiting for you. Do you know how many times in a day I look out the window?” – Han Yeo Reum, episode 11.

“I realised it then why Yeo Reum acted that way. Why she said those mean things to me. Why I held back so much like an idiot. I’m the kind who can’t say, ‘let’s break up’. I don’t know how to break up properly. So I have nightmares, I take pills for headaches, Yeo Reum knew that’s how I was. That’s why Yeo Reum waited for me even when her heart already left.” – Nam Ha Jin, episode 15.

“Yeo Reum waited for me even when her heart already left.” Sobs.

3. Weightlifting Fairy Kim Bok Joo (MBC, 2016)

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Jung Joon Hyung (Nam Joo Hyuk) & Kim Bok Joo (Lee Sung Kyung)

Weightlifting Fairy Kim Bok Joo fooled us into believing that this cheery and youthful show was nothing more than the typical cute coming-of-age story, but it turns out to be so much more than that. Inspired by Olympic weightlifting gold medalist, Jang Mi Ran, teenage love story, the show initially gained criticism for its lookism.

Despite their age, Kim Bok Joo (Lee Sung Kyung) and Jung Joon Hyung (Nam Joo Hyuk) show what a mature and healthy relationship looks like. A quality that many dramas with supposedly more mature characters fail to achieve. Their relationship grows slowly but steadily from frenemies to lovers. The young love is sweet and supportive. No nonsensical demands and expectations, and misunderstandings only came from pure innocence and naïvety. Rather than projecting adults’ perspectives into her characters, writer Yang Hee Seung tried to explore what’s in young adults’ hearts and minds. Their search for love and identity creates conflicts and problems that for many of us who have passed that phase might feel familiar.

4. Fight For My Way (KBS2, 2017)

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Choi Ae Ra (Kim Ji Won) & Go Dong Man (Park Seo Joon)

Though still beautified, Fight For My Way depicts quite a realistic portrayal of the lower-middle-class young adults, making it a refreshing and pleasant break from the overused middle-upper social class settings. Despite some unnecessary stories, the undeniable charming chemistry between Choi Ae Ra (Kim Ji Won) – Go Dong Man (Park Seo Joon) and Baek Seol Hee (Song Ha Yoon) – Kim Joo Man (Ahn Jae Hong) as romantic couples and the four of them as a group of friends make up for what the drama lacks.

Their non-privilege start inevitably leads to mediocre jobs. Go Dong Man was a former high school Taekwondo hotshot, but now works as a pest exterminator while going after the UFC title. Choi Ae Ra always dreamed of being a TV anchor, but after failing too many times, she gave up her dream. Now, she works as a customer service representative at a mall information desk. Both Baek Seol Hee and Kim Joo Man, who have been dating for six years, work at a home shopping network. Seol Hee as a customer service and Joo Man as a buyer. They call themselves the Fantastic Four Knuckleheads. No victorious end for these four, but they do find love in the end. And that’s enough to get them to go through their ordinary lives.

But I have to admit that the strongest attraction of this drama is the pairing of Park Seo Joon & Kim Ji Won. They look great together from the get-go. Their strong chemistry and adorable portrayal of (what I like to call as) dumb and dumber couple are probably their best and most favourite performance of them I’ve seen so far.

5. Ex-Girlfriends’ Club (tvN, 2015)

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Kim Soo Jin (Song Ji Hyo) & Bang Myeong Soo (Byun Yo Han)

The idea of four ex-girlfriends lives become entangled in the same ex-boyfriend’s present life can really be a turnoff, but Ex-Girlfriends’ Club managed to (kind of) dodge the bullet.

Kim Soo Jin (Song Ji Hyo) is a producer at a film production company. Her failing company decides to make a film based on a popular webtoon. Only later did Soo Jin find out that the webtoon writer is her ex-boyfriend, Bang Myeong Soo (Byun Yo Han), who writes about his ex-girlfriends. As the movie starts shooting, the project also brings Myung Soo’s other ex-girlfriends back into his life all at the same time; Jang Hwa Young (Lee Yoon Ji), Na Ji A (Jang Ji Eun) and Geun-hyung/Ra Ra (Ryu Hwa Young).

Interesting storyline, good execution, quirky narrating style, catchy tunes from South Korean indie scene, and its casts’ wonderful chemistry are some of the show’s charms; but it is probably Byun Ho Han’s stellar laidback performance (in his first leading role) and his chemistry with Song Ji Hyo that makes it one of the most memorable (though way too underrated) romantic comedy dramas. Sadly, the drama was abruptly cut short because of the low rating, making the ending felt rushed.

6. Just Between Lovers/Rain Or Shine (JTBC, 2017)

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Ha Moon Soo (Won Jin Ah) & Lee Gang Doo (Lee Jun Ho)

Ha Moon Soo (Won Jin Ah) and Lee Gang Doo (Lee Jun Ho) are both survivors and also the family of victims of a mall building collapse. Though the world around them seems to have moved on, their lives; along with the lives of the deceased families; are still somehow trapped in the past. Today, Gang Doo suffers a Post-Traumatic Stress Disorder and a liver malfunction, while Moon Soo seems to suffer amnesia, where she selectively erased some part of her past memories. Through a series of coincidental encounters, present Gang Doo and Moon Soo slowly enter each other’s lives. Jun Ho and Jin A’s relationships feel so real, organic and sincere that my heart is shattered too as they crawling out of the hole of despair. Their relationship feels sincere and is built gradually upon candor and empathy.

Not all stories have to end with a happy ending. Some relationships have to end to give new beginnings a chance, and some resume with a lot of struggles and require hard work. Nothing is binary in Just Between Lovers. And that’s how life is. Suffering shows you that you are still alive, whether that means good or bad depending on the circumstances.

7. Personal Taste (MBC, 2010)

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Park Gae In (Son Ye Jin) & Jeon Jin Ho (Lee Min Ho)

Park Gae In: “Your back is really warm. I wonder if my father’s back was warm like this too.”
Jeon Jin Ho: “Hasn’t your father ever carried you on his back?”
Park Gae In: “This is the first time I’ve been carried on anyone’s back. I always thought that people’s backs were just cold.”

Personal Taste has all sorts of classic Korean drama clichés, from ridiculous misunderstandings to toxic masculinity and false wokeness. But it was lines like the above, the chemistry between Son Ye Jin and Lee Min Ho (despite Lee Min Ho’s flat expressions) and the underrated amazing performances of Jo Eun Ji (as Lee Young Sun, Gae In’s best friend) and Jung Sung Hwa (as No Sang Jun, Jin Ho’s colleague/fake boyfriend) that stole my heart and making me keep coming back to it despite all its cringes and cheesiness.

8. Familiar Wife (tvN, 2018)

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Ji Sung (Cha Joo Hyuk) & Han Ji Min (Seo Woo Jin)

It was inevitable that K-drama fans instantly compared Familiar Wife to Go Back Couple with the latter being aired almost a year ahead. Both dramas told a story about married couples struggling to keep their marriage alive and suddenly one day they find themselves travelling back in time.

But that’s as far as it goes. Though sometimes touching and heartwarming, but most of the time Go Back Couple feels immature and juvenile. Plus Jang Na Ra and Son Ho Jun are pale in comparison with Han Ji Min and Ji Sung. True that both couples portray their characters very well, but Ji Min and Ji Sung’s versatility as actors create much more realistic and nuanced characters, hence a more believable portrayal of struggling and tired married couple who is given a chance to re-examine their relationship to eventually re-discover their love for each other.

9. It’s Okay, That’s Love (SBS, 2014)

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Jang Jae Yeol (Jo In Sung) & Ji Hae Soo (Gong Hyo Jin)

As banal (and possibly misdiagnose and misrepresent) as it might be, It’s Okay, That’s Love is one of the very few dramas that specifically address mental health issues. Jang Jae Yeol (Jo In Sung) is a bestselling mystery fiction novelist and radio DJ. Because of his troubled past and obsessive–compulsive disorder, Jae-yeol can only sleep in his own bathtub. Ji Hae Soo (Gong Hyo Jin) is a psychiatrist in her first year of fellowship. She self-diagnosed herself as having insecurity/anxiety issues, a fear of commitment, and sex phobia due to an incident where she saw her mom cheating on her dad with another guy. Together, they go through a tumultuous relationship to eventually heal each other’s deep-seated wounds and face their own battles.

Said to be the first Korean psychiatric drama, as expected, Hae Soo and Jae Yool are not the only ones with mental health issues. Most people around them are also dealing with their own psychological problems, which in a way gives solid backgrounds for their actions and behaviour.

Just like in most of Noh Hee Kyung’s dramas, the heavy subjects are balanced with wits. Gong Hyo Jin and Jo In Sung’s sassiness is a fundamental trait in carrying Hae Soo and Hae Yool endless bicker and banter, making them the coolest couple in romantic K-drama land.

10. Fated To Love You (MBC, 2014)

Fated To Love You 3
Jang Hyuk (Lee Geon) & Kim Mi Young (Jang Na Ra)

The ridiculous plot and overdramatic storyline did not hold Jang Hyuk from delivering one of the most iconic performances (and hairstyles) of his career and probably in the history of K-drama.

I don’t think anyone else can pull off portraying the eclectic Lee Geon better than Jang Hyuk. He makes the character looks like it is made and tailored just for him. Sometimes comic-y, extravagant, over the top; especially with the laugh; and even unnecessarily bizarre, Lee Geon is also warm and fragile. Jang Hyuk flawlessly glides from one emotion to another. One wrong step can turn Lee Geon into a despicable character, but instead, he makes Lee Geon’s flaws (kind of) understandable and even makes us empathise with him.

Lee Geon’s antics is in contrast with Kim Mi Young’s unassertiveness, even submissiveness, which suited Jang Na Ra’s melancholic face perfectly. So great their chemistry is, they were paired up for the third time later that year for a one-episode drama special, Old Goodbye.

11. Something About 1% (Dramax, 2016)

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Lee Jae In (Ha Seok Jin) & Kim Da Hyun (Jeon So Min)

Almost everything about the show screams political incorrectness. The toxic masculinity is quite disturbing, moreover, in this age of #MeToo. Many K-dramas have been criticised for romanticising rape culture and this one ticks so many alarming boxes. The story is also a conservative cliché with too many unnecessary sub-plots (it is a remake of 2003’s same-titled drama starring Kang Dong Won and Kim Jung Hwa. And apparently the writer didn’t bother to update some of its outdated aspects).

Lee Jae In (Ha Seok Jin), a rude, mean, and arrogant heir of a wealthy family, is forced to get married in order to inherit his grandfather’s fortune. Unable to escape his command, Jae In engages in a six-month contract for a pretend relationship with Kim Da Hyun (Jeon So Min), an elementary school teacher chosen for him by his grandfather. Predictably enough, both Jae In and Da Hyun slowly fall for each other and it is Da Hyun who softens his heart and transforms his attitude. This ‘bad boy turns into a good boy with the help of a good girl’ and arranged marriage (without the woman even knowing!) formula is rather appalling in this age of gender equality and female empowerment.

But Ha Seok Jin and Jeon So Min save this drama with their wonderful display of emotion shifts which helps us get through the lousy story. Not to mention Ha Seok Jin’s sexy flirt. If only their sincere chemistry is shown in a more woke drama, their sweetness will be so much more worth watching.

12. You Drive Me Crazy! (MBC, 2018)

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Kim Rae Wan (Kim Seon Ho) & Han Eun Sung (Lee Yoo Young)

You Drive Me Crazy was almost out of K-drama fans’ radar when it aired. Maybe because it was a filler (drama special) in between dramas with only 2 episodes, there wasn’t much anticipation about this drama.

Han Eun Sung (Lee Yoo Young) and Kim Rae Wan (Kim Seon Ho) are friends for years, but a few months ago they slept together. Now, though nothing changes on the outside, but it seems that they never really get over it as the incident affects their present relationship.

Short, sweet, and cute. A classic ‘friends or lovers’ dilemma. It would be perfect if only it was longer.

2017 – A Year in K-Drama

 

Earlier on, I thought 2017 was all going to be about time travels in the land of K-drama. The year is opened with Tomorrow with You (내일 그대와), then followed by Tunnel (터널), Chicago Typewriter (시카고 타자기), The Best Hit (최고의 한방), My Only Love Song (마이 온리 러브송), Reunited Worlds (다시 만난 세계), Deserving of the Name (명불허전) and Go Back Couple (고백부부), just to name a few.

But halfway to the end of the year, 2017 turned out to be about upholding justice and deconstructing and reconstructing traditional and conservative values. From feminism, gender equality to social justice, many 2017 dramas are offering alternative perspectives to the rather demanding and exhausting widely accepted values. This probably can be seen as a means of escapism from the dreadful reality of Hell Joseon. Strongest Deliveryman in particular talks about escaping this heartbreaking living conditions.

Quoting from Korea Exposé, ”To the South Korean state demanding life, denizens of Hell Joseon answer: “The best thing for a South Korean is never to be born; the second best is to die as soon as possible. For the young South Koreans who have grown to detest their nation, the Republic of Korea — Daehan Min’guk — already ceased to exist some time ago. They now call this land Daehan Mangguk: the Failed State of Korea.”

As alternatives to the cliché love story between a chaebol and a poor girl, this year, K-drama offers love stories between the mediocre in Fight For My Way (, 마이웨이) and the beautiful proletarian love in Just Between Lovers (그냥 사랑하는 사이). In the ultra-competitive dystopian “survival of the fittest” job market and education system where everything wrong about free market (crony) capitalism is amplified to its logical extreme, watching the lives of the working class commoners feels like a relief breath from the suffocating always-on-the-run life.

Age Of Youth 2 (청춘시대 2), Temperature of Love (사랑의 온도) and Because This Is My First Life (이번 생은 처음이라) argue the gender stereotypes and reconstruct conservative family and relationship values. Age Of Youth 2 even brought up issues still considered taboo in South Korea.

I also find a pleasant progress in many of this year’s romantic themed dramas, which is consent. More and more writers seem to emphasise the importance of consent and mutual agreement as K-dramas, especially in the romantic themed ones, are so used to patriarchy, and even worse, misogyny. Man grabbing woman’s hand and drags her around, man forcefully kiss woman where she eventually gives up and falls into his charm after a short resistance are some of the common scenes seen in K-dramas. Romanticising dating violence unfortunately is (unconsciously) widely accepted, that even The Korean Communications Standards Commission (KCSC) ruled out one very problematic scene in Our Gab Soon as portraying dating violence. The scene looks like a rape attempt. Misogynist.

Temperature of Love (사랑의 온도), Because This Is My First Life (이번 생은 처음이라) and again, Just Between Lovers (그냥 사랑하는 사이) came like a fresh breeze, the answers to misogynist dramas, where consent does matter, and men and women are not an entirely different breed, and  women have the initiatives and make the first moves. Without belittling the effort, the offered ideas may look slightly basic or elementary, but it also needs to come into consideration that many things are taken in an extreme level in South Korea, these also include patriarchy and gender biases, and not to be left out, superficiality.

2017 also sees K-drama writers exploring new themes, like sci-fi in Circle, said to be the first in K-drama, followed by Duel; a common theme in movies, but rather rarely seen in K-drama and a prison life in Wise Prison Life / Prison Playbook (which is introduced as “Black is the New Orange” spin-off in Netflix).

If last year tvN and JTBC’s dramas dominated the top list, this year tvN’s sister station, OCN shoots to prominence with its signature crime dramas. OCN even pulled off a hat-trick with Tunnel, Duel and Save Me.

No drama really stands out this year, which makes it more difficult in compiling the list. Having said that, there are so many good, even great, dramas with varied themes that are really worth to watch. So, here are the top 10/11 of 44 dramas I managed to watch in 2017.

K-drama’s Manual on “How to be in a Mature, Consensual, and Respectful Relationship”: Because This Is My First Life / Yibun Saengeun Cheoeumira (이번 생은 처음이라) (2017)

Because This Is My First Life 2

In a country where patriarchal and misogynistic attitudes remain deeply embedded in the mainstream culture and television shows and dramas confuse dating violence as romantic acts, fighting back through popular culture mediums is probably the most effective way to reconstruct the toxic cultures as movies and television series have long been used as weapons of cultural propaganda as they infiltrate the audience’s mind subconsciously.

I always believe that the gender equality and feminism movements in South Korea will have a smoother ride on dramas than on movies. The argument is quite straightforward, actually. Most drama writers are female, whilst the movie industry is basically still a men’s playground, though these female writers probably are the same ones that romanticise misogyny in the first place. Or not. But we have seen a pleasant progress where in recent years as more and more writers are bringing up the gender equality and feminism issues in their works. This trend seems specifically significant among the cable TV networks. Some bring them with subtle hints, while others are quite literal, like this one.

[SPOILER ALERT]

In Because This Is My First Life we have three couples who each have their own style of relationships. The anchor couple is Yoon Ji Ho (Jung So Min) and Nam See He (Lee Min Ki), who agreed to live together upon a contractual marriage to which both are in for practical reasons and solutions. Se Hee needs a housemate to pay off his mortgage faster, while Ji Ho needs a living space without having to pay the deposit. A win-win solution.

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Nam See He (Lee Min Ki) and Yoon Ji Ho (Jung So Min)

 

Yang Ho Rang (Kim Ga Eun) and Shim Won Seok (Kim Min Seok) are the typical high school sweethearts. Both are living the relationship within the conventional path. Date, live together with marriage as their final destination because they could never have thought of any other way. At least Ho Rang does.

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Yang Ho Rang (Kim Ga Eun) and Shim Won Seok (Kim Min Seok)

 

The last, and probably the ones that unexpectedly steal some of the focus from Ji Ho and Se Hee, are Woo Soo Ji (Esom) and Ma Sang Goo (Park Byeung Eun). Sang Goo is Se Hee’s colleague who unknowingly finds himself falling deeply in love with the charm of Soo Ji, a business partner and an old one-night-stand buddy. Despite her constant refusal to be involved with him in a romantic relationship, but his sincerity eventually melts her icy heart. Cliché, yes, but it is delivered in the most charming way possible.

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Woo Soo Ji (Esom)

Soo Ji is a suppressed feminist, which resulted in her complicated attitudes. She plays along with the sexism and sexual harassments in her work place because that’s what many women forced to do as a survival system in order to not lose their jobs, but in doing so, she became frustrated, thus putting up a defensive and offensive fronts at the same time.

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Ma Sang Goo (Park Byeung Eun)

Sang Goo (and Se Hee) is a metaphor of how an ideal male partner should be in this war against deep-rooted sexism and misogyny. He never pushes his opinions or plays the patriarchy card, instead he stands by her and be her support when she needs it. He only enters her territory when he is invited and allowed to. I especially love the flipped stereotyped gender roles and characters with this couple, with Soo Ji is the one always having the upper hand, though at times it’s a little uncomfortable that she uses the sex card to have it. I found it quite lame. But then again, maybe it is an unavoidable survival mode to challenge the oppressed sexual freedom women suffered in such society. These two characters have the most progression in their relationship as they constantly argue and converse to meet it in the middle, compromising without sacrificing their values, ideals and feelings.

What immediately sets this drama apart from the romantic and romantic comedy K-dramas convention is the distinctive consensual acts. All of our main and supporting characters always ask first to get their counterparts’ approvals and permissions, even to the smallest things considered trivial. None of them ever crossed their partner’s territories. No silly misunderstandings because our characters communicate. Communicate. A simple act which seems really hard to be understood by the conventional K-drama makers. Hence, I call it Consent 101 because everything is delivered in a very literal manner, like giving a lecture to very clueless and backward students, but it still manages to keep its sense of romanticism. A manual on “How to be in a Mature, Consensual, and Respectful Relationship”.

In classic K-drama’s formula, there is always (a) third person(s) to intensify the conflicts which many times are plain unnecessary. I respect the idea of not demonising the third person in this drama. Se Hee’s ex, Go Min Jung (Lee Chung Ah) is described as a smart and composed woman that makes Ji Ho even has a girl crush on her. Ji Ho and Min Jung share a level-headed working relation even when they know that they are once and still involved with the same guy. Only a reasonable level of jealousy is shown, never destructive. Shin Young Hyo (Kang Sung Wook) who tried to approach Ho Rang with a well-prepared marriage plan accepted Ho Rang’s rejection also with a level-headed attitude. Same response from Yoon Bo Mi (Yoon Bo Mi of Apink. Her deadpan expression is spot on and adorable I must say), the female version of Se Hee, who ask Won Seok to date her by giving him a match rate analysis.

Because This Is My First Life not only addresses the problematic and deep-seated patriarchy and misogyny in the society but also challenges the burdensome traditional values and demands that come as heavy baggage to every individual entering marriage institution. Ji Ho and Se Hee agreed to revise their contract every year. One of its clauses stated that they will visit their families on holidays separately as to avoid the ‘unpaid labour’, in Se Hee’s term, which is an uncommon practice experienced by South Korean daughters-in-laws And it’s only fitting that such literal description comes from an exceptionally literal and logical person with a stoic facade, which by the way is portrayed wonderfully by Lee Min Ki, in his first leading drama role after Dalja’s Spring in 1997.

Put aside the multiple plagiarism accusation, I learned that the show feels like a call out for deep-seated patriarchy and misogyny shown in 2016 Man Booker International Prize winner’s Han Kang‘s “The Vegetarian (채식주의자)” (2007) and Cho Nam Joo’s best-selling novel “Kim Ji Young Born 1982 (82년생 김지영)” (2016). Some subjects look like lighter visual translations of structural and cultural violence Kim Ji Young and Yeong Hye have to endure as expected behaviours for women, depicted in Soo Ji’s forced submissiveness to South Korea’s workplace culture of sexism and misogyny and her dislike of wearing bra or Ji Ho’s unpaid labour at her in-laws. Hats off to writer Yoon Nan Joong for her meticulous writing despite the initial premise’s alleged similarity to Japanese drama, We Married as a Job/The Full-Time Wife Escapist/Nigeru wa Haji da ga Yaku ni Tatsu (逃げるは恥だが役に立つ) (2016). Though it will be problematic if this drama is later proven to be a compilation of plagiarisms from different sources.

 

Han Kang’s “The Vegetarian” (2007) and Cho Nam Woo’s “Kim Ji Young Born 1982 (82년생 김지영)” (2016)

We Married As A Job
We Married as a Job/The Full-Time Wife Escapist/Nigeru wa Haji da ga Yaku ni Tatsu (逃げるは恥だが役に立つ) (2016)

The last two episodes did feel slightly anti-climax for me, maybe because in the end they still try to conform by being a crowd-pleaser. Or maybe because despite the dim reality, the writers chose to offer an alternative in hope of becoming a more equal and better society, thus a happier place to live in. Regardless the slightly unsatisfying ending, I guess it has been a wonderful 14-episode ride, still.

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The bunch in happily ever after ride

2016 – A Year in K-Drama

2016 had been a year of K-drama for me. Of the 137 K-dramas aired in 2016, I gave in to 33 of it. Thirty three… that’s like… a huge waste of time *sigh* I feel I missed one drama still, Memory. I’ll probably watch it sometime soon.
[Update] “Memory” is a nice drama. Both Lee Sung Min and Junho did deliver, but the drama is definitely not as solid as other tvN’s dramas will be mentioned in the list.

Mostly popular for its romantic comedy clichés, tragic melodrama or over-the-top family conflicts and never ending feuds, much like its counterpart in the cinema world, K-drama is at its best when it touches subjects with sincerity and genuineness (that of course applies to basically any kind of work of arts).

Of the 137 K-dramas, I passed the daily and weekend dramas which are mostly equal to our daily sinetron. Think of dreading love story which includes conquering abusive mother-in-law’s (to her daughter-in-law) love, betrayal, all sorts of illnesses, from sudden nosebleed to amnesia you name it, the daily and weekend dramas have them all. But once in a blue moon there’s family drama like Five Enough which is just sweet and simple (still with a bit of touch of silly and unreasonable but tolerable conflicts, of course) like the good ol’ TVRI’s family dramas.

2016, for me, belongs to Jo Jin Woong. Underrated oftentimes and mostly played supporting roles, 2016 finally saw Jo in two strong leading roles. Early in 2016, Jo played an upright and morally conscious but heartbroken Detective Lee Jae Han in Signal and in the second half of 2016 he came back to small screen transforming into an uptight and ambitious, rough-spoken but a soft-hearted family American television series’ Entourage. And in between, he starred in the highly anticipated and critically acclaimed The Handmaiden”, a Park Chan Wook’s mesmerising erotic fantasy/thriller.

So I guess it’s only fitting to start this list with one of the dramas he starred in this year, Signal.

Next >

A Small Thought on tvN’s First Awards

tvn10

tvN just held its first tvN Awards as a celebration of its tenth anniversary on October 9, 2016, and by far it’s the best Korean awards in the Korean entertainment universe I have ever seen. It’s fun, cheery, loose, laid-back and unpretentious, in contrast with other Korean entertainment award shows which mostly are stiff, awkward with dead airs here and there, look scripted and unprepared. Not to mention the corny jokes which a lot of times are offensive.

Substance over style

Much like its dramas, tvN Awards doesn’t rely on fame and sensations (I’m looking at you DotS & Song-Song couple 👎), instead it relies on contents, hence the Content Grand Excellence Award (Daesang). Substance over style. The thing is, tvN has a lot, I mean a loooooooooooottttt of great contents (I’m referring specifically to its dramas). 2016 alone sees more tvN’s (not just good but) great dramas then the three largest national TV networks (KBS, MBC, and SBS) have combined (and it’s not even the end of the year yet); such as Signal, Reply 1988, Dear My Friends, Memory and The Good Wife. Though that doesn’t mean that its dramas are not famous and sensational. They are. But you know what I mean.

Having said that, that doesn’t mean that all tvN dramas are impeccable, but the ones that stand out are carefully planned and conceived, resulting in complex yet relatable issues with many characters are thoroughly developed and not just the leads. With a wide spectrum of themes, tvN dramas manage to keep itself away from having too many clichés, especially in the romcom department, where Cinderella-esque stories, second-lead problems, never ending misunderstandings, amnesia and other unfortunate events, etc are the norms.

This is just a rough assumption. As pointed out by my friend, Ninin, probably because tvN is a joint venture developed by Fox International Channels and CJ Media, the media’s contents feel a bit more liberal than the ones in other TV stations (especially those of the big three) and it has more freedom in exploring themes and issues. It doesn’t shy away from sex-related themes and seems to be more progressive in terms of they convey (probably) the least conservative values; such as hierarchy and stereotyped gender roles. In the sea of sickening gender biased K-dramas, most tvN dramas feel like a breath of fresh air. 

I don’t believe in any awards as I think almost none is fair and objective. Some are even used for political statement or propaganda (hello Oscar and Argo!). But in tvN Awards’ case, it doesn’t seem to focus on coming out with “The Best”. Instead, it plays it fun and unpretentious, despite having so many great dramas which makes it really hard (at least for me) to debate or argue about winners. You can hardly go wrong with anyone or any show as almost all of them are (almost) equally good.

From Soompi, here is the list of the winners, which I personally am excited for Jo Jin Woong as he is for me stood out the most in this year’s dramas.

Signal 4

Content Grand Excellence Award
“Three Meals a Day – Fishing Village Edition” (Variety)
“Reply 1988” (Drama)

tvN10 Acting Grand Excellence Award
Jo Jin Woong (“Signal”)

tvN10 Variety Grand Excellence Award
Lee Seo Jin (“Grandpas Over Flowers, “Three Meals a Day”)

tvN10 Actor’s Award
Lee Sung Min (“Incomplete Life (Misaeng)”)

tvN10 Actress’s Award
Kim Hye Soo (“Signal”)

Variety Icon
Lee Soon Jae, Shin Goo, Park Geun Hyung, Baek Il Sub (“Grandpas Over Flowers”)

Content Award (Drama)
“Incomplete Life (Misaeng),” “Dear My Friends,” “Rude Miss Young Ae,” “Nine,” “Another Oh Hae Young,” “Signal,” “Oh My Ghostess,” “Reply” series

Content Award (Variety)
“Three Meals a Day,” “__ Over Flowers” series, “New Journey to the West,” “SNL Korea,” “Roller Coaster,” “Martian Virus,” “The Genius,” “Problematic Men,” “House Cook Master Baek”

Made in tvN (Variety)
Son Ho Jun (“Three Meals a Day”)
Kim Seul Gi (“SNL Korea”)

Made in tvN (Drama)
Seo In Guk (“Reply 1997”)
Seo Hyun Jin (“Another Oh Hae Young”)

PD’s Choice
Lee Je Hoon (“Signal”)
Jung Sang Hoon (“SNL Korea”)

Best Kiss
Seo In Guk and Jung Eun Ji (“Reply 1997”)

Best Chemistry
Park Bo Young and Kim Seul Gi (“Oh My Ghostess”)

Best MC
Shin Dong Yup (“SNL Korea”)

tvN Asia Award
Park Bo Gum (“Reply 1988”)

Rom-Com King/Queen
Eric (“Another Oh Hae Young”)
Seo Hyun Jin (“Another Oh Hae Young”)

Special Acting Award
Sung Dong Il (“Reply” series)

Trending Actors
Ryu Jun Yeol (“Reply 1988”)
Hyeri (“Reply 1988”)

Scene Stealer Award
Ra Mi Ran (“Reply 1988”)
Kim Sung Kyoon (“Reply 1988”)

Two Star Award
Jo Jung Suk (“Oh My Ghostess” and “Youth Over Flowers”)

Comedy Award
Ahn Young Mi (“Comedy Big League”)
Yang Se Hyung (“Comedy Big League”)

“Slave” Award (“Hardworking Entertainer” Award)
Kwon Hyuk Soo (“SNL Korea”)
Lee Se Young (“SNL Korea,” “Comedy Big League”)

Perfect Attendance Award
Kim Hyun Sook (“Rude Miss Young Ae”)
Lee Young Ja (“Taxi”)