Hospital Playlist is a fast-paced medical drama that mixes comedy, romance, and some tearjerking drama into a show that feels incredibly healing to watch (and re-watch!)

English Title: Hospital Playlist (2020)

Writer: Lee Woo-jung

Director: Shin Won-ho

Length: 12 Episodes (Season 1)

Tropes: Medical drama, Found Family, Best Friend’s Little Sister, Friends to Lovers, Workplace Romance, Slice-of-life / Year in the Life

My Score: 4/5

Description: This medical drama is a slice-of-life story following five specialist surgeons who work together at the Yulje Medical Centre. Friends since medical school, they also have an unofficial band and make music together in their free time.

If you enjoyed this show, then watch: Dr. Romantic, Doctor Stranger, Doctor Slump, Descendants of the Sun, and Resident Playbook and Prison Playbook (both by the same production company and creative team.) Resident Playbook also features cameos from many of the Hospital Playlist characters.

Despite a slightly disjointed introductory episode, half an hour in I was hooked. Hospital Playlist features a big ensemble cast and, while there are some romantic sub-plots, the focus is very much on the medical cases and everyday lives of surgeons in a big city hospital.

Episode One has the unenviable task of introducing the viewer to the rather large ensemble cast, and there’s also some drama around the management succession of the hospital as the Chairman is dying. While it took me a while to identify all the disparate characters and get the plot lines straight (in part because the opening episode is set in two different hospitals) the fast-pace, laugh-out-loud humour, moving emotional scenes, and engaging characters very quickly won me over.

From Episode Two, all the action takes place in the Yulje Medical Centre, where five very different surgeons, friends since medical school, are reunited. Every episode contains multiple interweaving stories and medical cases, occasionally intertwined with flashbacks, which can be a little confusing at times, but never so much that you want to stop binge-watching. Together, the fast pace and slight chaos are very effective at conveying the constant busy-ness of a big hospital and the typical doctor’s day.

For me, there were so many things that I think this show did well: its pacing, structure, characters, soundtrack, humour, and, above all, the way it makes the viewer feel.

It took me a hot minute to figure this out, but the overall structure of the show is genius: each episode is one month in the life of the hospital, with the full series of twelve episodes taking place over a year. (And Season 2, which I’ll review next, follows the same structure.)

I’m no medical expert, but the show felt very authentic, from the realities of dealing with patients to the surgeries themselves. The show also tackles some difficult subjects, like miscarriage and stillbirth, loss and grief, and organ donation, amongst others. After my initial viewing, I watched the English dubbed version with my daughter, who loves human biology and wants to study in a related field, and she was fascinated with how the show presented the medical information.

Unsurprisingly, since the five main characters play together in a band, music is integral to the story, with each episode featuring a “performance” by the characters. I usually add one or two songs from each show I watch to my Spotify soundtrack playlist, but with this show I added at least ten or twelve. The actors all sing and play the instruments themselves - and they appear to have had a lot of fun doing it! The authentic camaraderie between the actors feels palpable; I’m sure they must have been friends behind-the-scenes too to have such great on-screen chemistry.

The five friends at the centre of the story are all interesting, relatable, believable characters. Even the show’s supporting and minor characters feel like well-rounded, flesh-and-blood people. And I dare you not to fall in love with single dad Lee Ik-jun and his adorable son Uju!

The main characters are all entering their 40s and, while they’ve achieved career success, they’re still figuring out life stuff. I love that they’re not supporting characters to 20-somethings, but are the main focus of the show. The fact that they’re still messy, still just doing their best, despite having already experienced some knocks in life, is so relatable! Their parents also feature in the show, and, again, despite being yet another generation older, they’re treated not as background stereotypes, but have their own main character energy. As I get older, I really appreciate shows that don’t sideline everyone over the age of thirty-five, and which show that older people still have complex inner lives of their own.

If you’ve read my past reviews, you know that one of the reasons I find K-dramas so appealing and uplifting is the friendships between characters. While I especially loved the dynamics between the five surgeons at the heart of the story, there are many other friendships and close sibling relationships, so if this is your jam too, I’m sure you’ll love this show as much as I did.

It warms my feminist heart that there’s a high ratio of female residents and surgeons in this hospital. Women are treated as commonplace in leadership roles, are the equals of their male peers, and receive respect without having to fight for it. The one female member in the group of five friends is also the smartest! (She’s not only an ambitious, talented neurosurgeon, but she’s also kind, down-to-earth and empathetic, too.)

Hospital Playlist has binge-worthy pacing. As it’s not focused on a single case per episode as so many US medical dramas are (like House or The Good Doctor) we’re constantly moving between the interweaving storylines, from one patient to the next, getting glimpses into myriad lives without focusing too long on any single one. As a result, there are no slow episodes and I was engaged every moment of every episode.

Finally, the entire show is imbued with the goodness of humanity, which is what makes it such a healing show to watch. The main characters are good people - principled, ethical, hardworking and kind - without ever feeling like stereotypes. There are no real villains (unlike in Dr. Romantic where the main characters battle against corrupt and greedy superiors,) just ordinary, flawed people. Friends support one another, relationships between the main characters are healthy, and there’s very little discrimination or abuse. If anyone behaves badly, it gets called out and addressed. Despite the high emotions you’ll experience watching this show, it is never angsty and won’t stress you out, so if you’re looking for a show that will make you feel lots of emotions without making you anxious, this is the one for you.

My favourite moment? I have rather a lot, but my favourite is perhaps in episode one where the neurosurgeon castigates one of her friends for not telling her sooner that her boyfriend was cheating on her - only for us to later see that he was indeed a true friend because he’s the one who pushed the boyfriend to be honest with her and confess. K-dramas are so good at this: showing us a scene from one point of view, then later showing the same scene from a different perspective, or adding more to what we’ve seen before, giving the viewer a new understanding of what happened. I also love how scenes like these show characters communicating with one another in healthy, honest ways.

So, with so much to love about this show, why haven’t I given it a full five stars?It was a very tough decision, and Hospital Playlist probably does deserve five stars, but there are two reasons I opted for one star less:

• As a romance writer and reader, I love stories with a strong central romance. While this one had several romantic sub-plots, it didn’t quite give me all the romance “feels” my heart desires. In other words, it’s not the show’s fault, but mine.

• The ending didn’t feel entirely satisfying. Perhaps this was because the writers already knew a second season was coming, but they left a lot of loose ends hanging and only one of the central characters was given a truly satisfying resolution at the end of season one. Though it took two years for viewers to get a second season, I was able to roll straight over into season two (which - spoiler alert! - does give the reader a very satisfying conclusion) and you’ll probably want to do the same.

There are many laugh-out-loud funny moments in this show (as well as some deeply moving ones, as any K-drama aficionado would expect) and a lot of “best friends just hanging out and being great friends” moments, so I’m going to leave you with one of my favourite scenes that has a bit of both:

Have you watched Hospital Playlist, and if so, what were your thoughts?

The Girl Who Sees Scents has an intriguing premise but, unfortunately, it cannot quite decide what type of story it wants to be, nor does the execution deliver on the initial promise.

English Title: The Girl Who Sees Scents (2015)

Writer: Lee Hee-myung

Director: Oh Chung-hwan and Baek Soo-chan

Length: 16 Episodes

Tropes: Murder mystery with a slight paranormal twist, serial killer, amnesia, Action, RomCom

My Score: 3/5

Description: Aspiring comedienne Choi Eun-seol (Shin Se-kyung) is able to see scents as colours and shapes. Her path crosses that of police detective Choi Moo-gak (Park Yoo-chun), who is unable to smell, taste or feel pain, and they team up to solve the mystery of the Barcode Killer - a case that turns out to be deeply personal for them both.

If you enjoyed this show, then watch: Suspicious Partner, and While You Were Sleeping and My Love From the Stars (both by the same director, Oh Chung-hwan)

I watched The Girl Who Sees Scents as it was about to leave Netflix. (Spoiler alert - it didn’t actually leave Netflix so you can still watch it.)

The show started with promise, with an intriguing concept, and an interesting opening. So far so good! However, the plot quickly grew confusing, before shifting gears and suddenly dropping us into a theatre company’s contest with a bunch of characters we don’t know and could care less about. The female lead’s ability to see scents was also largely ignored, then the focus shifted again, to a police station where, once again, we met a bunch of new characters without being properly introduced to them. The first episode quickly turned into a hot mess, and forty minutes in, I still hadn’t formed a bond with either of the main characters. As a result, I didn’t really care about what was happening to them. Fortunately, by the end of the first episode the various story strands came together and started to make sense - which is the only reason I kept watching.

While there’s a lot in this show that’s worth watching, especially if you’re looking for a light-hearted watch, here’s a rundown of all the reasons why, for me, The Girl Who Sees Scents only warranted three stars (and very nearly got downgraded to two!)

• This show can’t quite decide what genre it wants to be. Episode one has all the elements of a slapstick comedy with some perky romance thrown in, but then the show becomes a thriller, then a melodrama, and finally a murder mystery. Other K-dramas mash up genres, but the overall feel usually remains consistent and they don’t change genre from episode to episode, as this one does.

• Some of the “science” isn’t logical, and the story has more plot holes than a South African road has potholes! There are too many inconsistencies, unanswered questions and plot holes to mention them all here. (Like, what happened to the ML’s aquarium job and the FL’s dream of becoming a comedienne? Where did her father go for a whole year?) Some of these plot holes are so obvious they’re laughable, like when the female lead (FL) walks into the killer’s house, which she has already visited several times with him, knowing that he’s now coming after her - and then she is surprised that this is his house. Did anyone actually read the final script before they filmed this?! (I did have a good laugh, though, over the continuity error in the final episode that had the leads going on a picnic together on the same bicycle, then they suddenly have two bikes during the picnic, before they go back to sharing the same bike again.)

• The killer’s identity is revealed to viewers very early (in episode six, before even the halfway mark) which takes some of the tension and suspense out of the story. From then on it becomes a simple cat-and-mouse game until he is finally brought to justice. (On the plus side, the actor playing the villain, Min Nam-koong, is one of the best things about this show.)

• The female lead (FL) is very badly written. In romance novel terms she is what we would call TSTL (Too Stupid To Live.) She constantly puts herself into dangerous situations, knowing full well that they’re dangerous, and with no credible motivation for doing so. (Though she’s not the only character that does this!) Perhaps one of the worst instances is when she enters the killer’s house to retrieve a hidden camera - and doesn’t take her phone despite knowing she needs to be contactable. I began to think that she had a death wish and actually wanted the villain to kill her!

• There are multiple instances of author manipulation like this in the story. Author manipulation is when the writer manipulates the characters into doing things that are illogical in an effort to stir up drama. It feels ham-fisted and inconsistent with how real people would behave. Just one example: With a very clever serial killer after her, the FL decides to go home alone to her known address and, despite her being their sole witness, the police don’t even think to offer her any protection. Would a real witness make herself a target like that - and would the police just let her?

• The police in this show are so inept and ridiculous that they lose all credibility. They’re no doubt intended to provide comic relief in the story, but instead their over-the-top incompetence feels unbelievable and grows frustrating. As with the FL, they feel like characters manipulated by a writer rather than like real people. On an undercover stake-out, they sit around playing with their guns and gossiping about the case, making it painfully obvious why they’re there - just so that the writer can have the villain overhear their plans. Later, at the story’s climax, the detectives are searching a site, under urgent time pressure as lives on the line, when it starts to rain... so they just give up the search and retreat to a local coffee shop, delaying the discovery of the crucial trapdoor they’re looking for. In a real life investigation, with lives at stake, would the police really just walk away to stay dry? Nope, but since this writer wants to delay the discovery, they’re made to act in unrealistic ways.

• Unlike most Kdramas I’ve seen, the internal conflicts in this one are thin and superficial. The writer could have dug deeper instead of making the characters TSTL. This lack of depth was especially noticeable with the villain; the reason for why he became a serial killer was only superficially explored and we never learned where his enormous wealth came from.

• Slow pacing: The last few episodes really drag. Around episodes 13 - 14 the story starts to feel repetitive, with characters acting rashly for no apparent reason other than to create plot conflict. The FL repeatedly goes back to meet the killer (knowing that he’s the killer) and every time her supposed protection is nowhere to be found. No matter how much action there is on screen, if it’s just more of what we’ve already seen before, it grows boring for viewers and the pacing slows.

• A dragged-out ending: The central storyline is pretty much wrapped up at the start of episode 15, with the FL very suddenly regaining her memory after three years of amnesia (all it took was one nightmare and her memory is suddenly intact!) but the writer clearly still needed to fill the remaining airtime so we’re given some slapstick comedy, a series of dream sequences, a completely inept attempt to propose, and then there’s an entirely new case for the leads to work on, which is quickly solved. All of this just felt like padding, rather than necessary to the story.

• The leads had very weak chemistry. They felt more like friends than lovers.

• And finally, though unrelated to this story, I was very disappointed to discover after I’d watched the whole show that the cute, seemingly boy-next-door ML actor was accused of sexual assault and also involved with drugs. His career ended quite soon after this drama, and in recent pictures he really looks terrible, so I can only assume the drugs have taken a big toll.

One of the best things about this show: the villain, played by Min Nam-koong (above.)

The Girl Who Sees Scents suffers in comparison with While You Were Sleeping (another romantic mystery with a paranormal twist) and Suspicious Partner, but it’s still worth watching. Yes, it has issues, but it’s still an interesting story (though admittedly the twists are a little too obvious for this to be classified as a Suspense) and it’s still a light-hearted, unserious watch that’s quite fun if your bar is not set too high.

Notes for writers:

• This show is a masterclass is how NOT to introduce characters. We meet too many characters all at once, and many of them appear random when they’re first introduced. Only later do we find out who they are or why they matter. This script is also by far the worst I’ve seen so far in making us care quickly about characters when they’re introduced - which is highly unusual for K-dramas, as they usually excel at making the viewer care.

• Another thing that (most) K-dramas do well is flashbacks. Usually, if flashbacks are repeated (which is sometimes necessary over a 16-episode drama) they usually make each flashback sufficiently different, adding new information or a new perspective each time, to keep the viewer interested. Not so with this one. The same flashback of the male lead’s sister’s death was repeated ad nauseam with no change. In your own novel, if you repeat parts of the story to remind the reader of past events, ensure that each reprise adds something new for the reader.

• Watch both this show and While You Were Sleeping to see the contrast between how their internal conflicts are developed. Note how much more emotional impact a show has when the characters’ actions are well-motivated and organic rather than manipulated by the author.

Have you watched The Girl Who Sees Scents - if so, what were your thoughts? Have I been too harsh? If you haven’t yet watched it, here’s the trailer:

Idol I was a very easy five stars for me. If you enjoy murder mysteries, psychological dramas, or legal thrillers, then this show is for you. And it’s a must-watch for all K-pop fans!

English Title: Idol I (2026)

Writer: Kim Da-rin

Director: Lee Kwong-young

Length: 12 Episodes

Tropes: Murder Mystery / Whodunit, Celebrity / Pop star hero, Hidden Identity, Shared Past, Slow Burn Romance, Second Lead Syndrome, She fell first / He fell harder.

My Score: 5/5

Description: Never meet your idols. Tough criminal lawyer Maeng Se-na (Choi Soo-young) learns this the hard way when she steps in to defend her idol who is accused of murdering his fellow band-mate. Maeng Se-na has a big secret - she’s a superfan of K-pop band Gold Boys and especially of its lead singer, Do Ra-ik (Kim Jae-young). But the real Do Ra-ik is nothing like the man she imagined him to be. As they work together to solve the murder and restore his reputation and career, the case both re-opens old wounds and brings them together. For Do Ra-ik, especially, the case collapses his already-fragile life, forcing him to face his demons and, ultimately, emerge a changed person.

If you enjoyed this show, then watch: Namib, Imitation, Celebrity, Her Private Life, Sh**ting Stars, Lovely Runner, and Record of Youth.

I’m reviewing this one while it’s still fresh in my mind, as I made no notes at all while watching - which shows how engrossed I was! Idol I hooked me from beginning to end and I was sad when it was over. While it’s not perfect, it’s a show I definitely intend to watch again (most likely more than once) hence the five stars.

One of the things I love about K-dramas is the way they blend genres. Idol I starts as a mystery-thriller, incorporates legal elements, becomes a psychological character study exploring idol life, and is threaded through with a romance (Of course! Would any K-drama be complete without its romance?)

This show also has everything that is best about K-dramas. In addition to the blend of genres enabling it to appeal to a wide range of tastes, it also features excellent acting, high quality production value, great pacing, and a good script with nuanced, multi-faceted characters.

I enjoy a good murder mystery, and this show more than delivers on the suspense. Not only are we kept guessing who really killed Woo-seong, but I especially love that the male lead (ML) is an unreliable and unpredictable character, so we’re also kept guessing for quite a few episodes whether or not he really is innocent or guilty. (Unlike, for example, Suspicious Partner, where the murder-accused female lead is very obviously - at least to the viewer - not the killer.)

One of the things I loved most about Idol I is that it takes a far more realistic, gritty view of idol life than most other K-dramas revolving around celebrities. One review I stumbled across describes Idol I as a “darker, more mature successor to Her Private Life.” I completely agree. In both stories, the female lead (FL) is a devoted K-pop fan who keeps her fan-girling secret from her work colleagues then ends up meeting her idol in real life. But where Her Private Life remains a light-hearted rom-com, Idol I digs deeper into the darker side of fame.

As much as I loved Sh**ting Stars and Her Private Life, they take only a superficial look at fame and celebrity culture while placing an emphasis on the romance and comedy aspects of the stories. Idol I has its rom-com moments, but its characters are not simple or stereotypic characters, nor is the exploration of fame as black-and-white as in the other shows - and it’s not afraid to show the worst aspects of fandom.

I enjoyed how realistically Idol I captures the fan experience; the stress of trying to buy concert or fan event tickets, waiting with bated breath for every bit of news, collecting merchandise, the excited rush to catch a live-streamed concert (Which millions of fans around the world will experience together on March 21st!), the online communities and forums, and the supportive community and friendships that can be found within the fandom. I especially liked that it showed what fans get out of the experience, and how Maeng Se-na has to find a balance between her private relationship with Do Ra-ik the man and her fan/idol relationship with Do Ra-ik the singer in order to keep that fangirl magic.

But there’s a darker side to fandoms too. Episode One shows the equally realistic but far less palatable underbelly of fandom, making for very uncomfortable viewing. The ML has to contend with aggressive behaviour at a fan signing, tabloid reporters and haters, and even stalkers who intrude into his home. These incidents hit especially hard in light of recent real-life incidents experienced by K-pop idols. The fan obsession, the hate, and the intrusion into the ML’s private life, is very scary and threatening, making it understandable that he initially distrusts the FL and only accepts her as his lawyer because he has absolutely no one else to turn to.

The show also explores the internal tension between band-mates who are, after all, different people with different needs and goals forced to live and work together in a very intense, lonely bubble.

Idol I does a great job of exploring the isolation and internal pressures these performers face, such as the tough career issues behind the music that the fans see and enjoy (like contract renewals and the control exerted over them by their record labels) and the impossible ideals that are demanded of them, not allowing them to be vulnerable or less than perfect. This is hitting especially hard today. As I’m editing this post to upload it to Substack today, my social media is blowing up with chatter about JungKook of BTS’s Live with fans in the early hours of this morning - a Live in which he showed his authentic, less-than-perfect self. I cannot even imagine what it must be like to live under the weight of that expectation to be inhumanly perfect every moment of every day. I hope that K-pop’s real life idols manage to break that expectation in the same way that Do Ra-ik eventually does.

As a storyteller, I’ve always found these dual aspects of celebrity fascinating; the conflict between the glamorous lifestyles, the artistry of the performers, and the rose-coloured view we non-celebrities have of celebrities, with the less appealing aspects that we fans barely glimpse. However, this story intrigued me more than for just its storytelling potential. As a fangirl myself, it made me do some introspection on my own (slightly) obsessive fan behaviour, my relationship with my idols, and what it means to be a fan. I hope that this show is a wake-up call for those fans who maybe are a little too obsessive, and who have impossible expectations of their idols, and that it makes them consider how true fans should behave. Hopefully, it will make fans want to protect their idols (like with the Purple Ribbon Project), respect their privacy, and support and encourage them to live authentic lives and enjoy healthy romantic relationships.

The FL starts the story as a superfan, who admits to feeling jealously possessive of her idol and not wanting him to have a romantic relationship. This superfan behaviour could risk the character being unlikeable, but the writer reduces the “ick” factor by giving her a back story that makes her obsession more understandable and acceptable. (As I always tell my clients - you can get away with anything in a story, as long as you give the characters a solid and relatable motivation for their behaviour!) This makes an interesting contrast to Her Private Life in which the FL’s behaviour is not only obsessive but even stalkerish - but she gets away with it because she’s shown as a kind, sympathetic person who is supportive of her idol and of his having a private life (a tough topic that the show admittedly dodges by simply not giving her idol a romantic relationship!)

The casting of Idol I is particularly interesting as the superfan FL is played by a real life idol, Soo-young of girl group Girls’ Generation, while the idol ML is played by an actor who has only recently ascended to leading roles. I discovered Kim Jae-young (the ML) for the first time recently in 100 Days My Prince in which he played an assassin. He was already worth noticing in that secondary role, but he is amazing in this one. He manages to capture the character’s nuances and complexity, and is able to be dangerous, vulnerable, and the ideal rom-com hero at different stages of the show.

In the list of tropes above, I mentioned Secondary Lead Syndrome. This term is usually applied to the “loser” in a love triangle, the secondary man who, while worthy of being a good match for the FL, does not ultimately win her heart. Idol I does this a little differently, in that the secondary ML, while worthy, is never really considered as her love interest, so there is no love triangle. If you’re not a fan of love triangles, then this is the show for you.

Another secondary male lead in the show is ambitious prosecutor Kwak Byung-gyun (Jung Jae-kwang) who is hell-bent on prosecuting Do Ra-ik, whether he is innocent or not. This sub-plot, while adding conflict and tension to the story, does not show Korea’s legal system in the best light. Much like Suspicious Partner and The Good Detective, prosecutors are shown as corrupt and politically motivated rather than pursuing the law, truth, or justice. In fact, Korean laws on the whole appear weak and very subjective - which seems entirely plausible in light of the ongoing legal troubles which actors Kim Soo-hyun, Cha Eun-woo and Kim Seon-ho are currently experiencing.

Finally, Idol I only has 12 episodes so it manages to avoid the saggy middle syndrome that often affects longer K-dramas. What is sacrifices are the sub-plots and deeper development of secondary characters that I’ve come to expect from K-dramas. What it gains is tighter plotting, and a show that never veers from its core story, nor loses its momentum or suspense. While the second half could benefit from even tighter pacing, the central mystery keeps the viewer engaged from beginning to end.

What can writers learn from watching Idol I? You know what... you’ve earned a break. Just sit back and enjoy this one!

If you still need to be convinced to watch Idol I, check out the official trailer below.

Earlier this week, author Jeevani Charika and I did a Substack Live in which we chatted about Idol I. If you haven’t yet watched our chat, you can catch it here.

Thank you to everyone who tuned into my live video! Join me for my next live video in the app.

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This flawless legal suspense drama had me so absorbed that (for once) my writer brain switched off and I was simply able to enjoy the story.

English Title: While You Were Sleeping (2017)

Writer: Park Hye-ryun

Director: Oh Chung-hwan

Length: 16 Episodes

Tropes: Suspense with paranormal elements, neighbours, love triangle, supernatural / magical connection, childhood connection, found family

My Score: 5/5

Description: Nam Hong-joo (Bae Suzy) is a journalist who sees the future in her dreams. She teams up with her new neighbour, rookie prosecutor Jung Jae-chan (Lee Jong-suk) and with local police officer Han Woo-tak (Jung Hae-in) who also suddenly gain this ability. Together, the three dream-seers work to prevent tragic events from happening and fight for justice while unraveling the mystery behind their strange shared powers.

If you enjoyed this show, then watch: My Love From The Star (same director), Romance is a Bonus Book (same male lead), Genie, Make a Wish (same female lead), and Suspicious Partner for those who enjoy legal suspense dramas. I also highly, highly recommend Pinocchio and I can hear your voice (both by the same writer - and Pinocchio also has the same lead actor.)

[Not to be confused with the American Sandra Bullock / Bill Pullman movie from 1995.]

I had a hard time deciding between 4 stars and 5 stars for this one. It didn’t make me as obsessive as Crash Landing on You, When the Phone Rings, or The King: Eternal Monarch, but, like Romance is a Bonus Book (which features the same lead actor) I couldn’t find any flaws in this show. It’s a great story, well filmed, and has an amazing soundtrack (So many songs I already listen to and love!) Even the editing is incredibly well done - the way that the dreams and reality are interwoven creates tension, drama, and emotion without ever getting confusing. I was so absorbed in binge-watching the story that I made very few notes as I was watching - and that was why, in the end, I opted for five stars.

What I loved about this K-drama:

• While there’s a strong love story anchoring this show, it also has crime/mystery/legal drama elements. Even if romance isn’t your jam, watch this one, as it’s guaranteed to appeal to a wide range of tastes.

• I love shows where the main characters are surrounded by strong, supportive family and friends, and this show has a lot of that. I especially loved the close bonds that formed between the three main protagonists which lifted this out of cliched love triangle territory into really believable, heartfelt territory.

• As with many other K-dramas, this one contained several Easter eggs from the actors’ previous shows. I caught a few references to Lee Jong-Suk’s W: Two Worlds, but there may have been others that I missed.

• I also really liked the creative openings to each episode. The episodes start with 10-15 minutes of story before the title cards come up, and these title cards use very clever scene transitions. My favourite was in episode 10, where the title card, which looks like a van Gogh painting, becomes a window distorted by rain drops. Once I noticed these different episode openings, I started to look out for them and they were like a bonus treat.

• But the best thing about this drama is its stellar cast. The two male leads, Lee Jong-suk and Jung Hae-in, have been fabulous in everything I’ve seen them in (the latter was about the only thing that made Something in the Rain and One Spring Night watchable for me!) I initially thought that the lead actress was the same female lead as Love Next Door, until I googled and realised she’s not - but wow they do look a lot alike! I also had fun spotting all the familiar faces in the supporting cast.

I’ll admit, the opening episode had me wondering what the hell I was watching. Were the writers really doing that to the main characters? The twists just kept coming, making me question if this was the same show I’d expected to watch. And then the BIG twist arrived and I was hooked. You need to watch the first episode to appreciate what I mean!

What writers can learn from While You Were Sleeping:

• The twists just keep coming. There’s never a dull moment in this story. Some are foreshadowed and you can see them coming, but these are balanced out with unexpected twists that really keep the viewer awake, engaged, and binge-watching.

• Look at WHEN the backstory is revealed. It’s revealed in small chunks that create maximum emotion because they reveal just enough, happen at just the right time, and every bit of back story reveals a new twist. The back story doesn’t simply reveal information, it changes the story or completely changes our understanding of the story and characters - which is exactly what back story should do!

Have you watched While You Were Sleeping? What did you think: 4 or 5 stars? Or did it not hold the same appeal for you that it did for me?

If you haven’t yet watched it, check out this trailer:

Cinderella and the Four Knights is a cute story that doesn’t take itself too seriously. While it employs a lot of cliches, it’s charming and fun to watch.

English Title: Cinderella and the Four Knights (2016)

Writers: Min Ji-eun / Won Young-sil

Director: Kwon Hyuk-chan / Lee Min-woo

Length: 16 Episodes

Tropes: Cinderella, Wicked Stepmother, Roommates, Fake Relationship, Love Triangle (or Love Square?)

My Score: 3/5

Description: Struggling student Eun Ha-won (Park So-dam) is hired by a rich businessman to bring his three estranged grandsons together. His only rule: no dating. Forced to live together in their grandfather’s mansion, Ha-won and the three cousins navigate their past traumas and romantic entanglements to become a true family.

If you enjoyed this show, then watch: Business Proposal, Love to Hate You, King the Land, or The Heirs.

Cinderella and the Four Knights is a light, funny, escapist watch with some laugh-out-loud moments. It is a very tropey rom-com, complete with all the trappings of nasty, self-centred stepmother and stepsister, a fancy pair of shoes, and the midnight deadline at the ball (or rather at the grandfather’s 5th wedding) - and that’s just the first episode! But many of the tropes are subverted or used in fresh ways. In this show it’s the three cousins who go from enemies to friends, rather than the usual Enemies-to-Lovers trope.

This isn’t the typical Cinderella story in which the poor girl wins Prince Charming’s heart, nor is it the classic K-drama love triangle, as this Cinderella has four potential suitors - the three estranged cousins, with a fourth in Secretary Lee, the grandfather’s assistant who keeps a watchful eye over them all. Definitely a wish fulfilment story for women!

Cinderella and the Four Knights is a faster-paced, less aggressive, and more mature version of the classic 2009 Boys Over Flowers. Like BOF, this one has its own chaebol F4, and the same bullied poor girl who works a bunch of part-time jobs before being taken under the wing of the chaebol heirs. At first, the chaebol heirs are resistant to her presence and rude to her, but they gradually soften as she works her irrepressible charm on them. Other similarities include the whiny, spoilt girl and the trip away (admittedly this is just a vacation home rather than BOF’s trips to New Caledonia and Macau - but clearly every bit as much a paid-for vacation ad.)

Like all K-dramas, there’s always some bitter to balance out the sweet (or in darker stories like Vincenzo and When the Phone Rings, some light to balance out the dark.) In this story, there are some heavier themes explored, like dysfunctional families, grief and loss, abandonment, and neglect, but the good triumphs over the bad, with love, friendship, family (and found family) triumphing over all the negatives.

The show manages to keep the viewer guessing which of the four potential suitors is the one that Eun Ha-won will end up with. I wasn’t even sure until well past the show’s midpoint who I wanted her to pick! For the first six episodes, I even thought the best man for her could be the outlier, Secretary Lee.

All four men turn out to be green flags, though it takes some of them a while to get there, as they all have issues to deal with: Playboy Kang Hyun-min (Ahn Jae-hyun) has yet to come to terms with a big loss in his childhood, rebellious loner Kang Ji-woon (Jung Il-woo) is an orphan who resents the family that abandoned him and his mother, and Secretary Lee (Choi Min) is also dealing with childhood neglect and mommy issues. Sweet, sensitive pop idol Kang Seo-woo (played by Lee Jung-shin, a real life pop idol with the band CNBlue) is the most well-adjusted of the four, but he too has a character arc, albeit a smaller one than the other main characters.

Rounding out the lead cast is the secondary female lead (2FL) Park Hye-ji (Son Na-eun of K-pop girl group Apink), a childhood friend of Hyun-min’s who has had an unrequited crush on him for years. This character annoyed me on my first watch of the show, and did not improve with a second watch. She constantly mopes around, gets jealous and possessive (and sometimes even downright nasty) because her one-sided love isn’t returned, and she even feels that Hyun-min “owes” her because they have history together. I wasn’t happy for them to end up together on either watch.

While the show contains many cliches, and an annoying 2FL, there are more reasons to love it than to hate it. What did I love about Cinderella and the Four Knights?

• Lead actress Park So-dam. She’s a very talented actress who won international praise for her role in the Oscar-winning black comedy, Parasite, and she’s also delightful to watch in Record of Youth. She manages to make this Cinderella likeable, relatable, feisty and quirky, and also brings a depth to the role that prevents her from veering into Mary Sue territory.

• The Easter eggs. I love self-referential nods to fans (like Melomance’s song from Business Proposal which plays the first moment we meet Jinu in K-pop Demon Hunters.) This show includes references to CNBlue and other inside jokes. Easter eggs are rare in western TV series, as they’re usually written well in advance of casting - and as they often take themselves far too seriously to pamper to fans. K-drama scripts, however, are often written after the cast has been confirmed (and sometimes even during the production!) so they’re able to include these secret messages for fans.

• It has very little obvious product placement. I barely noticed anything that resembled a commercial, unlike many more recent dramas. (The King: Eternal Monarch, much as I loved it, had at least two to three very obvious ads built into each episode!)

• One of the things I love best about K-dramas is the wholesome “green flag” energy of the male characters. (And it’s how you can tell many of these K-dramas are written by women!) Unless they’re villains, like in Something in the Rain or One Spring Night, they’re generally nice guys. In this show, we see the men bond with each other in healthy ways, and we feel that the heroine could be safe and happy with any of them. What could be more escapist and wish fulfilling than being surrounded by men who are safe for women to be around?

In summary, Cinderella and the Four Knights is a good choice to watch when you’re looking for a low-angst show that won’t make you cry too much or think too hard, but which will warm your heart and leave you with a smile.

Have you watched Cinderella and the Four Knights? If you haven’t yet watched it, this clip from episode 5 in which Eun Ha-won teases Kang Ji-woon might just tempt you to give it a try. (Hint: There’s some nice eye candy!)

Keep your tissues handy for this poignant, layered (and ultimately very healing) coming of age story - especially if you’re as easily moved as I am.

English Title: Our Unwritten Seoul (2025)

Writer: Lee Kang

Director: Park Shin-woo

Length: 12 Episodes

Tropes: Melodrama, Coming of Age, Bait & Switch, Life Swap, Sisters, Family drama

My Score: 4/5

Description: Identical twin sisters Yoo Mi-ji and Yoo Mi-rae (both played by Park Bo-young) live very different lives; model student-turned-perfectionist Mi-rae has a corporate job in the city while Mi-ji, once a promising athlete, has remained in their small hometown to care for their grandmother. But both are stuck and unfulfilled in their lives. When Mi-ji learns that her sister is struggling with workplace bullying, she suggests that they swap identities. As they step into each other’s shoes, they not only learn to understand one another better, but rediscover themselves, heal, and find love and purpose.

If you enjoyed this show, then watch: Melo Movie (same lead actress), Because this is my first life, and Youth of May (by the same writer.)

If this were a novel, it would be labelled women’s fiction; there is some romance, but the focus of this story is very much on the twin sisters as they “figure out their shit.” The story starts as a simple life switch, but soon grows into a much deeper exploration of identity, family relationships, and healing.

While this is a coming of age story focusing on young people in their 20s as they experience all the growing pains typical of 20-somethings (like figuring out who they are, what they want, and dealing with their own insecurities) this show has many layers, making it relatable to viewers of all ages. It also explores mother/child relationships and inter-generational conflicts. Many of the characters are simply trying to do their best for other people, especially for their families, sacrificing themselves because of what they believe others want them to be. Mothers sacrificing their happiness for their children, and children for their parents... all of which results in a lot of unhappiness as they’re not living honestly or to their full potential.

The show leans more into Mi-ji’s story rather than Mi-rae’s, but both characters experience transformative growth arcs. Every writer knows how hard that is to achieve for even just one character, so I really admire writer Lee Kang’s skill in creating this story, weaving such depth into multiple character arcs. I would love to see more work from her but she appears to be a slow writer, having taken four years to create this script, but as I’m a slow writer too I also find that reassuring. Crafting great stories takes time, but the end result makes the wait absolutely worthwhile. (Read the article linked here for some insights into Lee Kang’s intentions in writing this story.)

Likewise, Park Bo-young did an excellent job playing multiple roles. She not not only plays the dual roles of the twin sisters, but also each twin playing the other! Her acting ability is truly impressive because, rather than hamming it up or taking easy shortcuts, she delivers nuanced, emotional and layered performances for every character and makes each character unique and distinctive.

For me, her performance wobbled only in the final episode when Mi-ji became a little whiny and childish - however, that may well be the director’s choice rather than an actor’s choice. Her speaking like a child, and with a pouty mouth, may have been intended to make her appear cute (aegyo) now that she’s in a relationship, or to emphasise the difference between the sisters (but it was a tad annoying!)

Another element of the story I didn’t like was that there were a lot of miscommunications and misunderstandings. Characters hear or overhear only half the story, then pull away before getting the full story. Using miscommunication as a device for conflict often feels like lazy writing, especially when those conflicts could be easily resolved if the characters simply communicated with one another. In Our Unwritten Seoul, while it was a vague annoyance, it wasn’t a dealbreaker, as it was most likely intentional rather than a lazy literary device. The importance of communication could be considered a key theme of the story (as is the related criticism of gossip and rumours.) Lack of honest communication, and the need to put others’ welfare ahead of one’s own, may also be a reflection of the collectivism of Korean society - the prioritisation of family and community over individual needs. While it works in this story, my advice to newer authors is to be careful not to rely on miscommunications to create conflict. Readers may tolerate it once but, unless it is done intentionally to develop a theme or societal critique, avoid over-using this device.

Real life pop idol Park Jin-young (of boy band GOT7) also deserves a shout-out for his sensitive performance as the twins’ childhood friend who is dealing with family issues, the ethical dilemmas of being a lawyer, and healing loss, as does Moon Dong-hyeok in the role of Mi-ji’s ex-boyfriend.

I liked the LGBT representation in Our Unwritten Seoul. It’s still quite rare in Korean dramas, and even when there is LGBT rep it’s often problematic, but I liked that in this show the gay character wasn’t villainised or mocked (except by very unlikeable people.) I still would have liked to see Song Gyeong-gu get his own Happy Ever After, though!

As with many K-dramas, especially the melodramas, Our Unwritten Seoul tackles some tough issues, including depression, sickness, hearing loss, and (in the sub-plot of elderly restaurant owner Kim Ro-sa) the terrible lack of support and injustices women suffered in the past, whether it was physical abuse, lack of support for learning difficulties, or lack of support in the eyes of the law.

One of the reasons I love K-dramas is how they show that we’re all a bit broken, but also that we’re all capable of healing, no matter what we experienced in the past or how old we are. These dramas feel realistic in that they show that growth and healing aren’t finite, as they are in Hollywood movies and TV shows. In western stories (and I include novels in this) healing is a finite end point that comes at or shortly after the climax of a very specific journey. But dramas like Our Unwritten Seoul show that healing and hardship are both on a continuum.

Hollywood sets us up for the belief that if we just achieve X then we’ll come out the other side with the perfect life and with all our problems resolved. But real life isn’t like that, and so, when we come out the other side of a hardship or difficulty only to face new challenges, or to not achieve the perfect life, we feel like we’ve failed. The 90-minute Hollywood formula sets us up to feel like failures when we can’t duplicate the protagonists’ achievements, whereas K-dramas offer a far more realistic reflection of the human experience.

As any parent knows, we face new challenges as dynamics change. The difficulties we face raising toddlers give way to the difficulties of raising school-going children, new challenges emerge when they become young adults, and then, as we age, our children become our caregivers. I love how K-dramas represent this, because it not only gives viewers the feeling that their struggles are seen and understood, but also gives us a sense of hope. If we’re still struggling at 50, when our children are already grown, we’re not flawed or failing at life. We’re just human. I think this is why so many K-drama fans talk about how healing these shows are.

Why did Our Unwritten Seoul not quite manage that fifth star from me? The final episode pulls together all the strands and gives every plot thread and character a satisfying resolution, but it didn’t leave me with “all the feels” in the way that Romance is a Bonus Book or When The Phone Rings did. It’s also not the K-drama to choose if you’re looking for something light and comedic - but it is absolutely worth watching, so I hope you do give it a try!

If you’ve seen Our Unwritten Seoul, do you agree?

If you haven’t yet watched it, check out this clip from the first episode as a teaser:

If you’re looking for a starting point for your own K-drama journey, I don’t think you can go wrong with these.

I’ve been absent for a while - a combination of real life interruptions, as well as too much K-drama binge-watching.

Back in September, Netflix announced that a whopping number of K-dramas (at least 15, by my count) would soon be leaving their platform so, for about six weeks, I burned the midnight oil to catch as many of them as I could before they were gone. If you’d told me before that it was possible to get burned out on K-dramas, I wouldn’t have believed you, but I did need a recovery period after watching so many shows in so short a time! (However, it was clearly either a marketing stunt, or so many viewers did what I did and the numbers rose significantly enough that Netflix renegotiated with the distributors, as none of them ended up leaving the platform!)

Now that I’ve recovered from my binge, I’ll start sharing new reviews, but for today I thought I’d share a list of my 5-star K-dramas. These are the shows I regularly dip back into, the ones I never wanted to end because I didn’t want to leave their worlds, and the ones that really moved me emotionally. If you’re looking for a starting point for your own K-drama journey, I don’t think you can go wrong with these.

My 5-Star Choices

In the order that I discovered them:

• Crash Landing on You

• Romance is a Bonus Book

• Guardian: The Lonely and Great God (aka Goblin)

• When the Phone Rings

• The King: Eternal Monarch

• While You Were Sleeping

• Idol I

Wow - that list is a lot shorter than I thought it would be!

Honourable Mentions

These are 4-stars that were borderline 5-star and only just missed being perfect (in my opinion.)

• What’s Wrong with Secretary Kim

• Shooting Stars

• Her Private Life

• Vincenzo

• Destined With You

• Love Next Door

• Hospital Playlist

• Our Unwritten Seoul

• Descendants of the Sun

• Record of Youth

• Pinocchio

• 100 Days My Prince

Shows I would only recommend to my worst enemies

Finally these are the shows that left me cold and which I don’t recommend, mostly because they were too slow-paced or because they hurt my feminist heart. If you loved any of these (and there are many viewers who do!) then my blog may not be the best place for you to look for recommendations.

• Doona!

• Something in the Rain

• One Spring Night

• She Would Never Know

• Secret Garden

This final category needs an honourable mention for Boys Over Flowers. This beloved classic was one of South Korea’s earliest big break-out hits. I understand why it was such a huge hit, but it hasn’t aged well. It’s long, very slow, and has issues around consent and abuse - but it’s also strangely addictive. I watched all 25 episodes - but if you choose to do the same, just know what you’re letting yourself in for!

See my complete list of K-dramas I’ve watched so far (with links to their reviews) here:

Record of Youth is a charming coming of age story that looks at the darker sides of fame, wealth and social position, and family - all intertwined with a sweet love story.

English Title: Record of Youth (2020)

Writer: Ha Myung-hee

Director: Ahn Gil-ho

Length: 16 Episodes

Tropes: Coming of Age, Celebrity/Non-celebrity romance, love triangle, slow burn, Rags to Riches / Rise to Stardom, Family, friends to lovers

My Score: 4/5

Description: Make-up artiste An Jeong-ha (Park So-dam) meets her idol, model and aspiring actor Sa Hye-jun (Park Bo-gum) and they form an unlikely friendship. Both are struggling to overcome the disadvantages of their social position and, though they both have the odds stacked against them (and Sa Hye-jun's career is facing the ticking clock of his upcoming military enlistment), they're both determined to pursue their dreams.

If you enjoyed this show, then watch: Our Unwritten Seoul, Melo Movie, Doctors (by the same writer) and The Glory and Marry My Husband (same director)

The Netflix description of this drama never really grabbed me but I'm so glad I took a chance and watched it. This is a slower-paced drama, with a heavier focus on the characters' internal lives and struggles than on the events of the plot, and absolutely worth watching.

Record of Youth is a coming of age story that focuses on a group of 20-somethings establishing their careers and finding out who they really are. At the heart of the story are the two love interests, and the male lead's friends are also important characters, but for me this is Park Bo-gum's story. It's the internal struggles of his character, Sa Hye-jun, which form the backbone of the entire show.

The story has three sections: Sa Hye-jun as a struggling actor, then the struggling actor starts to make good and achieve success, and finally the fall-out of that success and the downsides of being a superstar (gossip, jealousy, the affect on privacy and relationships.)

Why did I love Record of Youth?

• It has a fantastic soundtrack (I Shazam-ed at least one song per episode!)

• As much as I enjoy the more frivolous rom-coms, I love K-dramas like this one that are deeper and don't shy away from hard issues.

• Park So-dam is sweet and quirky - and she's a really amazing actress who is worth watching in everything she does. (She was part of the cast of the Palme d'Or, SAG, and Academy Award-winning Parasite.)

• Park Bo-gum is the cute, green flag boy-next-door type (in almost every role he plays, it seems.) He's not heart-racingly sexy, like a Lee Min-ho or Hyun Bin, but he's endearing, and he plays the kind of man every woman would be lucky to take home!

• The characters and situations are all believable and relatable. There are villains, but for the most part they feel realistic and well-rounded rather than over-the-top mean (like the secondary male lead's mother.) The one possible exception is An Jeong-ha's salon bully.

• I love a good Bromance, but this drama goes a step further. We not only have a close friendship between the three male leads, but the dynamics between them are complex and nuanced, adding a level of depth and believability to the story.

• I enjoyed the heart-warming relationship between the male lead (ML) and his grandfather, and especially the sub-plot of the grandfather also chasing his dreams. I love the message that anyone can pursue their dreams, no matter their age.

• It was beautifully filmed, with a quality, artistic sensibility, and I liked the use of reflections and reflective surfaces to frame the characters.

• Finally, it has an interesting narrative structure / timeline, with the final scene of each episode repeated midway through next episode, but now with added build-up and context to deepen our understanding of these key moments.

So what's the downside? There isn't really one.

However, the plot line from episode 11 onwards becomes hard to watch in light of the recent scandals involving YouTubers blackmailing and bad-mouthing celebrities in South Korea. Over the past year or so we've seen the very serious consequences of YouTubers trying to make a quick buck through defaming celebrities, including the the suicide of Lee Sun-kyun, and the recent guilty verdict against YouTuber Kim Se-ui of Garosero Research Institute for defamation against Kdrama actor Kim Soo-hyun. K-pop bands like IVE have also been targeted - and while public outrage is growing against the culprits, authorities don't seem to be doing much, either piling on and doing more damage, as happened with Lee Sun-kyun, or giving a mere slap on the wrist to those found guilty, like Garosero and Sojang. Record of Youth explored this dark side of celebrity even before these recent real life events, which makes it prescient as well as hard-hitting. While it might be hard to watch knowing how real the problem is, it's an important issue and absolutely worth drawing attention to.

In my reviews, I often talk about pacing. I've mentioned before that part of the reason I didn't love One Spring Night, Something in the Rain, or She Would Never Know is because the pacing felt slow. Likewise, with the slower middle sections in Hometown Cha Cha Cha and The Legend of the Blue Sea. I may have given the impression that I simply dislike slower pacing, but I promise that's not it. There are some shows with slower pacing that I've enjoyed, like Our Unwritten Seoul, The Trunk, and this one. Record of Youth is the perfect example of how to pace a slower-paced melodrama without boring the viewer.

So, why did I only give Record of Youth four stars? I'm wondering that myself! Initially, I thought this drama wasn't quite up there with my favourites, but the more I think about it, it absolutely deserves to be. It's well-crafted, with really excellent actors, explores some important themes, and has all the emotional intensity I love. Who knows...maybe on my next watch, I'll bump it up by a star.

For writers - a note on pacing:

I've given a lot of thought to why slower pacing works for me in some stories and not in others. Yes, personal preference could be a factor, since there are many viewers who love the shows that I don't. But whether you enjoy those shows and disagree with my opinions or not, it's worth taking a moment to think about what kind of pacing you enjoy most and why. Then, consider what kind of pacing you want your own stories to have. In principle, there is no right or wrong, as pacing is part of your voice, however it does become problematic when (a) it doesn't fit your story's genre and tone, and (b) the majority of your target readers/viewers grow bored and give you low ratings.

If you identify that your story is slow-paced (or your early beta readers identify it, as we're often too close to our own work to see it) then what can you look out for to know how to fix it?

First, ask yourself: What are the reader expectations for your genre? In a crime drama, action drama, mystery or thriller (even a psychological one), readers will expect faster pacing, sudden twists and unexpected plot developments, and a greater emphasis on action than on character development. Examples: When the Phone Rings, Crash Landing on You, and Vincenzo.

Slower, more introspective stories, where the focus is on character development rather than plot twists (like Record of Youth or Romance is a Bonus Book) can get away with slower pacing. However, every scene, even if it's slow-paced, still needs to move the story forward.

A major contributor to slow pacing that is annoying rather than organic is when the scenes or plot elements do not relate to the overall story or develop the story's internal or external conflicts. This is where I feel Hometown Cha Cha Cha went wrong, with its slow, saggy middle. And I kept fast-forwarding through the long, lingering shots of the couple walking in the rain in Something in the Rain, since those long scenes were not developing either plot or character. They felt indulgent. This is the equivalent of long descriptive passages in a novel. If your writing is receiving feedback that it's too slow, look for scenes in which there is little forward progress, or where there are lengthy descriptions, and cut those to improve the pacing.

Another note for writers - Intentionality:

I like how, despite often being written episodically, often while the show is already being filmed, most K-dramas feel intentional. Seeds are planted that don't develop until several episodes later, so that every plot twist feels planned, rather than as if the writer thought, "Oh shit, I've run out of conflict! What else can I throw at these characters to stir up drama?" As an editor, I often see beginner writers do this, and the fix is so simple - go back and plant seeds for these later plot developments early in the story. (On the flip side, don't forget to grow the seeds you planted earlier, which is another common newbie mistake!) Intentionally planting those seeds, then developing them later, instils confidence in the viewer or reader that they can trust the writer.

For example: In episode one of Record of Youth, we get a glimpse of the relationship between the male lead and his mentor, fashion designer Charlie Jun. This relationship appears almost insignificant at the time and even appears to be dropped, until a hint is placed around episode 8/9 that assures us this hasn't been forgotten, and suggests that it is in fact going to become a big deal later. (And it does!)

The same happens with the video showing workplace bullying. The viewer knows that the video exists, but we don't know how or when it will be used later. We can guess what's likely to come, which keeps us on tenterhooks - when is this little piece of backstabbing gossip going to flare up into something big? Once you've watched enough K-dramas, you know that yes, it absolutely will blow up - but how, and what consequences it will cause, are unknown, because we know these writers have a tendency to do the unexpected, to exceed our expectations and deliver on twists and emotional reactions we didn't see coming. That's the delight in watching these shows; we know the writers will deliver. We can sense it because we can sense that everything is intentional, not random.

In novel writing, this is why editing is so important. Often in our first discovery draft we're getting those sparks of genius that provide the twists, but it's in the edit phase that we go back and make those twists appear like we planned them from the very beginning, not that they occurred to us as we were two thirds through the draft. My tip: Go back and place hints and foreshadowing - but then try not to do the expected. How can you make these characters react differently than expected (but still consistent to who they are)? How can you create an "awww!" moment or a "what the hell?" moment out of the twist? (Whether it's "awww" or "what the hell" is often dependent on the genre you write and what emotions you want the reader to feel.)

Have you watched Record of Youth, and if so, what were your thoughts? If you haven't yet watched it, this scene from Episode 12 will give you a sense of what you can expect from the show:

The Trunk is a dark, slow-burn psychological drama with an art house feel. It's sophisticated, stylised, and very character-driven.

English Title: The Trunk (2024)

Writer: Park Eun-young

Director: Kim Kyu-tae

Length: 8 Episodes

Tropes: Contract marriage, fake relationship, slow burn romance, psychological manipulation, stalker.

My Score: 4/5

Description: Desperate to win back his ex-wife, Lee Seo-yeon (Jung Yun-ha), troubled music producer Han Jeong-won (Gong Yoo) agrees to a one-year contract marriage with the mysterious Noh In-ji (Seo Hyun-jin.) This complex new relationship forces both Han Jeong-won and Noh In-ji to face their past emotional traumas and broken relationships.

If you enjoyed this show, then watch: My Mister, The Glory, Our Unwritten Seoul, Hotel del Luna, Our Blues and It's Okay, That's Love (the last three are all by the same director)

There's a magical quality to the first time you watch a show - the feelings of surprise and joy as you experience the plot twists and characters for the very first time. When I re-watch my favourite shows, I try to recapture those feelings that made me first fall in love with it, but it's never quite the same when (as my business partner Julie would say) you know where the metaphorical bodies are buried. I wish I could watch When The Phone Rings or Crash Landing on You again for the first time, without knowing what lies ahead. The Trunk, however, is entirely different.

This is a show that, while I enjoyed it the first time, I had to re-watch it to really appreciate its nuances. The first watch was necessary to find out "where the bodies were buried," so that on the second watch I was freed up to focus on the subtle undertones and dynamics between the characters. An example of this is in the dinner "party" scene in episode three - it feels uncomfortable on the first viewing, but the barbed comments become much more layered on a second viewing.

The Trunk's genre is hard to categorise. I've seen some reviewers call it a mystery or a psychologic thriller, but while it has a suspense plot, the mystery elements are secondary to the unfolding personal drama between the characters and the show lacks the edge-of-seat tension and action expected from a thriller. It has strong romantic elements, but contains very few of the usual K-drama romantic cliches, so I wouldn’t categorise it as a romance either. In my opinion, The Trunk is best described as a slow-paced, atmospheric drama about the psychology of fragile, broken people suffering from tortured pasts, repressed emotions, and tangled relationships. It explores themes of psychological manipulation, revenge, control, grief, trauma, the nature of marriage, and the intricate nature of human relationships.

It's a visually stunning show, with the pacing, lighting, framing, and dark colour palette contributing to the discordant, uneasy feeling that permeates the entire story, creating a sense of the claustrophobia that the characters feel, trapped in their damaged lives. The stark, cold house that forms the backdrop to most of the story increases the tension and atmosphere, echoing the characters' loneliness and isolation. The house is almost a character in itself. Every element is intentional - even the designer Louis Vuitton trunk that gives its name to the story is an obvious metaphor for the characters' emotional baggage.

The show also has a powerful soundtrack, discordant at first then growing more melodic as the characters slowly grow and heal. (I also adore both versions of the song Savior, performed by Kyuri and Isaac Hong, and would love to see the song used for a competition figure skating routine!)

While The Trunk meets all my criteria for a 4-star rating (namely, I've re-watched it a few times and enjoyed it each time) it won't appeal to everyone. For those who prefer faster-paced romantic K-dramas, and stories with action, banter, or intricate plots, then this is not the show for you. Aside from the slower pacing, the mystery is told in a non-linear style that can make it a little hard to follow, with the mystery plot line taking place on a different timeline to the bulk of the story. These time jumps are not as hard to follow as those in The Witcher, but I recommend paying attention (or watching it a second time.)

Finally, don't expect the classic romantic K-drama happy ending where everyone is healed and happy. The ending may not be conventional, but it feels healthy and hopeful (and is probably more true to life than most TV shows!) however there's an almost existential feeling to the ending which mirrors real life where not every wound is healed and not every relationship or plot point is tied up with a neat bow.

It may seem as if I've listed more cons than pros for The Trunk, but there is one pro that outweighs any con, makes this show incredible and worth watching, and which earns an entire star on its own: the stellar performances.

Every single actor brings their A-game, bringing depth and complexity to their characters. Every character is complex, with layers that slowly peel back as the drama unfolds. And, for me, this show really confirmed Gong Yoo's exceptional talent. I love that every role I've seen him in is different, that he has the emotional range to play everything from comedy to horror to action to drama, and I admire that he chooses challenging roles - he seems to enjoy pushing himself as an actor. If you watch The Trunk hoping to see Kim Shin from Goblin or The Coffee Prince, you'll be disappointed. But if you watch this to enjoy the incredible emotional nuances Gong Yoo brings to every role, then you'll walk away satisfied.

I'll end this review with a quote from NDTV Movies' review: "Gong Yoo's performance as Han Jeong-won is nothing short of mesmerising. He brings a raw vulnerability to the role of a man tormented by both the guilt of his past and his current, unsatisfactory life. His character's emotional arc is filled with nuance, as Jeong-won vacillates between desperation for love and the cold detachment that his circumstances demand. Gong's mastery over his character's internal struggles allows him to portray a man at war with himself, caught in a cycle of seeking comfort in the wrong places."

Have you watched The Trunk, and if so, did you enjoy it? If you haven't yet watched it, check out this trailer, and let me know whether it entices you to give The Trunk a chance.

The Legend of the Blue Sea is a fun romance featuring a mermaid and a con artist, loosely based on an ancient Korean legend.

English Title: The Legend of the Blue Sea (2016-17)

Writer: Park Ji-eun

Director: Jin Hyeuk and Park Seon-ho

Length: 20 Episodes

Tropes: Urban Fantasy, Fated Mates / Destiny, Past Lives / Reincarnation, first love, room mates, found family, love triangle, fish (mermaid) out of water, Redemption.

My Score: 3/5

Description: In Catalonia, Spain, mermaid Shim Chung (Jun Ji-hyun) becomes entranced by con artist Heo Joon-jae (Lee Min-ho), who is the reincarnation of her Joseon-era lover, and follows him back to Seoul. Despite his initial reluctance, Heo Joon-jae allows her to move in with him and his two con-artist buddies. Shim Chung navigates the complexities of modern life outside the sea and makes an odd assortment of friends while trying to keep her true identity a secret - and trying to win Heo Joon-jae's love before her heart hardens and kills her. Meanwhile, a dangerous killer sent by Heo Joon-jae's evil stepmother threatens their safety.

If you enjoyed this show, then watch: Guardian: The Lonely and Great God, Destined with You and My Love From the Star (by the same writer) and Business Proposal (same director)

This fun romantic comedy is well worth watching, despite the lower rating I've given it. I'll explain why I gave this show only three stars - but I highly recommend you watch The Legend of the Blue Sea to decide for yourself whether or not I was justified scoring it so low. After all, it's a highly rated show with a lot of devoted fans so worth a try.

First up: what does this show do well?

It starts strong. After an opening introduction with the Joseon-era legend of the love story between a mermaid and a fisherman, we skip to modern-day Seoul to meet the three con artist buddies and the main present-day story begins. The opening episodes were much lighter and more comedic than I expected, and when the male lead heads to Spain to escape a vengeful victim, and meets the mermaid, that's when the comedy really kicks in - and I was completely hooked. But…while there are flashes of comedy throughout the show, it takes a darker turn as the episodes progress.

I enjoy stories with a reincarnation theme, in which the present-day characters have to work through issues from their past lives to achieve healing and their Happy Ever After in this life (like Destined With You) and this show definitely delivers on that. The bonus with these past life stories is that the filmmakers get the opportunity to throw in historical scenes with gorgeous period costumes and settings!

Another big up-side of this show is that it introduced me to two fabulous actors: Lee Min-ho, who plays male lead Heo Joon-jae, and Jo Jung-suk (Hospital Playlist, Don't Dare to Dream) who makes a delightful cameo appearance as a merman.

The Legend of the Blue Sea has all the elements that should make it great: high production value, great photography, top A-list actors, lovely settings, a great concept, and (of course) a delightful romance - but it ended up just being okay.

So, if this drama had all the right elements, what didn't I like about it?

In my opinion, the story and plot did not sustain their initial promise.

I initially started watching this because I wanted some light-hearted escapism, so the suspense sub-plot that kicks in around episode 4 became quite stressful. If you read my review of When The Phone Rings, you know I love a little heart-thumping suspense, but it didn't quite match with the rom-com vibe the opening episodes hooked me in with. (If you're in the mood for light-hearted escapism, I recommend Love to Hate You, Shooting Stars or Her Private Life instead.) The suspense plot gains momentum and gets really interesting around episodes 16-18, but I still found it anxiety-inducing. I haven't yet figured out why When The Phone Rings felt like good stress and this felt more like anxiety - perhaps simply because I wasn't in the mood for it this time around, or perhaps because the pacing in Legend of the Blue Sea drags the tension out?

Which brings me to the second thing I didn't enjoy about this show: the pacing drags in places. It's a really great story, but the show is 20 episodes long rather than the usual 16. I feel that, instead of making the story more complex or having a bigger cast (like Vincenzo, which managed to keep every episode engaging through all its 20 episodes) this show filled the extra screen time simply by slowing the pacing. It took me a while to watch this one as I didn't feel my usual inclination to binge-watch. Compacting the story into 16 episodes may have made all the difference.

In the middle episodes of the show (from around episode 8), I also found the female lead a tad annoying and didn't like her much, as her character moved from mischievous and quirky to over-the-top crazy. I had a similar reaction to the same actress in the opening episodes of My Love From The Star, so I knew this was no reflection on her and might not last. I also realised that the crazy, over-the-top behaviour was intended to generate humour, so I persevered. But as a result, the chemistry flagged for a couple of episodes and her behaviour didn't make me much want to root for her to get the guy - not that there was any other woman worthy of him, since the other woman who has a crush on Heo Joon-jae (setting up the inevitable K-drama love triangle) is quite a bitch. If you experience similar misgivings in the middle of the show, I recommend you persevere, as the female lead improves and becomes far more engaging around episodes 11/12. And you definitely will end up rooting for this couple to get their happy ever after!

My next misgiving about this show is a relatively minor one, and more a personal thing. If you've read my past reviews you know that I love the strong, supportive female friendships that are common in these shows, but in The Legend of the Blue Sea those friendships only appear about halfway through the series. In the early episodes, the female lead is pretty isolated, except for her connection to the male lead, and every other woman we meet in the first half is a conniving, ruthless bitch (With the possible exception of the male lead's mother, though we don't see much of her - and she did abandon her son!) This is redeemed in the later episodes, as the female lead assembles her own odd squad of female friends, which includes the male lead's mother, a homeless woman, and an 8-year-old.

I try not to give spoilers in these reviews, but I feel compelled to mention that there is an issue around consent (or lack of it!) in the final episode that I didn't feel comfortable with. Despite knowing the male lead's wishes, the female lead intentionally goes against those wishes, which felt a bit "icky" to me - and that's why I ultimately decided to give this show only 3 stars rather than 4. I understand why the writer included this plot point; the show felt like it was already done and wrapped up at the end of episode 19, but the film-makers still needed to fill an hour of airtime so they needed to introduce a new conflict. I get it, but I don't like it. Luckily, most fiction writers aren't writing episodic stories with pre-purchased screen time, so we don't usually need to add unnecessary "filler" plot - but writers would be advised to heed the warning not to drag a story (or series) beyond its natural conclusion. Knowing when to get out so that you leave your reader satisfied but still eager is an art.

But the thing that felt most "off" for me about the ending was how, after so much of the show centred around the theme of found family, they broke that in the final scenes. I won't tell you how, but if you watch the show you'll know what I mean. There were a number of other issues with the final episode that this Redditor summed up very well. (Don’t read the linked article unless you don’t mind spoilers!) I'm not telling you this so you don't watch the show - watch it, but either stop at the end of episode 19 or go into episode 20 with low expectations to avoid disappointment. After all, there are many fans for whom this is their favourite K-drama of all time, so clearly not everyone shares my reservations.

Finally, a note for anyone watching on Netflix: the subtitles are riddled with errors - missed words, incorrect spacing, etc. If you're a grammar purist or copy editor, you'll just need to grit your teeth and bear it.

On the lighter side, I really felt this moment:

I'd like to give a special shout out to wardrobe designer Park Min-kyung who designed iconic looks for these characters. The female lead's eclectic style early in the show was so well done (as was her transition to a more polished look as time went on and she adapted to life in human society) but it was Lee Min-ho's wardrobe that deserves especial praise. Every outfit he wore was incredible. My hands-down favourite was this pink Versace coat outfit - even down to the sneakers, the look is perfect in every way.

My biggest take-away for writers from The Legend of the Blue Sea: Know what you're promising your reader (like found family as a central theme) and honour that to the end. Don't suddenly dismantle what you've built up throughout the novel to add a last minute twist or to continue the story to reach X word count. Stories finish when they finish - don't be tempted to outstay your welcome. Instead of tacking on extra plot at the end that dissipates the reader's experience, add more "meat" in the middle of the story, and go deeper into the existing conflicts rather than wider by creating new conflicts.

Have you watched The Legend of the Blue Sea? What were your thoughts - agree or disagree? I'll leave you with this iconic excerpt from Episode 2:

This post is cross-posted from https://romysommer.blogspot.com/2025/08/k-drama-review-destined-with-you.

English Title: Destined With You (2023)

Writer: Noh Ji-sul

Director: Nam Ki-hoon

Length: 16 Episodes

Tropes: Fated Mates, Reincarnation, Past Lives, Office Romance, Love Triangle

My Score: 4/5

Description: When lonely civil servant Lee Hong-jo (Jo Bo-ah) is sent to investigate a dangerously dilapidated shrine, she crosses paths with corporate lawyer Jung Shin-yu (Rowoon) who owns the land it sits on. Jung Shin-yu is plagued by a family curse but the discovery of an ancient spell book in the shrine's ruins offers him hope to break the spell - for which he needs Lee Hong-jo, the book's rightful owner and the only one able to perform the spells. As they work together to break the curse, fix a love spell gone wrong, and deal with a scary stalker, they unravel the tragedy of their past life together to find love and fulfil their destiny.

If you enjoyed this show, then watch: Business Proposal, My Love From the Star, The Legend of the Blue Sea, My Holo Love, and 100 Days My Prince (by the same writer)

This K-drama is light, low-angst and fun. The story is amash-up of genres- primarily a romance, but also with suspense and fantasy elements, and flashbacks to the characters' past lives bring in a touch of historical drama too. Despite so many different genre elements, the story still manages to work, with something for everyone.

The show is very watchable, with high production values, great storytelling and acting, and fast pacing that keeps the story moving forward with good momentum - but it just missed that extra magic spark that makes me obsess about a show. (Obsession equals five stars!)

The male lead (ML) is the typical stoic, unemotional chaebol hero. On my first watch of the show, I thought that lead actor Rowoon was a tad wooden in his performance (good-looking but bland) but I've subsequently seen him in other dramas and learned that he is in fact a talented actor. (And now I understand why he's my business partner Julie's favourite actor!) Re-watching the show, I realised that his "unemotional" performance in Destined With You is most likely how he was directed to portray this particular character - and how did I ever think he was expressionless? His performance is subtle; while his expression deceptively blank but the suppressed emotions are definitely there and gave me "all the feels." On the re-watch, I also began to appreciate that Rowoon is a really good comedy actor with excellent comic timing.

The female lead (FL) is likeable and relatable. She has a few TSTL ("too stupid to live" in romance reader parlance) moments where she goes into danger alone or makes decisions that (to me) seemed silly - but as they're motivated (albeit sometimes only after the fact) this makes them bearable.

Initially, in episode one, there are some horror elements, with a bloody disembodied hand caressing the ML's face. If horror is not your thing, don't be put off by this! The horror vibe does not continue into subsequent episodes, once it's revealed that the hand is a hallucination caused by the ML's mysterious illness. (And that's not a huge spoiler as it's revealed early on in the show!)

The suspense plot involving a crazy stalker dominates the second half of the series. The villain is a one-dimensional threat, lacking motivation or rationale, and he has no character arc. He is merely bad because he's bad (and because he was also bad in a past life) and exists purely as a plot device.

I especially enjoyed the subplot involving the ML's mother, a former actress turned neglected housewife who starts a friendship with her (much younger) divorce attorney which eventually leads to a new lease of life for her and, ultimately, another chance at love and a new sense of purpose. It's not only a sweet and uplifting sub-plot that adds humour to contrast the darker, more suspenseful elements of the story, but as I age up myself I love seeing the older characters also get their stories and feel-good moments rather than just being background to younger people's lives.

In the main plotline, There's a classic third act break-up around episode 14. Third act break-ups have taken a lot of heat in recent years from TikTok readers, and I have to admit I prefer the K-dramas that avoid them, those which instead show us the couple working through their obstacles together (shows like What's Wrong With Secretary Kim? and Her Private Life, for example) but Destined With You illustrates that the third act break-up still has its place in storytelling, when done well and intentionally rather than merely as a formulaic story beat.

Destined With You also features a grand gesture public proposal - another trope that's fallen out of favour in recent years as we've grown more aware of their problematic nature. What I liked about this one is that the writer acknowledges that public proposals are coercive and often about the proposer's grandstanding rather than understanding the needs and desires of the proposee. I give this show an extra half star just for exploring that!

The story's overall theme is summed up in this memorable quote from final episode: The secondary male lead, Jae-gyeong, says "They say love is about timing" and the female lead replies "Love is the collaboration of timing and destiny."

For writers: I have no great takeaways for you from this show. My only comment would be to consider whether having a one-dimensional villain works for the story, and how this show could have been improved by making him more three-dimensional with a deeper motivation. Other than that, watch this show as a tonic when you need a pick-me-up or consider it a reward you give yourself after watching other K-dramas as "homework." Just sit back, relax, and enjoy this one!

Have you watched Destined With You? What were your thoughts? If you haven't yet watched it, check out the trailer:

Hometown Cha Cha Cha feels like a warm, healing hug. While there's a central romance, the best thing about this show is the very relatable community that surrounds the leads.

English Title: Hometown Cha Cha Cha (2021)

Writer: Shin Ha-eun

Director: Yoo Je-won

Length: 16 episodes

Tropes: Small Town Romance, Slow Burn, Love Triangle, Enemies to Friends to Lovers.

My Score: 3/5

Description: When dentist Yoon Hye-jin (Shin Min-a) loses her job in Seoul, she impulsively decides to open her own dental clinic in the seaside village she visited as a child. Her stiff and guarded demeanour initially rubs the locals the wrong way but, with the help of free-spirited jack-of-all-trades Hong Du-sik (Kim Seon-ho), she slowly adapts to village life and finds her place in the close-knit community.

If you enjoyed this show, then watch: Love Next Door (by the same writer-director team), Crash Course in Romance (also by director Yoo Je-won) and Warm and Cozy.

Initially, I thought I was unlikely to re-watch this K-drama, but as it's available on Netflix with English dubbing, it's one of the few shows I can watch with my family, so I recently rewatched the entire series. While Hometown Cha Cha Cha is not one of my all-time favourites (so no fifth star), it's a really enjoyable watch, and I may have been a little harsh giving it only three stars. Read on to find out why I docked another star off my rating...

First, let's look at all the good things about Hometown Cha Cha Cha:

• The overall feeling of the show is gentle and healing. While there are some emotional scenes, this is a low-angst rom-com which reminds us that most people are good at heart and that everyone has their own issues they're dealing with. The characters are not intentionally mean to one another, and most hurts can be healed through understanding and compassion. (I love how the two men vying for Yoon Hye-jin's heart become friends despite their rivalry!) It's also heart-warming to see how everyone in this community supports one another.

• This story features realistic and relatable people, with real and relatable issues. The male lead (ML) is a cinnamon roll, a down-to-earth, average-guy hero rather than the typical rich, arrogant CEO heroes we see in many K-dramas.

• The lead actors. Both leads are really cute (those matching dimples!), relatable, and they're also both great actors. I've since seen the female lead (FL) in Oh My Venus which was cute and very watchable (and featured another divine lead male!) but I haven't recommended it above as it's a tad problematic regarding body image and weight issues.

• The leads have great chemistry, even after they get together as a couple.

• Supporting cast. What really makes this show special is the stellar supporting cast. The sub-plots featuring the villagers of this small fishing town take up a lot of screen time and we get to know many of the community members (in greater numbers and with more detail than we'd see in most movies or TV shows, and even most novels) but they all manage to be well-rounded, with their own backstories and character arcs.

• This show introduced me to Kim Young-ok, the "Nation's Grandma." I've lost count of how many K-dramas I've seen her in since, but Hometown Cha Cha Cha was the first time time I fell in love with her.

• I love the way the romantic relationship develops. There's a slow unwinding as we watch these two ordinary, flawed people get to know one another, fall in love, and overcome their past hurts. This is why I prefer the 16-episode format of K-dramas to Rom-Com movies, which, because of their brevity, are only able to focus only on big, life-changing moments. Over 16+ hours, we can truly see a relationship grow in a way that feels more natural and closer to how real life relationships evolve.

Now the reasons why I only gave this show three stars :

• It has a Saggy Middle. The story loses momentum around episodes 10-12, after the main couple come together. There's a good reason why most movies end or most TV shows fizzle out when the love interests become a couple, but K-dramas are usually great at showing the couple working through their conflicts together, modelling healthy partnerships, while still maintaining the story momentum and tension. (Great examples of this are What's Wrong with Secretary Kim?, Her Private Life, and Romance is a Bonus Book.) Sadly this show doesn't quite manage it. In this middle section, there are many scenes of them simply being happy together, with only the shallowest conflicts, and the focus instead shifts to the secondary characters, resulting in the story losing tension, and feeling directionless and slow. However, the story picks up speed again around episode 13, so it's worth persevering through this "saggy middle" section.

• On my first viewing, I didn't much like the female lead in the opening episodes. Initially, she comes across as cold and stuck up, but she melts as the show progresses and we get to know her. She is by no means the worst K-drama heroine (Touch Your Heart, My Love from the Star, My Demon, and Hotel del Luna all feature heroines who start off way more unlikable.) This is one of the talents of K-drama writers - the ability to take an initially unlikable character and make viewers empathise and then fall in love with them. On the second viewing, knowing she would change, I liked her more, but it did affect my initial impression and star rating.

Writers should watch this story for:

• How the characters' back stories are slowly revealed to increase the conflicts and support their growth arcs.

• How the sub plots interweave with the main romantic plot.

• How to integrate a big cast of supporting characters, and ensure that the secondary characters also feel well-rounded and realistic. This is especially important for anyone writing small town romances, cosy mysteries, or stories with ensemble casts set in tight-knit communities.

• How to develop a slow burn romance. The central romance in Hometown Cha Cha Cha is similar to how romantic relationships develop in romance novels, which usually take place over weeks and months rather than the compacted time frames of movies. This story follows the love interests through their quieter, everyday moments as well as the bigger, more dramatic moments.

Overall, this is a great show, well-loved by fans and definitely worth watching, especially when you're looking for feel-good, low angst entertainment.

Finally, as a bonus treat, fans of the recently-released Netflix movie K-pop Demon Hunters might recognise the three halmeoni (grandmothers) in their sun visors and floral shirts!

Have you watched Hometown Cha Cha Cha? If so, what did you like (or dislike) about it? For those who haven't yet watched it, check out this sweet, romantic moment from Episode 10:

Something in the Rain felt like two different stories in one to me. The first half is a classic slow burn romance, while the second half is a rather nihilistic commentary on the oppression of women in Korean society.

English Title: Something in the Rain (2018) Also known as Noona who buys me food

Writer: Kim Eun

Director: Ahn Pan-seok

Length: 16 Episodes

Tropes: Older woman / younger man, Best friend's brother / sister's best friend, Secret relationship, forbidden love

My Score: 2/5

Description: Yoon Jin-ah (Son Ye-jin) is in her mid-thirties, with a career and relationship that are both going nowhere. When her best friend's younger brother, Seo Jun-hui (Jung Hae-in) returns from abroad, they embark on a passionate romance, but their relationship faces many challenges, including family pressures and social taboos.

If you enjoyed this show, then watch: One Spring Night (same writer/director team), The Midnight Romance in Hagwon (same director), Nevertheless, and She Would Never Know.

There are many K-drama fans who not only love this show, but who rate it as one of their all-time favourites. I am not one of them. For me, while the show started well, the second half did not live up to the initial promise.

Let's look at the pros first: 

• This is a very realistic drama which has a "slice of life" feel to it. These are real, ordinary people going about their ordinary lives and finding a spark of magic when they fall in love.

• The show tackles some very real women's issues, including the societal and parental pressures on women, workplace harassment, and inequalities in society.

• The relationship between the main characters in the first half is just adorable, and the epitome of what a healthy, loving relationship should look like. This couple supports one another, communicates well, and the way that Jun-hui slowly wins her over is very sweet.

• I love the older woman / younger man trope. In part because I am now myself an older woman and love seeing women over the age of 35 being the central focus of stories, but also because I love stories that flip the (often exploitative and unhealthy) older man / younger woman stereotype on its head.

• The male lead (ML) is such a sweetheart. He's cute, affectionate, doting, a little boyish, but mature when it counts. Basically, he's the best thing about this show.

• A stellar cast. Both leads are exceptional actors.

But now for the cons:

• Overall, the show has a very slow pacing. Not just a slow burn in the romance, but every scene feels drawn out, with many pointlessly long, slow shots - especially long, slow shots of the leads walking together in the rain.

• In the second half, the main couple's relationship takes a nosedive. There is a lack of communication, lack of support of one another, and the heroine lacks backbone and is unwilling to fight for the relationship. The biggest red flag for me was her complete disregard of her boyfriend's feelings when she goes behind his back and lies to him to force him into a relationship with his estranged father.

• The female lead (FL) lacks a character growth arc. If anything, she has a negative growth arc in that she regresses from being a strong and independent woman to gradually growing weaker and more spineless. I understand that her passivity is intended as a reflection of women's position in Korean society, where passivity is a societal expectation, but the opening half set this show up as a romance, and in a classic romance we expect to not only see character growth, but also to see the lead characters win out in the end.

• This show is hard to watch if you're a feminist and hate seeing the patriarchy win. The FL experiences abuse at work and home, and also from her deranged ex. Though she attempts to stand up for herself against her abusers, she never succeeds. Her parents openly support the stalker behaviour from her abusive ex and she is punished at work for standing up against the sexual harassment she and her colleagues experience. Hence my opening comment that this show feels nihilistic. Yes, that may have been the entire point, and perhaps this drama was created more as social commentary rather than as entertainment, but the romance writer in me who loves HEAs would have preferred a more satisfying and optimistic ending.

• The ending. In the final minutes of the last episode, a happy ending is slapped on, but, for me, it did not feel believable. As there was no organic growth towards that sudden resolution, I did not feel convinced that this couple would actually stand the test of time - and I felt that Seo Jun-hui (the male lead) could have done so much better!

• This show features the rather common K-drama trope of the over-the-top crazy, controlling mother who abuses her daughter. Often, this is done in a comic way, and it's resolved when we see the genuine affection and concern the mother has for her children. (Like in Love Next Door, another K-drama featuring ML actor Jung Hae-in.) However, this mother is even more over-the-top crazy than most, is supported in her deranged behaviour by all the men in her life, and she is never redeemed nor shows any genuine love for her daughter.

• The soundtrack. Oh my giddy aunt! Whoever chose a 1970s country song as the main theme song, then played it over and over and over throughout the show, must have been stoned. Eventually, I started muting the audio every time the song came on. Why country music rather than a Korean song, and why Stand by your man when that is the one thing that Jin-ah doesn't do?! The songs by Rachael Yamagata were much better, but also eventually played to death.

Disclaimer: It’s possible that some of my above points are the result of a cultural disconnect. As a western woman with strong feminist leanings, I am no doubt bringing my own beliefs and expectations to this show, and may have missed a lot of the cultural nuance.

For writers:

• Be consistent. Consider what expectations you’re setting your reader up with in your opening chapters, and what ending they will expect as a result - and then work to deliver that throughout. If you’re writing a social commentary, then that should be apparent throughout, not only in one half of the story. (Unless you’re writing a story that intentionally subverts expectations.)

• Your characters should earn their resolution. An ending that feels “tacked on” leaves the reader with a feeling of dissatisfaction - and that’s the feeling they’re going to have when they leave a rating or review on your book.

Have you watched Something in the Rain? What were your thoughts? Are you one of those people who loved this show - or do you agree with my take?

I'll leave you with one of the sweetest scenes of the show, the moment when they (secretly) reveal their feelings for one another:

I've never before given a K-drama a half star, but this show feels just shy of 4 stars and too good for 3 stars, so I'm rating it 3.5. Read on to find out why...

English Title: Don't Dare to Dream (2016) Also known as Jealousy Incarnate

Writer: Seo Sook-hyang

Directors: Park Shin-woo (Ep. 1-24) and Lee Jung-heum (Ep. 5-24)

Length: 24 Episodes

Tropes: Enemies to Lovers, Love Triangle, Workplace Romance, Unrequited Love

My Score: 3.5/5

Description: For three years, weather reporter Pyo Na-ri (Gong Hyo-jin) has had an unrequited crush on Lee Hwa-shin (Jo Jung-Seok), a haughty reporter at her TV station. But that changes when she meets her perfect man — his best friend, chaebol heir Go Jung-won (Go Kyung-pyo).

If you enjoyed this show, then watch: Hospital Playlist, Love Next Door, Our Unwritten Seoul, Lovestruck in the City and Pasta (same leading lady and screenwriter)

I decided to watch this show because of leading man Jo Jung-seok, who was delightful in Hospital Playlist, however it was only after I started watching that I realised this show hasK 24 episodes. This is the second K-drama in a row I've started without checking the number of episodes and been blind-sided by—I'm so used to the 16-episode format that I didn't expect either to be so long! I have to admit, I prefer shorter shows (do you have any idea how many K-dramas I still have on My List on Netflix to watch?!) but while this one could have been shorter, every single episode kept me engaged.

Jo Jung-seok absolutely delivered on my expectations. He's an excellent actor, with a wide emotional range (unlike the secondary male lead whose facial expressions were rather limited), good at both comedy and drama, and able to be funny, endearing, sexy, romantic, and intense—he's the complete package!

At the heart of this story is a love triangle, perhaps the most intense I've yet seen in any K-drama. Initially, there is no Team Lee Hwa-shin or Team Go Jung-won. At different times I wanted her to be with first one guy, then with the other, so when she said she felt like she had "two hearts" I completely understood how torn she felt between these two men.

The love triangle develops a rather progressive twist, unexpected for a K-drama, before it's resolved. While the male lead (ML) is a bit of a dick, by the time the triangle is resolved (admittedly dragged out an episode too long, in my opinion) we are very definitely rooting for him to get the girl. However, that's the reason I docked this show an extra half star—the triangle did carry on a tad overlong, making the female lead (FL) appear indecisive and as if she's stringing them both along. This drawn out to-ing and fro-ing in the middle section of the story may be because the writer was trying to fill 24 episodes.

While Don't Dare to Dream may have worked better with just sixteen episodes, in the end, it remained engaging for the full duration. Those additional hours are filled with subplots, secondary couples, and a wide cast of supporting characters, but the show still managed to keep a strong central focus on the love story between the leads without being de-railed by the sub-plots.

In episode one, the FL started out as a desperate stalker and came on so strong that I wasn't surprised the ML wanted nothing to do with her. She definitely had boundary issues, which I found a tad annoying until the purpose became clear when her constant groping of his chest helped the ML get an early diagnosis so he could beat his cancer. Beyond the chest-groping, her constant line-crossing with the ML felt inappropriate, especially when she was in a relationship with his BFF. While I was glad she later got to experience how it felt to be on the receiving end of unwanted attention when the tables turned and the ML realised his feelings for her, he was nowhere near as obnoxious in the way he pursued her.

Perhaps one of my favourite things about this K-drama is its representation of a number of issues. Breast cancer is central to the story, but this show takes it a step further. It not only raises awareness of breast cancer and the importance of early detection, but it also delves into the stigmas around male breast cancer, masculinity, and infertility as a possible result of radiation therapy. (And it was good to see the discomfort of mammograms acknowledged!)

Through the news broadcasts scattered throughout the show, there is commentary on issues such as air pollution, corruption, and the double standards between how those with money are treated compared to ordinary people...lots of hard hitting and topical issues! I especially loved the asexuality representation in one of the sub-plots (another love triangle!)

I also loved the two clever "Easter eggs" I discovered in the show:

• In a later episode, there's a reference to a past performance of Jo Jung-Seok's. He and the FL talk about the origins of love (referred to in the subtitles as the basis of love) which is a nod to the lyrics of the song, The Origin of Love, which he sang in Hedwig and the Angry Inch.

• While I laughed at the Hedwig reference, the earlier Easter egg at the end of episode 15 hit me hard. Having distanced herself from both her suitors, Pyo Na-ri goes on a blind date. We never see the man she's on the date with, but the references to her breakout role in Pasta are obvious to anyone who watched that show. For any other K-drama, that would have made me smile in glee, but instead it choked me up. I was grateful this was the final scene of the episode as I needed to step away to recover. Why? Her love interest in Pasta (Lee Sun-kyun) died tragically a year and a half ago. While Don't Dare to Dream was made before he died, the fact that they obscured his face felt like when shows have to cover up that they're using a double because the actor died, making it feel like a tribute rather than an Easter egg.

Those are the references to their past work I found, but I wonder how many others I may have missed because I haven't yet seen their other work!

This is yet another K-drama with a truly horrid mother. Chaebol heir Go Jung-won's mother is manipulative, and, despite being miserable in a loveless arranged marriage, she's willing to sacrifice her only child on the altar of arranged marriage, forcing him into an equally cold, loveless and miserable marriage just so she can win a few breadcrumbs from her husband. I really wanted to see her get her just desserts but nope, she never got punished. In fact, she was still being a bitch in the final episode, this time trying to prevent her brother from getting married, for no clear reason other than that she seemed to hate people being happily married! Unfortunately, as too often happens in K-dramas, the most terrible villains seldom get the justice they deserve. (The only show that got it right was Vincenzo. Yes, Vincenzo's form of justice was gruesome, but it felt so good!) I sincerely hope that the high number of despicable mothers in K-dramas is because of its popularity as a plot device rather than as a reflection of Korean society!

As a story editor, I question the need to give Pyo Na-ri a stepmother, young stepbrother, and an absent father. This seemed a pointless diversion. While the kid was cute and instrumental in forwarding the plot with his drawings, he could have been any neighbour kid. The stepmother played no part in either of her stepkids' lives, not attending parent-teacher conferences or even showing the slightest interest in her step-children, so why was any of this necessary? Why not simplify the story and make Na-ri and her brother orphans? That would have made her responsibility for her brother much more believable. On the plus side, Jo Jung-Seok is always adorable with little kids!

The final episode suggests another future love triangle for the younger characters, and then ends with not one but two epilogues. The first is set a year later (though the math on that doesn't quite work and two years would have been more appropriate) and another 40 years later in 2056. I wondered why the latter was included—yes, it was no doubt intended to show that this couple managed to live a very long life together, however, since Pyo Na-ri doesn't name her husband, for all we know, she may have been widowed and remarried! A slight tweak to the dialogue and subtitles here would have made all the difference—without it, they may as well have left out that scene.

As with many K-dramas, this show achieves an excellent balance between humour and drama. While there are many poignant moments, there are just as many laugh-out-loud-funny moments. There is also some fantastic chemistry between Pyo Na-ri and both her love interests—and some very steamy kisses! So all in all, a show worth watching, despite its 24-episode length.

This declaration from the final episode really sums up for me everything that's beautiful about Pyo Na-ri and Lee Hwa-shin's love story. This couple may have had a bumpy road to get together, but viewers are left in no doubt that their love is fiercely strong, healthy and will stand the test of time.

(You can view the full final scene on Vimeo here)

Shooting Stars is one of my favourite K-dramas, one I've watched several times over. It's a low-angst, feel-good RomCom with great chemistry, a wide cast of interesting characters, and numerous intertwined sub-plots.

English Title: Sh**ting Stars (2022)

Writer: Choi Young-woo

Director: Lee Soo-hyun

Length: 16 Episodes

Tropes: Enemies to Lovers, Office/Workplace Romance, Celebrity Hero, Secrets, Love triangle

My Score: 4/5

Description: Celebrity publicist Oh Han Byul (Lee Sung Kyung) finds herself working with her irksome nemesis Gong Tae Sung (Kim Young Dae) — who also happens to be her megastar client. Their love-hate relationship slowly develops into something more as they work through past hurts.

If you enjoyed this show, then watch: Love To Hate You, Touch Your Heart, Melo Movie (which is, admittedly, more angsty) and My Dearest Nemesis (by the same director)

This is another drama set behind-the-scenes in the film industry. I enjoy film industry stories (as long as they accurately depict the business) and really loved this one. This story shows how much work it takes to create idols and movie stars — the managers, publicists, assistants and even coaches who work to create the "magic" the public sees. It also shows the flipside, the pressures of being in the public eye — the lack of privacy, the inability of celebrities to go out in public and do the normal activities we all take for granted, the pressure to keep their images squeaky-clean, and the hate they receive simply for being famous.

At the start of the story, the ML's behaviour is quite childish, the stereotypic, out-of-touch-with-his-own-emotions male, but we see him mature as he discovers his own true feelings, faces his childhood hurts and fears, and ultimately becomes a hero worthy of the heroine.

Aside from an angsty storyline around episodes 13-14, it's a fun and lighthearted story. But what I love most about this show is that it doesn't take itself too seriously — it has all the cliches (sleeping with a head on the love interests shoulder, falling into someone's arms) and it also isn't shy to amp-up the product placement. (Which is not subtle!)

This K-drama feels more like a serial than most, as it has a lot of secondary characters and sub-plots. While there's an over-arching love story, the sub-plots rise, get resolved, then are replaced by new sub-plots.

Like many of my other favourite shows, Shooting Stars features strong female friendships, and a delightful (albeit reluctant) bromance between the two male leads who compete for the FL's heart. The chemistry between the leads is really good, from the moment they meet on screen, and their relationship is believable and filled with enough green flags to have us really rooting for them to get together (even if some of the kisses feel a little chaste and unnatural for viewers used to steamier western scenes!)

If, like me, you enjoy a show with a guaranteed romantic happy ending, this show has it in spades. Not only is there an HEA for the lead couple and the two secondary couples, but we're given HEAs for five couples! (Plus a sixth mixed happy ending.)

There are a lot of reasons to give this show a try, especially if you're in need of some light-hearted entertainment and a sweet romance.

If you're a writer, keep an eye on the following as you watch this show:

• How each of the workers at Starforce Entertainment are distinctive from one another. When creating supporting characters, it's important to ensure that each has a separate role that gives them a purpose for being included in the story, and that they don't blur together. Ensure that your supporting characters are just as complex and memorable as the leads, even if they get less screen time or page time.

• Despite how many sub-plots this show has, they all intertwine with the main storyline (the developing romance between Oh Han Byul and Gong Tae Sung). None of the sub plots go off at a tangent or feel like they're separate stories. Pay especial attention to how the stories of reporter Jo Ki-Bbeum and lawyer Do Soo-Hyeok support and develop the main storyline.

• While there may be more sub-plots than the average novel would have, look at the balance between how much time is spent on sub-plots and how much is spent on the central story.

Have you watched Shooting Stars? What were your thoughts? If you haven't yet watched it, check out this trailer:

This romantic thriller claimed the #1 spot on my list of favourite K-dramas and I watched it all the way through three times in the first month. Read on to find out why...

English Title: When the Phone Rings (2024-5)

Writer: Kim Ji-woon

Directors: Park Sang-woo, Wi Deuk-gyu

Length: 12 episodes

Tropes: Contract Marriage / Marriage of Convenience, Secret Marriage, Revenge, Suspense, Kidnapping, Childhood Friends, Dysfunctional Families

My Score: 5/5

Description: For three years, mute sign language interpreter Hong Hee-joo (Chae Soo-bin) has been in a secret arranged marriage with the cold, aloof, and politically-ambitious Baek Sa-eon (Yoo Yeon-seok). Their lives are thrown into turmoil when Hong Hee-joo is kidnapped and Baek Sa-eon is contacted by the kidnapper through a disguised phone call. That call triggers a chain of events that unravels their tense marriage, exposes long-buried secrets, puts their lives in danger, and even threatens the presidential election.

If you enjoyed this show, then watch: Crash Landing On You, Hyde Jekyll Me (same writer), The Trunk, While You Were Sleeping, and Idol I.

I saw a LOT of buzz about When The Phone Rings on social media as it released episode-by-episode from the end of November 2024 until early January 2025. K-drama fans were posting clips and raving about the show. As enticing as these glimpses were, I decided to wait until the entire series was out so I could binge it (I no longer have the patience to wait a whole week between episodes!) Then, once the final episode released, I wasn't in the mood to watch anything too heavy. After the tedium and heaviness of One Spring Night I wanted something light and fun, which is why I chose to watch Warm and Cozy instead. It was only when I realised the lead actor of Warm and Cozy was also the lead in WTPR, that this show bumped higher up my list. And in that magic way that social media algorithms have, suddenly my social media feeds were again filled with enticing clips from the show, bumping it right to the top of the list.

It took just one episode to completely and utterly hook me. I thought I knew what this show was about, having seen so many teasers and so much discussion online, but... wow! I didn't see the twist at the end of episode one coming, and couldn't wait to see what other surprises this show held in store.

With each successive episode, I became as obsessed with WTPR as I was when I first watched Crash Landing on You, unable to stop rolling over from one episode to the next, no matter what hour of the night/morning it was. (And I was so, so tempted to even ignore the editing job I was a working on just to keep watching!)

In my previous review, for Warm and Cozy, I mentioned that it introduced me to actor Yoo Yeon-seok, but it was this role which sealed the deal for me. I love actors who have range, both in their character choices and in their emotional performances, and Yoo Yeon-seok definitely has both. (Check him out as a saintly-sweet doctor in Hospital Playlist, a hot-headed, ambitious doctor in Dr. Romantic, a frivolous, carefree chef in Warm and Cozy, a manipulative psychopath in A Bloody Lucky Day - or as the titular vulnerable diva in Hedwig and the Angry Inch.) In WTPR, his character is at times intimidating and malevolent, and at others the ideal soft, caring romantic hero, keeping the viewer guessing about his true intentions for many episodes.

Lead actress Chae Soo-bin is equally impressive. She brings a mix of fragility and feistiness to the role of Hong Hee-joo, but even more impressive is that so much of her dialogue is in Korean sign language, which she had only two months to learn.

Most of the secondary cast were new to me, but I loved Im Chul-soo’s appearance (he is amazing in every role I’ve seen him in!) and Heo Nam-jun (The Matchmakers, A Hundred Memories) is definitely one to keep an eye upon as he has leading man potential.

When The Phone Rings has everything going for it - gorgeous photography, great acting, a great music score (which is used very effectively to build tension and add emotion), big special effects and action scenes, all done with a big-budget quality - but, for me, the best thing it has going for it is the craftsmanship of the writing.

The pacing in this show is excellent. There are no dull moments and not a single episode where the tension lags. Intensely emotional moments are balanced with flashes of humour to allow the viewer to recover. Like in Crash Landing on You, the writer masterfully manipulates the viewer's tension. There'll be moments of high drama and action, then softer moments to allow the viewer to catch their breath, before another twist ramps up the tension again.

There is also a really good balance between action and emotion in this show. Some action-oriented shows (like Vincenzo) have a tendency to favour action and sideline the characters' emotional arcs or have a limited emotional range, but WTPR, like CLOY, achieves a perfect balance between the suspense and the romance. Romance lovers will not be disappointed!

As I've come to expect from K-dramas, every episode ends with a hook that makes viewers immediately want to click onto the next episode. But this show goes a step further by alternating the types of hooks it employs. This variety prevents the cliffhangers from feeling repetitive. If one episode ends with high drama (characters trapped in a burning building, an explosion, or a kidnapping) then the next episode usually ends with a softer, emotional scene, like a confession of love, an emotionally tender moment, or a vulnerable moment in which a character reveals something about themselves.

The story occasionally plays with a non-linear timeline, jumping forward or going back in time to reveal information and build suspense in order to intrigue the viewer. If a scene from earlier in the show is repeated, it's usually shown from a different character's POV to give the viewer a new perspective. Information is seldom simply repeated without having a new dimension added to it.

I also love the subtlety of the way information is revealed in this show. Revelations and twists are never stated outright, but one hint piles on top of another until the viewer knows with certainty what deep, dark secret lies in the past. Then, just when you think you know everything, there's another twist. (Yes, I'm repeating myself and being vague, but I don't want to give any spoilers! Watch the show to see what I mean.)

At times, When The Phone Rings has a similar feeling to another recent release, The Trunk - the framing of some shots, a similar feel to the locations (the cold bleakness of unhappy homes, the cooler palette of the river settings), similar music and the way sound effects are used, and the way psychological tension is built. While WTPR has more action/suspense, and The Trunk is more psychological, if you enjoy one, I suggest you give the other a try.

That said, this show isn't perfect. There were a few minor plot holes or elements that were a tad annoying:

• Logic is occasionally thrown out the window in service of creating dramatic tension. One example: the man standing closest to a bomb (which blows out an entire apartment in a giant fireball) is the least injured, while the ML, in another room, has greater injuries.

• Likewise, there are a number of medically unbelievable scenarios. Quite a few characters sustain injuries that would kill a normal person (shot in the chest or stomach, bleeding out huge amounts of blood) but a day later they're all better and suffered only the most minor of wounds. And almost every injury results in wounds on the neck, just above the collar - no doubt where it's most convenient for the make-up artist to apply the effects!

• It is revealed later in the story that Baek Sa-eon has wanted to communicate with his wife for many years - so why did he never learn sign language?

• Finally, there's a DNA inconsistency where a DNA report proves that one of the characters isn't their parents' real child - however they later turn out to be related, so surely they would still share some DNA, which would make that supposedly damning report inconclusive?

Finally, I'm trying not to give spoilers, but hmmm...that final episode. To me, it felt like an add-on, as if the writer wrapped up the story in eleven episodes then went "Oops, I still have to fill a full hour of screen time." On the plus side, the last episode gave me some emotional distance. If the story had ended immediately after the climax in Episode 11, I may have been too fixated to let go of these characters!

The ending is similar to that of Warm and Cozy. In both, the hero feels guilt for the actions of his birth parents, even when he had no part in their actions. In both shows, the ML takes responsibility and punishes himself for the deeds of his parents. Is this a Korean thing, or just a K-drama "we need to create conflict" thing?

It's possible that the events of the final episode may be a Korean cultural expectation which we western viewers aren't used to. Through my K-drama journey, I've learned about the Korean concept of "han" (한), a feeling of deep sorrow, resentment and regret that stems from the country's history of suffering and oppression, and which is seen as part of Korean identity. (If you'd like to understand a little more about the concept of han, check out this review of the K-drama My Mister.) The way that K-dramas often separate the romantic leads for a period of time towards the end of shows (including Coffee Prince, Her Private Life, My love from the star, The Legend of the Blue Sea, What's Wrong with Secretary Kim? and many others) may be tied to this uniquely Korean concept.

Despite these minor issues, I give this show a resounding 10/10.

What can writers learn from When The Phone Rings?

• Watch this show for the emotional pacing, the episode endings, the way that back story and information is revealed, and how tension is built then released.

• I often teach my coaching clients about the Rule of Three, and this show offers an excellent example of this principle in action. In the Rule of Three, a motif or object is mentioned three times (two being too few for the reader to register a pattern, and four or more mentions feeling like the reader is being under-estimated.) As in joke punchlines, the first mention introduces the motif, the second reinforces it, and the third subverts it. In Episode 5 of WTPR, the ML tells the FL that she has a bad habit of under-estimating herself. Later she replays this conversation in her head to reinforce it, and the final mention is in episode 7, when the ML uses the same phrase as part of a climactic reveal.

If you've watched When The Phone Rings, what were your thoughts? Do you agree or disagree with my review? What were your favourite moments in the show? 

For those who haven't yet watched When The Phone Rings, check out the official trailer to whet your appetite:

Warm and Cozy is as warm and cozy as its title. It's a heartwarming, low-stakes story with lots of light, comedic moments, and only a small dash of tragedy. If you're looking for a fun, easy-to-watch story that won't make you cry (too much), give this show a try - but don't expect anything earth-shattering.

English Title: Warm and Cozy (2015) Also known as Jeju Island Gatsby

Writers: Hong Jung-eun and Hong Mi-ran (The Hong sisters)

Directors: Park Hong-Kyun, Kim Hee-Won

Length: 16 episodes

Tropes: Friends to Lovers, Small Town Romance, Grumpy/Sunshine (she's the "grumpy" one), Unrequited Love

My Score: 3/5

Description: Ten years to the day after her first trip to Jeju Island, hardworking Lee Jeong-ju (Kang So-ra) returns, chasing her little brother who has absconded with her life savings to buy a rundown cottage on the beach. She meets laidback charmer Baek Geon-u (Yoo Yeon-seok) who she previously met ten years earlier. After losing the apartment she's been saving for, her boyfriend, and her job (all in one day!) Jeon-ju decides to stay on Jeju Island. A misunderstanding (or two) lands her at Baek Geon-u's restaurant, Maendorong Ttottot (Warm and Cozy.) The two end up working (and living) together, and despite their initial personality clashes, and potential other love interests, they gradually fall in love.

If you enjoyed this show, then watch: Hometown Cha Cha Cha, My Girlfriend is a Gumiho (also written by the Hong sisters), You Are My Destiny (same director), and When the Phone Rings (same lead actor, but all grown up.)

I watched this show because it appeared on Netflix South Africa's "leaving soon" list, and my FOMO meant that I just had to give it a try, even though I'd never heard of it and didn't recognise any of the actors. I'm glad I did!

Warm and Cozy was created by the Hong Sisters, a popular duo of writers who have since written several big hits, like Master’s Sun, Hotel del Luna and Alchemy of Souls. Most reviewers seem to agree that this show is not one of their best (and it’s quite different from their later works, which feature fantasy and horror elements) but it's still very watchable.

I immediately liked the female lead (FL) who, despite being the "grumpy" one, showed real gumption in the way she handled everything life threw at her. She's down-to-earth, kind, level-headed, and engaging. The male lead (ML), on the other hand, starts the story as a bit of a spoiled brat. He's easygoing to the point of laziness, and doesn't take anything seriously.

My initial thought in episode one was that this was a hero I would never fall for. He wasn't my type and didn't measure up to other K-drama heroes. Cut to the end of the series and I'm so in love! Baek Geon-u (played by Yoo Yoon-seok) is the K-drama equivalent of  my "new book boyfriend." Then I discovered he's the star of the recently released When The Phone Rings, which had social media all abuzz at the time, so I just had to watch that next. (You can read my review for When the Phone Rings here.) Since then, I’ve seen Yoo Yeon-seok in Hospital Playlist and Dr. Romantic Season 1 (and I’ve devoured every YouTube video available of him in full drag as Hedwig in Hedwig and the Angry Inch) and I’m even more impressed. Every character he plays is different, he has a wide emotional range - and he can sing! While Warm and Cozy isn’t earth-shattering, it shows us an early glimpse of his potential.

The secondary characters were a mixed bag for me. I loved Baek Geon-u's cute wingman, who worked with him in the Maendorong Ttottot restaurant, loathed Baek Geon-u's materialistic bitch first love, Mok Ji-won, and alternately liked and was annoyed by Lee Jeong-ju's secondary love interest, the town mayor (aka Red Clay Man.) The mayor deserved his own happy ending, even if he wasn't the right guy for our Lee Jeong-ju.

You might be wondering why, if I enjoyed this show enough to become a devoted Yoo Yeon-seok fan, I've only given this show 3 stars?

There are five reasons:

• Despite having been released in 2015, the lighting feels flat and dated. It was made only a year before Goblin (aka Guardian: The Lonely and Great God) and Descendants of the Sun, both masterfully photographed, making them feel as if they were made many years apart.

• The story's opening hook, the initial situation that brings the lead couple together in the Prologue, set in 2005, which starts episode one, is quickly dropped and never fully explored.

• The story suffers from "saggy middle syndrome." As the story's over-arching conflict is a little weak to sustain a full sixteen episodes, the writers filled the middle section of the series with a "to and fro" that grew a tad annoying. Both leads constantly vacillate about their feelings, and a simple lack of communication is used to prolong the conflict.

• This may be a cultural thing, but I didn't really understand the plot device in the final episodes in which the ML was punished for something his parent(s) did before he was even born. [Spoiler alert ahead!] Baek Geon-u accepts banishment for their wrong-doing, and it's never even questioned why he is expected to carry responsibility for his parents' actions. Whether it's a cultural thing I don't understand, or a weak attempt by the writers to add conflict to fill out the episode allotment despite the story already having effectively been resolved, this final "plot twist" did not resonate with me.

• Finally, the resolution was not entirely clear - who, ultimately, was responsible for the car accident? Maybe it wasn't clear because the subtitle translation wasn't able to accurately convey the original dialogue, but it felt like a thread that was left unresolved.

Other than those above concerns, there was a lot I liked about this show:

• The FL, Lee Jeong-ju, was cute and relatable, and I really rooted for her.

• The show has a lovely setting, and did a great job showcasing Jeju Island. I also loved the insights into the culture of Jeju and the Haenyeo (traditional divers.)

• I liked that while class and wealth divides exist and are mentioned/called out, they're ultimately treated as irrelevant and discarded. Money and class are not seen as barriers to friendship, love or marriage. My liberal heart applauds.

• I also love when stories show that love and romance are not exclusively for young characters, but show older or middle-aged characters enjoying a romance and finding love, so I really enjoyed the sub-plot of the ML's older brother falling in love with a widowed seafood diver.

• There are some lovely heart-warming moments, and the show is overall fun, light, and entertaining - a perfect choice if you're in the mood for an uplifting, feel-good romantic story.

Have you watched Warm and Cozy? If so, do you agree or disagree with my impressions? 

I'll leave you with this fan-made trailer from YouTube: