Sometimes grumpy & gruff, sometimes touchingly sweet & unabashedly sincere, radiating joy & warmth

“Like Flowers in Sand” is enchanting in its own way. Here we have once again a KDrama with a distinctive aura. Rustic, with tons of heart, original characters and great performance. Without tons of make-up, yet with plenty of bare male torsos - here, for a change, not focusing on aesthetic ideals… (which sort of makes this KDrama even more likeable and even more authentic.) Love also has a subtle hand in it here and conjures up a rather unconventional Rom+Com in the guise of a crime thriller.

“Like Flowers in Sand” takes a look at the rural regions – with their living traditions, the lively gossip and the importance of lifelong childhood friendships. The way people interact with each other is a little rough, but still warm; sweet even, yet in a grumpy disguise.

The KDrama draws its significant charm from the tradition and lifestyle of the Ssireum wrestlers. The two protagonists grew up with Ssireum (see side note below). In general, Ssireum marks the dramaturgical pivot of the story - then and now.

The gym, the sand-filled wrestling field, the colorful ´satpas´, and the ML tirelessly running here and there and back again, all of this contributes to an unmistakable look&feel. In addition, "Like Flowers in Sand" is sometimes grumpy and gruff, sometimes touchingly sweet and unabashedly sincere - with three-dimensional, unconventional characters in their unique individuality quietly conquering the hearts of the audience. A KDrama solidly grounded in the life of ordinary people, that in its quirky, eccentric aura radiates joy and warmth.

















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SIDE NOTE: --- Ssireum – Korean version of wrestling ---

Ssireum has been listed as a UNESCO immaterial world heritage since 2018. This distinctive Korean wrestling is probably as old as the first kingdom of Korea itself, which according to legend was founded in 2333 BC. What is certain though, this form of wrestling has already been practiced during the time of the Goguryeo Kingdom. The strongest young men from the surrounding villages came together for competition, with the last man standing at the end being the winner.
Ssireum is the wrestling of two people within a circular field filled with sand with a diameter of 8 m. So-called 'satpas' form a kind of belt over the wrestling pants that the opponents at all cost hold on to during the fight - until one can bring the other down by strength or skill. The techniques are varied, but hitting and pushing are not among them.
Actually, previous to colonial times, this type of wrestling was known as Gakjo, Gakhi, Sangbak, Jaenggyo or Gakgi. Wrestling was tolerated under the Japanese because it had similarities to sumo. Competitions were successively sponsored, which ultimately led to national championships. To this day, Ssireum is an established and popular sport in South Korea being practiced by women, too.
Eventually, with Netflix broadcasting this ENA Production internationally, the immaterial cultural heritage is reaching more worldwide attention, too...

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Soulful spot on: South Korea ranks fourth in the world when it comes to the suicide rate

According to WHO data, South Korea ranks fourth in the world when it comes to the suicide rate. (Germany ranks 42nd in comparison.) Not only stars and starlets are affected, but it runs through all sections of population. And with that, it holds up a bitterly serious, socially critical mirror to turbo-capitalist South Korea, whose tradition still places more value on appearances/make-believe than authenticity/true-being.

"Tomorrow" throws the spotlight on this socially problematic aspect. It is definitely a tough topic! It is based on a webtoon that enriches people's limited view by looking at the bigger picture from the perspective of the spiritual world. By providing an emotional link between the two worlds through the protagonist Choi Joon-woong, the worlds inspire each other with their insights and impulses. (After all, a wound can even heal in the afterlife...)

In short, the approach might at times seem light-footedly playful. Yet the content is profound and serious. It´s no feel-good-series. Sometimes it's fast-paced and action-packed, sometimes tongue-in-cheek, but mostly the story wants to touch, move and make you think. And it does. Overall the narrative style once again finds the right tone and the successful mix to work through the difficult, complex emotional area of conflict. Thus it is carefully, sensitively and differentiatedly illustrating the example of very different fates.

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An uncommonly, almost tenderly told revenge story

"Call it Love" begins with a quote from a writer about love, followed by a voiceover radio announcer's summary: "To understand the loneliness of others, for me, that's the beginning of love." Beautiful, sensitive words... and at the same time: the grounding of this KDrama.

There are so many lonely people out there (even if that doesn't necessarily mean they're alone). There are also those who recognize the other in their loneliness. Love in different facets swings back and forth between each episode - quietly, tenderly, unspoken, then also outspoken, sometimes here, sometimes there. In the case of Shim Woo-joo and Han Dong-jin, despite barriers love like determined water finds its way.

The KDrama offers no ´boom-squish´, no spectacle, yet slow food for the heart. So slow, that it almost touches the edge of the bearable at times. Watching the two protagonists moving through scenes is almost like in slow motion. The facial features are minimal, too. However, it´s nevertheless expressive and intense. Tender emotions are held back, an the next moment some razor-sharp thoughts are communicated without hesitation – Woo-joo is good at that. She embodies a sharp mix of disinterest and impulsiveness. Dong-jin, for his part, is the master of outward indifference and equanimity, enduring life´s challenges quietly and good-naturedly – almost stoically. But both are basically victims of their learned helplessness and of being overwhelmed with their extremely ambivalent feelings towards their own parents. ´She´ is still bitter because of her cheating father, who left the family for another woman. His burden is his exalted mother, who notoriously charms other people's husbands and lives a ´good life´ at their expense, with her son being in the way and left with the father.

A web of loving people are surrounding both Woo-joo and Dong-jin. So, even if they may feel alone with their feelings, they really aren't. Woo-joo's friend, the pharmacist Yoon-jun, feels a lot more for Woo-joo. Dong-jin's school friend and business partner knows his buddy like the back of his hand. Then there's Woo-joo's sister, who for her part is struggling with dating and finally just discovers her feelings for Yoon-jun. And suddenly Dong-jin's ex-fiancé is back, who left him without a word a year ago, went to the USA and is now suddenly back, being ready for the next step. ... Somehow everyone seems a bit lost and sometimes awkward in their emotional life, as well as in their (traditional) family liabilities. They might feel lonely. But they are actually not alone.

Technically speaking, the plot aims for something completely different than romantic love: revenge is the driving force of the story. There's Woo-joo on her vendetta against the woman who stole her father and secured the house as an inheritance – with the vendetta actually targeting the son, Dong-jin. Then there is Dong-jin's former boss, who wants revenge for Dong-jin resigning along with his childhood friend from school to start a rival business. And there's the age-old dynamic between Woo-joo's mother and her rival who stole her husband years ago...

Somehow like balm: here the revenge motive can't prevail in the end. Rather, a gentle template of compassion and forgiveness settles over resentment and bitterness. Like a silk scarf, this compassion covers the wounds and thus changes, rather widens, the perspective. "To understand the loneliness of others, for me that is the beginning of love." In the end the truth of these words is revolving about much more than 'just' romantic love – the heart empathically banging on another one´s wall, makes the wall come down and healing become possible.

Gaze, movement as well as camera angles are chosen with care. Like that more than once time is frozen, sort of. Often enough, this KDrama is deliberately so slow that you might want to give the protagonists a nudge here and there. Paradoxically, this perceived standstill envelops the actually quite dynamic story, which gains its drive from the revenge motive and knows very well how to come up with tension, too. This idiosyncratic mixture of dramatic events and moments of standstill, of revenge and honest love, results in a very unique, ambivalent, subtly burned-in dynamic and elusive fascination for this KDrama. Cupid interjects encouragingly and does it well. Actors and actresses also successfully correspond with authentic emotion.

Ultimately, an uncommonly, almost tenderly told revenge story.

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In a unique way affectionately told. Critically nuanced. Not off-the-shelf. Still easy to digest.

I might have easily missed “Not Others”, if I hadn't volunteered to help out with the German subtitling. I'm glad I didn´t miss it, because "Not Others" turned out to be an unorthodox surprise - being unexpectedly substantial and also pleasantly true to life, thus rooted in a rather simple, normal, everyday world. It is the story of a family, above all of a single mother and her daughter, but there are also a few contemporaries who are related by blood or by choice.

The story goes on and on as life goes on and we go with it as a matter of course (and gladly so). (Well, at least that's how it was for me.) There was nothing particularly extraordinary and exciting about it. Just normal madness.

Well, admittedly, a bit more than normal madness... after all, the mother herself is still a teenager when she has her child and doesn't want to give up on some of the youthful pleasures in life - regardless of responsibility for the child. However, the script and the two leads find a good pitch for this very special, unusual and inherently difficult relationship dynamic with all its challenges. A clearly structured 'I'm the grown up and you're the little one' doesn´t exist. It is rather upside down here. Instead of the classic authoritarian hierarchy between parent and child, they both ended up bonding as allies sort of, in a world from which they have fallen. Due to the unusual role constellations, the arguments between mother and daughter often have a slightly funny touch. Behind this, however, lurks a rather unconscious overburdening on both sides. And this earnest approach of this emotionally tricky situation shines through again and again in the strategy of both of them trying to cope with everyday life. However, mother and daughter are overall impressing with their casual authenticity as well as pleasant directness and openness - a communication style that clearly sets them apart from so many others in the story. Choi Soo-young shines here, but especially Jeon Hye-jin, who can show herself from a completely different side in the role of the still youthful mother...).

At some point it's about a criminal case - eventually almost symbolic for the unwanted and eventually professionalized role of the daughter within the mother-daughter-relationship: the need to/the urge to look after her mother. And at some point it's also about romantic love - symbolic for the very human longing to rely on a partner on eye level, to lean on a shoulder... This human need actually concerns mother and grown-up daughter alike. But can there even be a place for 'outsiders' within the mother-daughter relationship?

Please don't take "Not Others" as a crime thriller or even as a RomCom. (The men in particular come along rather secondary...) Ultimately, it is the complicated emotional behavior patterns that characterize the family life of mother and daughter in the context of their very close and extraordinary relationship. This makes the KDrama breathe in and breathe out in its very unique pacing. It is primarily about this uncommon family, with an affectionate, yet critically nuanced look at their very special relationship dynamics. "Not Others" is cautiously questioning established (conservative) family models, too...

Overall, “Not Others” is no off-the-shelf KDrama (like so many others in 2023...).

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The two leads form a splendidly unique mixture, providing unique heartbeat and appeal to the story

“The Kidnapping Day” is all about its two great protagonists. I'm tempted to say: it is about the female lead character. The actress is simply wonderful and perfect for this character. Nevertheless, in my opinion, in her eccentric role she comes into her own so brilliantly precisely because her adult counterpart: the Kidnapper, who is just the way he is – as a rather clumsy person, he is practically the antithesis of this cheeky eleven-year-old but highly intelligent know-it-all. Yet, he ist the one who is sort of seeing, liberating and nurturing her usually neglected self, that is hidden underneath her intellectual brilliance: First of all she is just a child with all needs that come along. So, he might be not as smart as the little girl, yet he is actually the true grown up, who is not letting him be mislead by her genius, but watching out for her and intuitively caring for the child she is, too. This splendid mixture provides the unique heartbeat and appeal. So together they form this edgy team, keeping the audience in a good mood.

The plot offers a lot of humor and quite some comicalness of the situation, but there are also serious themes lingering. After all, there is an unsolved murder case. Furthermore, it is nevertheless a case of kidnapping, even if the prefix may change over time. Added to this is the sad fact that health is often a question of money. And ultimately, behind all of this, there is also the issue of abuse. “The Kidnapping Day” is also able to tackle the ever late-breaking topic of “education hype in South Korea” in an original new way, entangling it in an exciting crime thriller.

What initially starts as kidnapping quickly takes a completely different direction. The victim becomes the mastermind. The police, or at least one of the investigators, dares to think twice and appropriately take unusual paths according this unusual case. Good and evil, black and white, its blurred. Yet, there are still unscrupulous villains. We are also stumbling over complex enmeshments, lying way back in the past.

“The Kidnapping Day” knows how to deliver on a variety of levels. Accordingly, the number of viewers has more than doubled over those 12 episodes. The special charm of the two leads also got me and I was happy to stick with them. Mind you, this was basically because of the charming relationship dynamics of the two leads, and how the two shape the kidnapping scenario along the way in a pleasantly witty way, including the solving of the murder case and at last providing a solution .




P.S.
The two protagonists, their particular relationship, THAT is the clever strength and the endearing piquancy. The rest might at times come across rather careless and pallid. Obviously, this is (once more) the product of the new era that has dawned in the KDrama orbit. Numerous new networks are now happily playing along on the market, including ENA, former SKY, which has repositioned itself in 2022 in order to get involved with its own KDrama productions in the top Pay-TV segment. (ENA belongs to Korean Telekom and produced 22 series in 2023 already.)
In general, with Disney, Netflix and others, I´d say KDrama productions feel like having doubled in 2023 (I didn't count, though). But what seems like a blessing at first sight turns out to be a bit of a sham, too. Where are all the original ideas supposed to continuously come from? And if there is a promising plot idea, it is yet far from being thoroughly worked through... Quantity rarely automatically goes hand in hand with quality. And it doesn't work the other way around either. Accordingly, “The Kidnapping Day” also suffers from the ravages of time: negligence can be observed here and there. However, the main strength and driving force of this story - the strangely lovingly developing relationship of the two unconventional leads - luckily is awesome enough to carry and equilibrate.

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Outstanding! A KDrama that somehow satisfyingly feeds the human heart.

The KDrama "Our Blues" unfolds a distinctive magic that gently stretches its silken net around the hearts of the viewers and thus spreads warmth. Big KDrama!

Re. musical genre: the blues is a kind of lament, sad in nature and born of pain. In "Our Blues" it's not the lamentations of slaves on the plantations, but those of several very average people living where South Koreans prefer to go for vacation: Jeju Island. The protagonists´ lifes are in no way spectacular. They are rather normal for their age and the place. They work hard for their income, live simply and often on what the land (and in this case the sea) offers them. From the buzz of these individual and yet so normal lamentations, a sense of unity grows, that even transcends the screen - because many can sympathize with it and identify with their painful and often humiliating experiences in their own way. That makes it "OUR" blues in several ways. It reaches out from the world of the KDrama into the world of the audience and brings us as people from all over the world a bit closer to each other.

"Our Blues" fondly tells a dozen stories about disappointments and unhealed mental wounds that many people know in one way or another and may have experienced themselves. Most of the protagonists (all wonderful first-class cast!) have known each other more or less since childhood. They form a community of colleagues, friends, family and family of choice. Although Jeju-do is South Korea's largest island, it is relatively small at 73 km x 31 km. At its center, South Korea's highest mountain - the dormant Hallasan Volcano - divides the island into the northern area around the city of Jeju and the southern area around the city of Seogwipo. Seogwipo has an urban center with the harbor and then there is urban sprawl with village structures along the coast. This city characterizes the living environment of the characters. As audience, we accompany some of them in a kind of latent mental process of molting.

Some say there is no such thing as a storyline in "Our Blues". In fact, it is more of a composition, or rather a kaleidoscope of independent lamentations. At the core of each lies an ancient pain. What's magnificent about "Our Blues" is that (and how) these songs are finally being sung and thus make space for light and love. For far too long, the protagonists have kept their pain deeply hidden within. They tried to live with it neatly packed away, instead of 'giving' it some space. Yet, sooner or later, the old pain just 'takes' its space... for 20 episodes...

I would´t call it healing, rather transformation, because the painful experience of the past is and remains what it was. However, the potential of what is possible in the future is changing. When the pain in the heart is finally allowed to find space and show itself, it can be witnessed and receive the recognition it deserves. The spasm dissolves and energy is released. Thus new experiences are now possible in the future.

Wanting to spare oneself or others, or wanting to avoid conflict and confrontation, has ultimately never really worked or done any good. Actually, emotional pain and psychological suffering have something to offer: they are the key to opening a portal to a new dimension of truthfulness. The recipe is quite simple: friction (in a deliberately tangible sense of rubbing) facilitates closeness. The problem that prevents this potential for closeness is very human: fear. Because the prerequisite is that I have to honestly show myself as I am (e.g. with my feelings). In doing so, I make myself vulnerable. But only then someone dear to me can reach out and touch me for real. And only in this way true encounter between me and the world becomes possible. Self-assured. Aware of myself. Straightforward. Straight. Upright.

In this KDrama lamentations are ´sung´ and ´heard´. Deep down they are sad, true enough. Yet, it makes you happy, that they are sung at last. And it is just beautiful the way those stories are told: The variety of stories about friendship dynamics, unrequited love and sensitive family relationships are affectionately interwoven in many layers and gain in radiance. We repeatedly encounter individual protagonists in several contexts. One person after the other ... we can´t help to grow fond of them. Ultimately, besides the very human blues that life inevitably offers as a portal to become who we are, the constants in all time, here, there and everywhere, are the sea around us and the sky above. Jeju-do as location for this KDama just hits the spot!

A KDrama that somehow satisfyingly feeds the human heart.

(By the way: "Our Blues" has become one of the highest-rated series on South Korean cable television. Viewer ratings have doubled from episode 1 to 20. (As I said, you grow fond of it over time...)




----------------- SIDE NOTE: --- Haenyeo = sea women or daughters of the sea ---
Jeju-do is famous not only as a tourist hotspot with boardwalks and hotels for honeymooners (Jeju International Airport is the third largest in the country), but also for its volcanic landscape, which is now a World Heritage Site. Yet, furthermore, characteristic of the island's tradition are the Haenyeos, who have been diving for centuries without oxygen tanks for abalone (or sea snails) and other sea food. Especially abalone is plentiful on the seabed around the island. However, these are not so easy to harvest by conventional fishing industry.

To this day, the archaic way of free diving is the only proven one: hold your breath, dive down with a hook, a weight belt and a small net, and then skilfully scrape the seafood off the rocks at the bottom. Today, wetsuits, diving goggles and fins help. A buoy marks the 'area'. Not everyone can do that. Apparently women are particularly good at it. Often families practice this craft for many generations already. The technique of holding your breath for around 3 minutes at high underwater pressure, even at a water temperature of 8 °C, is usually passed on to the daughter. (Actually, in these circles the birth of a daughter is finally empathically praised and extensively celebrated.)

The income of the sought-after Haenyeo has become quite respectable. They are economically independent by now. These days, however, there is shadow to it, too. Being able to finance university studies for their offspring, the young generation nowadays prefers to move to the mainland for higher education and more comfortable jobs. Accordingly, the Haenyeos could soon become extinct. Nevertheless, once you are a Haenyeo, you stay with the diving until old age.
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Ambitious & powerful historical epic done with perfection - right down to the supporting roles

Wow! Historical epic. Visually stunning. Magnificent. What starts out harmless is caught up in the merciless story. Please buckle up. "My Dearest" goes all out. Thrilling! Moving! Intoxicating.

The excursion leads into a painful chapter of Joseon's past, its historical cornerstones being emotionally successfully captured in striking scenes. Already after the third episode one may have forgotten the harmlessly rocking swings... back when everything was right with the world. On the other hand, the worst at times brings out the best in people. This may certainly be true for our protagonists, because the more hopeless the circumstances, the more persistent their personal commitment.

A dramatic story. A moving love story. An excellent historical drama. Definitely worth seeing. The time around the Qing invasion on the Joseon Peninsula will remain unforgettable for everyone... and the epic relationship of our protagonists too!
What a couple - in the course of their encounters, Namgoong Min and Ahn Eun-jin develop a strong, charismatic attraction for their ambivalent and baffling, yet complex and nuanced characters. All this is visually perfectly staged. Perfection applies overall to the dramaturgical layout of the intertwined personal and political processes. "My Dearest" offers differentiated, touching character portraits right down to the supporting roles. Powerful!

Unfortunately, after the tenth episode, we're stuck for a while before we continue with the second season... But until then, as far as I am concerned, "My Dearest" has been a complete success!






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SIDE NOTE --- the Qing invasion 1636 ---
The historical context of “My Dearest” is quite an issue for Joseon history! For the Korean national self-image the impact of the Qing invasion of 1636 can be reckoned even more traumatic, shameful and dramatic than the unparalleled Japanese invasions of the Imjin Wars in 1592 and 1598. This is because Joseon finally had to ignominiously submit to the Qing and eventually remained their vassal state until the First Sino-Japanese War end of the 19th century. (With Imjin Wars, Joseon was actually able to repel their invaders - at that time with the help of the Ming - and thus could preserve the grandeur of sovereignty.) That second Qing invasion in 1636 went down in history as a truly disastrous defeat. Who likes to remember such a 'weak' king and such unspeakably embarrassing humiliation?

Apart from its touching epic love story, "My Dearest" thus also deals with the narrative of the people of Joseon back in the 17th century - their different positions, either pragmatic or idealistic. That time of the invasion is well documented in diaries of contemporary witnesses. Historical scholars to date, however, have discussed the Qing invasions in Joseon mostly from the perspective of the Qing against the Ming and the political power struggles concerning the Chinese empire. In “My Dearest” the Joseon perspective is given its own emotional narrative. And this is characterized by personalities, ideals, value systems, symbolic gestures, as well as those small and large deeds and sacrifices of inconspicuous people who often fall through the cracks of historiography. So "My Dearest" isn't just heartfelt entertainment. To a certain extent, the KDrama has an identity-forming, great mission and takes it very seriously and right into mass consciousness. Its intention is to be suitably great. It offers portraits of the people at that time an how they were processing historically questionable/questioned decisions, too. It brings us close to the dilemma of that time. And greatly so.

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Intense. Brutal. Yes, I recommend it. And with a heavy heart I am also considering it valuable

"Weak Hero Class 1" leaves me with mixed emotions. It is an intense KDrama, in which the young people are remarkably slow-paced, sort of numb, at times bordering on apathy. On the other hand, there are violent outbursts. Extreme. Brutal. A cruel parallel world that actually should have no place whatsoever in the everyday life of high school students!
What kind of society do we live in? It is simply too much, what young people have to go through and deal with. KDrama didn't invent it. Neither does the webtoon, the story is based on. It is a sad and scandalous reality in many schools, in many classes, in South Korea and elsewhere.

"Weak Hero Class 1" doesn't sugarcoat anything.
And it ends just the way it is... no end in sight...

I admit, I was about to drop it. Too much frustration and violence - it actually goes on and on. (Even if the 'weak hero' develops cunning, inspiring recipes to fight back... it still remains a world of violence.)
But then the relationship dynamics between the boys (and girls) are quite intense and what they go through inside and out is touching. Ultimately, it doesn't help to look away - even if it's painful to look at. In fact, "Weak Hero Class 1" is a great, impressive production. It is a disturbing inventory - disturbing because the story leaves no perspective, no silver lining, no substantial room for hope. (At most marginal sparks of light here and there.)

The largely indifferent attitude towards life that prevails in posture and movement of the young people is one thing, the massive outbreaks of violence another. Each soul seems to have long since fled its young body, so that there are only roughly apathetic youths on the move who occasionally act as numb thugs who kick helpless bodies on the ground, or vice versa. It's actually unbearable. It's traumatizing on both sides. And yet it is everyday life. This creates a very unique flow in the world of the students. In this world, one may search in vain for serious, responsible, courageous adults. They are lacking. The kids are alone in this world and have to find their way to live in it, or rather: to survive. Which side will you be on? Perpetrator? Victim? Rescuer? Spectator?

What agitates me the most in connection with "Weak Hero Class 1" is the enormous enthusiasm among der age-group of 13-17, who with this story obviously feel seen right on. This may be 'only' a fictional story, but it obviously tells the story of the youth, we (adults) usually dont´t get. Many are thrilled. In fact, I'm NOT thrilled. I'm impressed by the intensity of the production, yes. But primarily appalled by the dominance of bullying and the severity of violence among peers in everyday school life today. I am also shocked by the documented, self-evident aimlessness and helplessness of the adults. Ultimately, I am frustrated by the lack of a positive outlook and affected by such a disillusioning world of experience of the young, growing up generation.

"Weak Hero Class 1" is based on the template of a web toon and has (via KDrama) by now reached an even wider audience, especially among the 'adults', regarding bullying among schoolchildren. I appreciate that. The KDrama was released on the young streaming platform Wavve and was thus able to give plenty of dramaturgical space to the violent excesses. Maybe more than necessary? Or just right? The KDrama has a simple mission: to show what 'we' tend not to see because 'we' (adults) have no place in this parallel world of schoolchildren. And as a matter of principle, the story does not provide any answers in terms of a way out. No.
In the contrary: 'we' adults are in the pillory... What have we done (and also missed) that it could have gotten this far! Where is this going to end? What can we do about it?

Anyway, bottom line: I recommend the series. And with a heavy heart I am also considering it valuable especially for all those who call themselves adults, parents, teachers, social workers, officials in youth welfare offices, police officers, etc....
Hello, wake up!

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Epic&Bloody journey into bygone times - stately costumes, impressive landscape, elaborate details

"Kingdom" marks a new concept in the KDrama orbit. In 2019 the cine drama was born. This describes a kind of hybrid production with film studios being involved in drama series and movie directors hired for the production. Cinematic camera therefore has since then become characteristic. "Kingdom" was the first original Netflix KDrama production and is thus repeatedly mentioned as a pioneer in this cine drama genre.

"Kingdom" is an impressive, idiosyncratic mix of colourful historical drama and bloody zombie thriller.

In the broadest sense, the story relates to the so-called Imjin War, the Japanese invasion between 1592 and 1598.

--------------- SIDE NOTE: History meets fiction
The KDrama specifically (but losely) refers to the Battle of Sangju (1592) in the Upo Wetlands. At that time General Yi Il had the problem that he only had a cavalry of 60 soldiers while he was supposed to stop the Japanese on their advance from Busan to Hanseomg. However, his assigned company, which was supposedly equipped and trained first-class, did actually not exist or was not operational. Either the original soldiers were sick, dead, or gone. The local garrisons were also empty because the soldiers stationed there had been recalled to Daegu. What he got were untrained civilians. With the grain he found in a warehouse, he was at least able to recruit some of them. However, he no longer had time to prepare the ca. 900 commoners for the battle, because the Japanese were already there.

The KDrama picks up on this moment in Korean history and rewrites the story in a zombi spirit: In that desperate battle, the former governor of the southern Chungcheong province, Ahn Hyeon, ultimately took command and led around 500 Koreans against an overpowering army of around 30,000 Japanese. The Koreans were victorious thanks to an unknown "resurrection plant" that can be used to resurrect the deceased as bloodthirsty zombies and, with a little skill, can be used as weapons. So (at least in KDrama) the battle in the wetlands could still be won.
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Otherwise, the historical setting provides the hook for an epic journey into bygone times with stately costumes and impressive (authentic South Korean) landscape shots, elaborate details and bloodthirsty butchery. (As adult Netflix production this KDrama is exceptionally brutal). The zombies, with their horde-like appearance and yet very idiosyncratic "fighting style", provide a change from the classic battle formations and martial art sword fights, causing a real challenge for the experienced generals as the opponents are already dead... It requires intelligence, creativity and, above all, high speed. The story itself progresses at this high pace. Neverthelss the emotionally essential scenes have been captured in the proven KDrama style: slowly, intimately and with maximum intensity.

As so often it is just a few powerful, scheming people who make life difficult or even impossible for the many. Yet, not only these political intrigues are the driving force of this thriller. First and foremost it is the question about the epidemic origin and how it might be defeated.

Answers to this question require a second season, even a KMovie and most probably a third season, too. Additionally another film spin-off is being planned. Obviously the story about the "resurrection plant" is far from being told.
... and I am ready to set out again with the noble crown prince to find a solution to save his people and the future of his country in the face of this locust-like zombie plague. Thrilling.

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Ready-made. Still worth seeing. Social satire about status & by all means climbing up social ranking

"Remarriage and Desires" tackles a central theme of South Korean social life: who should I, can I, must I or do I want to marry? Marriage, family and status throughout the centuries have been forming a magical triad in this Confucian shaped country - a triad which can decide how happy or unhappy life will become... Yet, these days within the framework of the short-timed everyday life and performance-oriented professional life in modern South Korea there is simply no time for naturally meeting someone and dating. However, the right choice is crucial. So instead of spending time, you spend money and thus can be matched up professionally. This actually has a good tradition in elite circles, where matchmakers were already in high demand during past Joseon days. Arranged marriages - whether devised by shamans, personal matchmakers, professional matchmaking agencies or parents - are widespread today and have recently become trendy even among the less elite classes of society. ... As a good choice can decide everything...

"Remarriage and Desires" takes this subject into the grotesque - in a satirical guise with a proper breeze of Makjang. A stately squad of spiteful, greedy contemporaries at the highest ranks are brought together to tell a bitter tale of revenge on revenge on revenge. The bad news first: the Netflix production unfortunately does not get beyond a script that has been polished for the international streaming audience and that also seems to be off the shelf. The good news: KDrama is even good at telling such ready-made stories, too. By the way, it's the intensity of the female leads who are allowed to rock the makjang-show: Bad, worse, the worst... and there still is worse (The men rather become victims and ornaments.)

My criticism: Scheme-F. Ready-made.
The heartbeat get´s lost. The depth is missing. It's not really possible to develop an emotional closeness to the protagonists. Overall, "Remarriage and Desires" thus comes across as somewhat distant and stiff in comparison. As a spectator you will feel less sympathy (from the inside) and instead watch more (from the outside).

You might binge through the (only) 8 episodes pretty quickly. But without the nuances, something is missing. For me at least. I didn´t feel an emotional bonding growing of any sort. Too bad.

However! the KDrama is still worth seeing as a satirical social study about the South Korean middle and upper class (or a general would-like-to-marry-into-the-still-higher-class class).

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The story being told in an unagitated & well-rounded way unfolds its unique (I´d say: high) quality

"Divorce Attorney Shin" is actually based on the webtoon of the same name by Kang Tae-kyung. The KDrama comes with the handwriting of the same screenwriter as i.e. "Thirty Nine", "Always" and "Encounter" – Yoo Young-ah. In the case of "Divorce Attorney Shin" once again shows off her strengths: drawing true-to-life, sensitive portraits of friendship and relationship dynamics with plenty of ordinary life of ordinary people. In "Divorce Attorney Shin" you get (also thanks to marvelous actors/actresses!!) authentic, lifelike characters and circumstances. In this case with sometimes maybe a bit weird, but loving details. With characterful esprit. Unagitated. At times a joy to the heart. Almost soul food.

"Divorce Attorney Shin" tells stories from the red-hot everyday life of many people in South Korea, which is increasingly about divorce. The number of divorces in the country is currently going through the roof. The topic becomes almost normal madness. KDrama understands this just as such. Divorce is normal. Not nice. Not desirable. Not originally intended. But often unavoidable as the next step. And sometimes maybe...

(A bit tongue-in-cheek: the title. Attorney Shin's name "Shin Seong-han" literally means "sacred" in Korean. Thus, his name tag "Shin Seong-han, Divorce" becomes a provocative play on words. Attorney Shin is also the man for the cases when the ´holy state of marriage´ has faltered...)

There are many reasons and circumstances behind such a momentous decision as divorce ( ... and it may always accompanied by a bit of shame and feeling of failure, which needs to be digested emotionally). Some of them come along enrobed in different cases. They are weaving their way around the frame of the story, the main focus of which are three old friends – above all, however, divorce lawyer Shin Sung-han. One of the recurring scenes is the small but finely drawn retro lawyer's office with a wooden sliding door that sometimes gets stuck, which you quickly grow fond of. Also, Shin's apartment with retro-style hi-fi, where he spends his evenings listening to loud Trot music, preferably singing and drinking soju from a wine glass. And then the cozy Ramyeon restaurant around the corner from the office. Added to this is the special relationship between Shin and a client who ultimately joins the team and another young lawyer, who somehow stumbles over Shins piano skills into the office. And then there's his own past as a gifted pianist and the reason why he's no longer one.

Kudos to the layered nuances that paint the complex environment in which divorce tends to be embedded. No divorce is like the other. But most of the time, divorce hurts or hurt started before and therefore led to it. "Divorce Attorney Shin" touches on a multifaceted assortment of backgrounds and triggers over the course of 12 episodes short-term critical circumstances and long-term effects, emotional suffering and opportunities, economic chains and hopes, social stigmas and societal prejudices, and then, too, self-doubt, as well as collateral damage and sacrifice. It's not always just 'the others' who are affected, but the controversial issue of divorce is getting very close to almost all of the protagonists. JTBC attacks a hot social topic with the KDrama.

"Divorce Attorney Shin" offers all this embedded in a variation of slice-of-life. Leisurely, cozy and enjoyable – and therefore digestible. But it's not at all harmless. There is plenty of law-and-order with a comprehensive arc of suspense. On the one hand, this is the professional talent of our protagonist – although not his only one. On the other hand, there is his own family history, marked by the pain of separation and divorce, which is unexpectedly stimulated anew. The dramaturgical dynamic of the story is increasingly gaining momentum and ultimately steers inevitably towards Shin's very personal showdown, where justice is fought – not with firearms or fists, but according to the law, with evidence and with a sense of proportion, heart and mind.

In my opinion, the story finds an extremely fine nuance on all levels, which shows an ever deeper effect over time. Subtle but lasting. I would associate (not timbal, but) Koshi chimes – depending on topic and episode, sometimes more in the timbre of Aqua, sometimes more in the timbre of Aria, sometimes more in the timbre of Ignis, and sometimes more in the timbre of Terra... The story being told in a coherent and well-rounded way unfolds its very unique (I´d say: high) quality.





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SIDE NOTE: --- Trot ---

KPop is a 2000ff phenomenon in Korean music history and by now even most non-KDrama fans are familiar with it. ´Trot´ however probably is less known. But beware: maybe in the not too distant future there will also be a KTrot, who knows...

'Trot' dominated the Korean music scene – as the earliest form of popular music in the peninsula. Trot is less well known to the rest of the world, but has experienced an enormous revival in its own country in recent years, which is now taking the genre even beyond national borders, too. "Divorce Attorney Shin" presents one of the hits, which was released brand new in 2020 on the CD "9 Stories" by Trot old master Na Hoon-a. The 72-year-old landed a megahit, with its YouTube video being viewed 25 million times and thus temporarily relegating the superstars BTS and Blackprint to their places. Korean cultural export strategists are smart and quick. The song promptly finds its well-staged place in the appropriate KDrama with "Divorce Attorney Shin", which also takes the direct route to the international audience via the Netflix streaming platform…

'Trot' grew on Korean soil and is quite retro in its foxtrot and slowtrot beat derived from standard dance. 'Trot' goes back to the time during the Japanese colonial period and the import of the 'enka', mixed at that time with the folksy, epic pansori lamentations (at least for me often reminiscent of flamenco), as well as the traditional aesthetically harmonious, lyric poem form Siga. However, due to its entangled roots with the Japanese 'enka', 'Trot' fell under censorship from the 1960s onward and only resurfaced in the 1980s. However there was also J-pop , hip hop and rap allowed to reach the masses and with that influence the then upcoming new and hip KPop pushed 'Trot' into the background.

Only now, when KPop is firmly established, does interest and space for something 'new', identity-establishing traditional obviously open up again. There may be something old-fashioned about ´Trot´, since young people are more familiar with it via their grandparents generation. However, the music triggers a nationally rooted, melodramatic emotionality... It's quite possible that a contemporary, new variation of internationally hip KTrot will develop over the course of the next few years. At least the trot is rediscovered – not first – but also by "Divorce Attorney Shin"...

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A true enrichment for the KDrama Orbit.

"Recipe for Farewell" is about food for body and soul. About the health-promoting function of food. A meal prepared with care and love may have this function - even in the paradoxical situation where eating is actually no longer possible: in the final stage of cancer in the gastrointestinal tract.

As the story is also about cancer, surprising enough this KDrama is not primarily about dramatically approaching the inevitable death. Eventually, sorrow, fear and decay are not neglected, yet the focus is on joy and pleasure in sensual enjoyment of a freshly and carefully prepared meal. It is about the time you share over a meal. About this deliberately sensory, genuine here and now time together. A good, unforgettable time.

In this KDrama two quite opposing moods harmoniously go hand in hand. Death, pain and farewell may hang about. However, life and the joy of it are not overshadowed by impending death. In fact, "Recipe for Farewell" is not gloomy or heavy. Rather, it emits somehow velvety-silky, comfortably warm rays of light whenever it threatens to get dark and in spite of sadness.

In KDrama there is always eating and drinking at some point. Now that's not special. But in "Recipe for Farewell" everything to do with (Korean) food is intelligently, sensitively, carefully, sensually and lovingly mixed in a stylish way. Eating becomes an explicit topic - from the carefully chosen recipe, mindful purchase and loving preparation to conscious consumption. Each episode is named after a Korean dish. You can learn a lot if you like. In any case it is enjoyable to watch - aesthetic, stimulating, inspiring.

Apart from recipes and the preparation of the dishes, the story draws attention to the essence of food: to the radiance that passes from food to soul. To the joy of being alive. To the gift of being part of this eternal process of transformation that is life: From seed to flower, fruit, leaf, root, color, smell, touch, taste, temperature, liquefaction, finally compost, gases... and dissolved into air.

The story is based on an autobiography of the same name. In it, author Kang Chang-Rae describes how by cooking for his terminally ill wife he actually started cooking from scratch. And that triggered quite a bit - within himself and people around him, too. "Recipe for Farewell" doesn´t aim for your heart. It goes even deeper and reaches out to your gut. This is about ´true and sound´. The characteristic gaze of the protagonist, who is deliberately focused on his job as a chef in the home kitchen, is rather simple and objective. Eventually, by unpretentiously doing his job, their flows dynamic new life within the relationships with his ex-wife and his son, too.

Eating together - the meal - becomes the symbol of the truce of all worldly disturbing topics and opens the way to community -> connection -> bonding -> closeness ... by sharing space, time and the (eating) joy, to be alive (= to be able to see, smell, taste and digest).
The original idea is based on an impulse, that came from his ex-wife, when she actively asked him to cook for her during this last few months - and thus be and remain there for their son (who lives with her) when she can no longer. She wishes for peace between father and son, at the latest when she is gone.

Such a final farewell process may be painful for everyone. The disease itself may be painful. This is acknowledged by this KDrama. Yet, the focus is rather on the shared time together when the mother, father and son feel GOOD with one another. "Recipe for Farewell" truly presents a wonderful recipe for saying goodbye - loving, calm, grounded, with simple, three-dimensional sincerity and warmth. Leaving father, son and audience - although sad as it may be at times - with a positive, thankful outlook on life.

"Recipe for Farewell" runs on the South Korean streaming provider Watcha and is very popular there. The series may even trump the acclaimed production "Semantic Error". In any case, the number of paying subscribers noticeably increased during first week of broadcasting... And in the Watchapedia app, the KDrama is ranked 1st among 190 series from 2022 with 4.5 out of 5 possible points in the viewer rating. I agree. Pretty much everything is done right here. The actors are doing a fantastic job, too!

A true enrichment for the KDrama Orbit.

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Compelling, grounded in substance, and gratifyingly true-to-life. With a wonderful basic premise

"Missing: The Other Side" seems a bit like a KDrama with a magic hat. The story has the similar effect as the theme of the production: it sort of cavorts in a veiled intermediate world. It could simply be missed out. If you are looking for something in the field of fantasy, the KDrama does not impose itself. It's not fantastic or psychic enough. If you're looking for a thriller, you're more likely to scroll past it. It's not a psychological thriller. It's also not a classic crime thriller. So it seems ... And yet. "Missing: The Other Side" is extremely well done and definitely recommendable. I wouldn´t call the KDrama fantasy or mystery, but rather solid crime genre, in which actually time and space become relative... If only I had known earlier...

The KDrama is like an insider tip - although it´s success is not a secret. On the contrary. A second season will come out soon. The story is compelling, grounded in substance, and gratifyingly true-to-life beyond the basic premise. "Missing: The Other Side" doesn't entice viewers with a cast full of dazzling names, but with a fascinating, extraordinary production. A class of its own. The concept thrives on straight simplicity.

There is the radiant simplicity of the brilliant underlying idea: a tribute to the missing. There are actually too many missing people in South Korea - children and women in particular. In more than half of the cases, the missing person is at some point found dead - most of the time several years later. The idea of ​​the KDrama particularly honors those victims by creating a kind of dignified in-between-world for the time during investigation, how long it may ever take. Only then, as their corpse is found, they will part in peace. In the meantime, from the minute the missing person dies until the moment the corpse is found, those souls linger in a beautiful and (mainly) peaceful village among other fellows with similar history. There is a certain charm to respectfully giving such unsolved cases some faces, individual stories, soul, hope & heart - some friendly, reminding space. Even though many missing people´s cases get closed and quite a few may remain unsolved, the KDrama respectfully opens a door to connecting to them.

Granted, the living and the dead share the stage equally. Yet there are no mouldering, half-decayed or slightly moldy ghosts buzzing around. If you like, the idea of ​​"Hotel del Luna" is varied in a less exalted ambience, a little more down-to-earth and less spooky. However, if "Hotel del Luna" was cast with dazzling superstars, "Missing: The Other Side" consistently maintains the simplicity of its concept. Very few KFans will end up following in the footsteps of their 'stars' in this KDrama, they aren't so well known enough outside of South Korea for that. Nevertheless, they all do a splendid job.

Finding the corpses of the missing however requires the living and their down-to-earth investigative work. The knowledge of the deceased can be used. Eventually, there is a catch: it requires living people who happen to be able to SEE and communicate with the dead. The worlds 'here' and 'in between' do overlap in the village of Duon, but only for those with the special gift of perception. A loose team sort of gets thrown together by fate and begins to work more or less jointly to solve some cases that are apparently related in some way. Everyone has to carry some personal luggage, in which missing people play a significant role. One is a crook, his colleague is a hacker, another protagonist works as a detective, another is a widower and father who, even after many years, has not given up the search for his missing daughter.

If you can/want to accept the basic premise of that in-between world, then "Missing: The Other Side" offers an all-round gripping crime thriller. Without any ribbons, but with warm heart. Not highly polished, but atmospheric and impressive. The protagonists are quite three dimensional - no superheroes, but rather ordinary, authentic, tangible. It could be anyone. Lastly, this story would especially happen in South Korea, because in this KDrama the ever so characteristic orphanages and Jaebeol once again got leading roles within the dramaturgical structure.

In case you are not sure, if you should watch, here my advice: Don´t miss "Missing: The Other Side".

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Wake up in the midst of sobering contemporary everyday life issues of 3 women in their 30s and 1 man

With "Work Later, Drink Now", KDrama tackles a sensitive South Korean social issue. What starts as a cheerful, cool FeelGood series turns out to be serious business. Viewers are taken by the hand in a clever, light-hearted way, only to wake up suddenly in the midst of sobering contemporary topics, as we accompany the protagonists in their everyday life, work, family and friendship issues - here in particular: three unique young women in their 30s and one offbeat man.

The KDrama points at a topic in which South Korea (though small as it may seem) is once again at the forefront of the world: alcohol consumption. There is so much drinking (and eating, because it's so common) on this show that just watching it can make you dizzy and a little nauseous. To the western eye, that may be WAY too much over the limit. For the Korean eye, it might have to be be sooo much for the audience to even notice that it is/could be too much.

The focus of the story is on three girlfriends in their prime who are hard-drinking and happy to drink. With their personality, they may at first glance be a little off the norm, but then again they aren't. They are (from each other) fundamentally different in their professional situations, socialization and life plans. But it is precisely in this way that they also offer viewers all kinds a sophisticated projection while following each one of them in their everyday life and various challenges they face. The dialogues are razor-sharp, the entertainment high value, the episodes compact. There's also wit, humor and music. This mixture plus the pace are obviously just right to pick up the broad masses of +/- 20 to 40 year olds and to present a mirror of their own living environment in an easily digestible way. The second season will definitely come...




------------ SIDE NOTE: --- Alcohol consumption in South Korea ---
Per capita consumption of converted pure alcohol in South Korea is world class. And rising. The World Health Organization certifies South Korea to be the leading country in the consumption of high-proof spirits. Drinking has established itself outside of private life, especially professionally at company dinners after work. These team dinners often degenerate into a veritable drinking spree (practically prescribed professionally).

After beer, soju is the second most consumed alcoholic drink - a colorless distillate made from rice and added wheat, sweet potatoes or barley, which is on the one hand quite cheap in price and on the other hand, at around 20 percent, is somewhere between beer and high-proof spirits (schnapps, vodka, rum or whiskey ) is located. So it can be consumed in large quantities, especially in combination with beer - and the hangover the next morning is inevitable. South Korea's national drink, soju, is the world's best-selling 'liquor' with around 90 million cases sold each year. Yet, the beer market is also happy about South Korea, which, (in spite of its comparatively small country size) is currently one of the largest and most dynamically growing beer markets on the Asian continent.

What begins as party fun usually ends sadly. In the short term, it may be a hangover. But if you practice this form of alcohol consumption at a high level over a long period of time, the damage to your physical health is enormous in the medium to long term. There are studies that show that even among South Korean students (male), every third (!) drinks to the point of unconsciousness (!) for more than half the week. It doesn't get any better in professional life. And if you don't have a job, there's another reason to get drunk. This has inevitable consequences not only for people and their physical/mental health, but also for the health system. The country pays the price of an enormous pressure to perform taken granted in the context of its own turbo capitalism - with the health of its population and moneywise with billions, too .

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The plot has enormous potential, yet more bite and sting really wouldn't have hurt.

The share of Makjang in South Korea's series productions seems to decrease noticeably. After 3 seasons of "The Penthouse" in 2021, taking the evil within the "´War of Life´ to the extreme, it might have been somewhat exhausted? Thus, "Curtain Call" may be a noticeably 'softened' Makjang series (if at all). In this manner however, the KDrama represents a social zeitgeist that should not be underestimated: the desire for reconciliation. Reconciliation with the North. Reconciliation between generations, between the past and today. Reconciliation between duty and dream. The search, the longing, the need for South Korean society to balance itself on a new level - finding peace. To me, that's what "Curtain Call" stands for.

As so often, the focus is on the rich and beautiful. In this family clan, too, the third generation could disassemble itself in the fight for the golden spoon. But somehow things are a bit different here than otherwise in KDrama Orbit.
The head of the family is (quite progressively) a woman. Matriarchy instead of patriarchy, that makes a difference. While she probably represents business acumen and a strong leadership style, for all the respect she receives, she has NOT sacrificed her heart for her grandchildren and employees on the track. Also: For once, she (at least she) does NOT embody the incarnation of disparaging arrogance. She is NOT someone who mercilessly pursues her own interests without regard for human losses. In the contrary, there is a healthy dose of humility, because even in old age she is still close to the very simple roots of her origins. This is also because her homeland is in what is now North Korea. She remains aware of the painful separation throughout her successful life. No amount of money can turn back time or realign the political structures. Like that, she embodies a vicarious pain shared by many family histories across the country. And so an emotional bridge is practically built to the audience - ´halmoni´ gets some sympathy.

The plot has actually enormous potential: the grandson from North Korea, for whom the now old and terminally ill chair(wo)man longs in her last remaining weeks and months, was actually found. However, his personality seemingly doesn't lend itself to a peaceful happy ending - and so an actor who is versed in the North Korean dialect is introduced into the family as a fake grandson instead. He does his job so well that he ends up doubting his own identity...

"Curtain Call" manages to play out some of its punchlines in an emotional sensitive way. Nevertheless, the story remains more harmless than necessary and the potential isn´t realized. The KDrama doesn't take its chances, instead prefers to choose warm colors and soft images. All in all, "Curtain Call" might find its own pitch in the KDrama orbit, yet it keeps a low profile along the way and unfortunately does not take the next step. It rather remains kind-hearted and thus gambles away a dramaturgical chance. In my opinion, more STING really wouldn't have hurt. Too bad.

Nevertheless: "Curtain Call" is nice to watch. The cast is top notch. In places razor-sharp and at the same time pointedly funny, the KDrama also operates (especially against the background of the North-South dynamic) in a good mood with small socio-critical side swipes here, there and over there as well. The dialogues exploit this potential with relish. The bottom line is that "Curtain Call" is probably worth seeing if you DON´T feel like too much excitement, revenge, action, thriller, legal affairs or romance.

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