Tag: valid love

Dramas, 2019 – 2020 so far (including quarantine watches!)

I miss writing here, and I’m about to dive into Nirvana in Fire 2, so perhaps a post about what I’ve watched since the last update (quite a while ago!) is in order first? I didn’t feel as though I watched as much TV as my preliminary sketch reveals; there were more great shows than I realized! Plus, quarantine. So this will be a version of a What I Did Over Summer Vacation essay.

The first rule I’m making is: If you’ve forgotten it, let it be forgotten. This post will be dramas that spring to mind, and have actually mattered to my life. The second is: Include re-watches. We are different people each time we re-watch something, unearthing different gems. Lastly: Just write what comes to mind; no need for great detail. I’m going to make a lot of associations between shows and actors, because that’s how I think!

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Starting at the pinnacle, with Parasite.

Although a good friend called this film “soulless”, to me it is the first film since Get Out to have a shot at conveying how fed up people are with inequality and discrimination channeled through inherently-unjust, deeply entrenched systems, how fed up we are with social unawareness itself. I feel this film accomplished what Snowpiercer wanted to. “Class” is no longer an impolite subject, but rather one imperative to grapple with, in the US as it has been in Korea for quite some time. So I can’t celebrate enough, a film-maker like Bong Joon-ho breaking through like this.

Parasite is a very dark comedy/horror (but not just) film, inventive and weirdly enjoyable considering what it becomes, with an aesthetic that reminds one of the role the hotel played in The Shining–by which I mean that its entirely dominant role is almost invisible at first. I only caught on reflection, and especially during my second viewing, the way the structure of the house design makes all that takes place possible. At first viewing, it is just the water they are swimming in.

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Image: IndieWire

The quality and cohesiveness of the layers of story felt refreshing too, since I’m used to bracketing off odd edits and bumpy plot lines as a matter of making due with sometimes sparse subtitles. I’m all about this tone, show-meeting-tell head on.

On a much lighter note, Her Private Life was charming and an easy watch I don’t really have much to say about, except that Park Min Young must be first in line for good projects. And although he’s capable in other roles, I have a soft spot for Lee Min Ki in romances after 2018’s Because This is My First Life.

Obvious from my other posts, I’m highly partial to historical dramas, except when too ungrounded. Both The Nokdu Flower and My Country: A New Age fit that bill, so I felt quite spoiled last year, with Nokdu slightly outshining My Country for its twists, moral wrestlings and gravitas of actors. Yoon Shi Yoon is excellent in this darker role, and Cho Jung Seok is simply, wow. There was also Haechi, which was worth the watch since its my thing, but not riveting in the same way.

Ultimately, watching these very good sageuks prompted me to re-watch all 50 episodes of the still incredible Six Flying Dragons, for now the fourth or fifth time! Months later I’m still singing the beautiful song that runs through the entire drama.

Continuing with historical themes, I found Different Dreams a bit dry, but still well done stylistically, which is a perfectly valid reason to watch a drama. It was interesting to see Nam Gyu-Ri in this drama, not because she’s a great actress, but as in Heartless City, there is just something captivating about her.

I somehow stuck in there with Angel’s Last Mission: Love, although I shouldn’t have. Friends were really into it, so I kept watching one more episode, one more episode, to see if I could see some of what they did. I just didn’t.

What I WANTED to be talking about was Search: WWW, which was progressive without being weighed down by that effort. Themes felt current and personal. Plus, it was also one of the few dramas where I didn’t just bear with the main side characters. Lee Da-Hee stood out so strongly, endearing and funny so much so that I looked her up, having forgotten any other role I’d seen her in before. Answer: I Can Hear Your Voice, where I hadn’t liked her character much at all.

Chief of Staff was great for the actors. Shin Min Ah is almost always electric, and may be the definition of “girl crush” for me! It was also sleek and well edited, airing on Netflix to reach a wider International audience, which shows.

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Image: Dramabeans

Fairly or not, it took me a while for me to give Seo Kang Joon my full attention after Cheese in the Trap then Entourage (which I dropped and am not sure why I picked up in the first place). Watcher brought me back to him, and I’ll Go to You When the Weather is Nice has perhaps sealed the deal. (I’ll get back to writing about that drama later.) It isn’t even that he wasn’t great in CIIT, but that his being great shifted the writer away from the more compelling story viewers like me were deeply invested in already. He’s made smart choices since then.

Rookie Historian was surprising for me, and I felt so happy for Shin Se Kyung to have this role. When I first started watching Korean drama, I loved her in Blade Man and was mystified by the vitriol aimed her way in online comments. They had the reverse effect on me, since I then made sure to watch nearly everything she chose, like it or not. A few of those dramas were definitely not my thing, but Rookie Historian is a story focused on ethics and the importance of individual high ground choices —> my sweet spot. Her purpose and self-worth came from character and intellect, rather than being tied to a relationship, although the relationship was sweet.

If one notices, Shin Se Kyng tends to choose parts which have this element, as with Six Flying Dragons and Tree with Deep Roots. In Blade Man too, her character continues to maintain her focus on caring for her professional team, when it would be easier to shift gaze to her counterpart. One drama I haven’t seen, precisely because I guard this positive impression, is When a Man Loves a Woman, which is the show that seems to have turned some against her, but having even found value in Fashion King, I probably could get through with my bias relatively unscathed.

Although Hotel del Luna played well with some of my favorite themes, tugging at heartstrings and often making me smile, it was a drama I couldn’t quite give full attention to. Was it the length of the episodes, the predictability of procedural formatting? I’m not sure. I usually watched this drama while doing other things. IU is a good young actress, but ‘young’ still stands out before ‘good’ for me.

I thought Crash Landing on You was super fun a lot of the time, with a kind of You Who Came From the Stars vibe at the start. The North Korean village community really won me over, and little details like skincare products as currency. Hyun Bin reigned in his character in such a way as to let his liveliness seep through, which I loved, but Song Ye-Jin carried the drama. Was it amazing? No, but there were charms.

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Image: Straits Times

Chocolate, I liked. Yes, it was also rather procedural, but there was a slow tone I needed, and Ha Ji Won was allowed her first truly good role in a while. Almost every show has something good one can say about it, but hers had lacked the quality of making one even want to search for that lately.

I was riveted by both V.I.P. and Sky Castle last year, but don’t have much to comment about them. Touch Your Heart was pleasant and funny, but didn’t exactly meet the high expectations bar we probably all developed for the pairing during Goblin.

Memories of the Alhambra was VERY COOL, in the same way W, was VERY COOL, but the romance, and what they ultimately did (or didn’t do) with Park Shin-hye, bothered me. I know she can carry a better part, as she did in Flower Boy Next Door.

Memories of the Alhambra Episode 6 Recap | THOUGHTSRAMBLE

Another VERY COOL VERY META drama, was Extraordinary You, which for a lot of I was on the edge of my seat, giving a hats off to the writers for managing to keep the strings coherent and the audience self-aware. I liked the rhythms and the way it almost came close to blowing my mind. I could focus in on that almost, but enjoyed the ride so much I don’t want to.

Hyena I watched cause, Joo Ji-hoon. That’s it. I’m not sure if it was an objectively good drama, but I enjoyed watching him.

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Image: South China Morning Post

Itewon Class I almost skipped and without quarantine would probably not have seen, but I consider it a silver lining of the shut down, having had so much time on my hands while on furlough with two kids in a small apartment. I like Park Seo Joon in scruffier characters like this one, and appreciated the role matured expectations come to play.

Of course I was going to watch Camelia Flower! In a previous post I went on not quite a rant, but strongly stated my opinion that Kang Ha-Neul needed to break free from his repressed intellectual typecast. Here, he was goofy and well-intended, acting before thinking, and emotionally unguarded in a beautiful way. Although it took me a minute to get on board with the stark difference from roles he’s played before, as well as with Gong Hyo-Jin’s character seeming so worn down by the troubles of life, once I was in, I was in! Loved it…

Almost as much as I loved Hospital Playlist! If Parasite expanded my intellect, Hospital Playlist expanded my heart by at least that much, adding itself onto the BESTS list I keep in mind, which includes another drama by this team, Reply 1988. The actors were my original draw, but I stayed for the wit and beautiful relationship dynamics, and am so glad to hear there will be a follow-up.

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Image: Starbiz

This is the kind of drama you tune in to just to spend time with, rather than to find out what happens. There were cliff-hangers and unsolved relationship questions all the way through, but they weren’t compelling the way it was just to take refuge in these people. Funnily, because two actors I’m captivated by shared the screen so often, it sort of neutralized any tendency to watch that way… waiting for a favorite to appear. I felt let off of a hook I hadn’t recognized as there before.

As for re-watches, along with Six Flying Dragons mentioned above, I watched both Discovery of Love and Que Sera Sera, sparked by having tried to watch Eric in this year’s pretty terrible offering, from what I could endure. He’s usually a safe bet for me (I loved Another Oh Hae Young, too), but Chef Moon made me feel guilty about the use of my time, enough to drop it quite fast. I’m glad I’ve learned to do that.

Except… when I choose not to, as in the case of the drama I’ll close this post with, Born Again. Objectively, this was a pretty awful drama. It was edited badly, which created a lot of confusion if one made the mistake of trying to follow all the timelines and strings, and although the outline of the story seemed fascinating to me at first, eventually it felt like several artists with different styles all having a go at the same painting. Reincarnation, time travel and parallel worlds story lines area always difficult to get a hold of, and should be treated that way, with extra time at the end to smooth out the transitions especially.

I hung in there for Lee Soo Hyuk, who has such talent and potential! Aside from his being other-worldy beautiful (image below from Flashmode Middle East), I hoped he might finally be playing his first fully lead role.

Trendy Ideas For HairStyles 2017/ 2018 - Lee Soo Hyuk, Korean ...

Can’t you imagine him as a fairy in a British high fantasy a la Jonathan Strange and Mr. Norrell? Hm, I’m not sure about his English skills but someone could make it work! Anyway, his part in BA was indeed that of a lead, but in too strange a way, with too bland a partner. Then again, my favorite drama of his is Valid Love, and Lee Si-young is a high bar to compare against.

Born Again was Lee Soo Hyuk’s first post-military drama, and although it did showcase a bit more maturity and diversity by shaking him out of the vampire-type persona a little, he deserves a substantive and complex lead role as a lead by now.


[This is a re-post, originally written Jan 15, 2016]

I trust my fixations. When there is something I am drawn to strongly there is little that I’ll let divert me from pursuing that course of inquiry. Sometimes it is difficult to justify, and sometimes it is like some passive-aggressive tax I extract for not drawing stricter boundaries with other areas of life. More often it is neither of those things but rather a wind of inspiration leading into a place I couldn’t have known myself well enough to realize would be needed or liberating.

So right now, I’m re-watching a not-particularly-lauded series, Valid Love. It isn’t as gripping as it was the first two times when I found myself breaking apart at every other scene, but still profound.

beckon love

It has confused me that this drama wasn’t widely embraced, aside from the obvious, that Korean audiences tend to take a very strict view of adultery and divorce. Valid Love does not romanticize adultery, but Koreans are less separate from their society than Americans, I think, in the way of difference between growing up in a small town daily intertwined with one’s own and others’ families, as compared with growing up in a city so large that within even the same high school it is possible to change groups of friends several times without too much upheaval. My own life has been one of constant reinvention in a way that would probably be less possible in a smaller country more rooted in history and tradition.


[Valid Love spoilers] Continue reading “Both”

Spoilers Darling

This page is for me. Well, they are all for me, but this one uniquely caters to an experimental view that might not be as enjoyable for others as it will be for me writing it. Time will tell, but the reality is that one would have to have a deep familiarity with Korean drama to get the references and names to follow.

I’ll probably revise a lot, over a long period of time. The trouble is always where to start. There is just so much! And no real way to trace back to beginnings.


The first scene to float up is an image of Valid Love‘s Carpenter Kim, whose unusual, alien-like beauty makes him seem almost unreachable. When Il Rae catches sight and smell of Carpenter Kim she is immediately taken aback – we are too – and I believe that what appears to unfold later actually happens entirely in that moment. Another man had never entered Il Rae’s mind before, and this one appears with a beautiful, restful world, steeped in lineage – a place out of time and space.

The two are immediately nesting, and the sighting scene presents a whole reality that shows up at once, simultaneous to the one she is in, and still makes complete sense. Later at the police station, after Tae Hoo and Kim Joon have fought, and she is asked which man she will take responsibility for/who she is the guardian of, she answers “both.” Which strikes us as the truth.

I love sighting scenes, like Ko Dok-mi’s first sight of Enrique at the window, in The Flower Boy Next Door, or Dokko Jin’s surprise at finding Au Jung inside of his fortress-like house, holding his underwear (or rather, “panties!”), and discovering later that his foolproof pass code was easily guessed.

Enrique is an intrusion into Dok-Mi’s personal space, her dark apartment, even without entering. He is bright and unapologetic, and ignores only her false boundaries, even hearing thoughts she doesn’t share. And Au Jung stubbornly shrugs off Dokko Jin’s bravado, seeing the ordinary person along with his larger-than-life image. Yet she doesn’t choose between them, nor want him to.

Imagine sunshine coming through the window where the plant grows. The sun is not saying, ‘Please open the window I need to talk to the flower. Maybe the flower does not want me to shine on it.’ The sun has none of these doubts, nor does the flower.”
-Tenzin Wangyal Rinpoche

There are flavors of ‘imaginary friend’ in these encounters, in the sense that the bonds are choiceless, bound to occur. K-drama writers seem to understand this as rich ground. In Its Okay That’s Love, Hyde Jekyll and Me, and Kill Me Heal Me, where second, third, even fourth fifth sixth and seventh selves can’t be leashed by the safest and most acceptable-to-the-world personae, life is determined to fully live, and is indeed what happens when we are busy making other plans. (Thanks, John Lennon)

We must lose composure. We must “always be drunk” as Geu Rae learns in Misaeng. Tae Hoo must be brought down by the “sea anemone-like punk” and Seo Bom’s inlaws must give away the trappings they value most to be raw enough to love (IHTTGV).

Geu-rae: Be drunk. You must always be drunk. Everything lies in that; it is the only problem. To avoid the detestable weight of time that makes your shoulders give and makes you fall to the ground, you must be incessantly drunk. Whether it be on alcohol, poetry, or virtue, be drunk. Wherever you are, wake up from the hindering loneliness. If you get lost, just ask — the wind, water, stars, birds, time, everything that passes, everything that feels sadness, everything that runs, everything that sings, everything that talks — what time it is. They will reply. Now, it’s time to be drunk.

And now I’m sleepy, and want to post this although I’ve not nearly finished nor polished. The closing image is Hee Soo, dancing in the hospital corridor even as she lays in bed unable to move or speak, beginning to desire again – to dance, to eat. Il Rae may be the only real witness to Hee Soo’s rich inner thought life, and certainly her closest friend, again naturally crossing “impenetrable” boundaries. And again it isn’t that she chose her – it is what life itself decided.

In a cafe scene days before this one, Il Rae knows the taste that Hee Soo prefers and touches the foam of it gently to her lips. She makes sure to show her the beauty of the presentation, and to place her at the best vista. She lives inside of her, with her. It is love, and who gives to whom? Hours of my Life and Ando Lloyd face a similar contemplation: what is the value to a life that is not useful? What is the place for those who cannot earn their keep?

Hee Soo is the epitome of grace, class, and composure. No one asks her if she is able to give that away. There is no relief for her, no pay off. If there is a consolation prize, it is imposed, because we can’t bear the idea that there might be no justification at all.

“Hope?” she asks, “Give that to the dogs.” Even so, she dances.

hee soo

Valid Love

This is the third time. Just when I was sure that that my curiosity was satisfied, a drama writer has taken realities that seem like cliches when I try to pin them down, and cracked them open into art. [small spoilers ahead for The English Patient, End of the Affair, and The Great Gatsby also]

hot hands

I have a special affection for the subject matter and question of how many one is allowed to love at a time, and know how hard it is not to compromise to please an audience when telling such a story… how hard it is not to confine complex choices under one or two headings to make them easily digestible / pay the obligatory taxes to confirm societal norms / seek acceptance. It is too hard, therefore worth mentioning when it happens.

Chances for greater completeness come to all of us – not always in the form of another person who evokes the previously unknown, but in the guise of a job opportunity, a health issue, a profound book or film. Even a TV drama. Thus one power of art is to come face to face with shadows. But when the shadows are too shadowy, it is too easy to set them apart from oneself as passing phases rather than pointers toward richness.

Every character in Valid Love is entirely sympathetic, unlike in The English Patient, or even Graham Greene’s brilliant End of the Affair, which both deal with similar themes and uncover a similar dilemma: one that there seems no completely cathartic out of unless someone dies to resolve the tension. It is also not like The Great Gatsby, where the second (first?) love is mere fantasy for one. And in that one too, well, you know.

So I tried not to be preoccupied with this question as I watched, but couldn’t help myself. I was so afraid that the ending would leave me in despair, but the writers had earned my trust already, through beautifully handled scenes such as one in which Carpenter Kim mirrors Il-Ri’s secret struggles back to her and thus forces her (and consequently the whole family, and we along with she and they) to see her self and her world in a way she could never un-see. Reality becomes so obvious that we ask how she never woke to it before, but the answer is, that’s what suppression means. Something is known, but ignored: ignorance.

Nearly every line of this drama is enriched with subtext that one can linger a very long time in.

valid love waking

It isn’t just Il Ri’s struggle that Valid Love gives us; we come to feel several characters’ reasons for the lines they’ve drawn around what they will know and not know. At times we want to close their eyes again. It can be a hard watch.

Strangely, what also comes to mind as I write, is an article Zizek wrote about terrorism in Paris… about the missed opportunities for the Radical Left being the same opportunities that Extremist Fundamentalists have seized upon. I wonder why. Maybe the old lessons of radical empathy as not luxury but demand.

Enlightenment is intimacy with all things.  – Dogen

Updated when the series finished [more spoilers ahead]:

My overall impression now, is a soft and reflective: “Yes, I can live with that.” There is only a tiny tinge of foot-stomping, a reaction having to do with my choosing to see a certain character at the center. The writers are more mature than I am.

I’m still digesting and questioning. Am I glad they didn’t give me what I thought I wanted? What about me – why did I want what I wanted? I longed to see the writers give her a completely new life and world, and show how that could be okay, morally — would have loved for the commenters (and that part of me) who couldn’t get past their right/wrong mindsets, to have had to applaud such an end.

Although, with one ending we are still left with the imagination of another. Thus the work feels whole, masterful, with both the small strokes and big conveyance coming through. And I did get to experience personally, the playing out of a question at the center of my own marriage’s end, because he comes to really *see* his wife, not just as, his wife. He comes to care for her happiness more than his ownership of that. I got to feel what that might have been like, which seemed like pulling off an impossible caper.