#Lee Jae-han (character)

[my-drama-heart2406]

There was a time when I had thought whatever made Lee Jae Wook play Han Tae Ho.....

And then the very first scene is him covered in blood with a knife in hand.

My man finally got the chance to stab people instead of getting stabbed, and he very obviously had to...🤣😭👌🏻🤌🏻

[aki-chan2014]

Signal-a small bunch of happily-ever-after headcanons

In lieu of an actual second season for the original version of Signal (at least, that's the case at the time of writing this) and a lacklustre movie follow-up in the Japanese remake I have been thinking about what I imagine would happen next. TBH I finished watching Signal a little while ago, it's just taken me this long to actually make a headcanon post. I'd vaguely been thinking of writing fic, but couldn't quite pull the ideas into fic form so decided a headcanon list was the best way to go. That, and I recently finished a different k-drama and immediately thought I wanted to do some happily-ever-after headcanons for that, too. So that'll be next, eventually.

But anyway, here are all my happy ending ideas, under the cut because spoilers: (as a side note, I might still try and turn this ideas into fic in the future. I just don't know when)

There's no real way around it, in all timelines Jae-han does go missing. But, in the final fixed timeline, it's only a few years.

Most importantly, he's found alive. Injured, most likely, but alive. And he's cleared of murdering Kim Bum-joo and whatever else was pinned on him when he disappeared. The corruption in the police force and government is also exposed and there's a lot to sort out there, but steps are made to sort it.

Jae-han goes back to working as a homicide detective once he's recovered and the stuff directly tied to him is cleared, and builds a proper connection with Soo-hyun. They do start dating, but it's a very slow process. Slow, but steady. They are happy.

They do get married, eventually. They're low-key about this, but they do have a wedding to make their parents happy (esp Soo-hyun's mum, who 100% relishes getting to help her daughter pick the prettiest wedding dress). They do not have biological children, but are foster parents for a while and eventually adopt an older child. Most likely, this child is someone they meet from one of their cases, maybe a dependent of a victim or culprit who has nobody else to take him or her in. They will also probably end up having to occasionally babysit Soo-hyun's chaotic nephews, though they are less chaotic as they grow up, thankfully

Hae-young also gets married, probably either to a journalist or someone who works with children in some capacity. They have two, maybe three children together. Their names aren't directly honour names (from what I understand that isn't really a thing in Korean naming tradtions? Might be wrong?) but one kid's name will probably share a syllable with the names of Hae-young's brother and the other a syllable with girl who'd died in the bridge accident that Jae-han had known. I'm not sure who'd be a good pick for name-syllable-sharing for a third kid, so maybe just two.

Soo-hyun does end up a team leader, and of the Cold Case Team. In this timeline, it's formed in response to a completely different case but seen as a much more positive thing. There are still some snags, a few people who feel it highlights police failures to have such a team. But on the whole, the team is made with an expectation it will last-there are a whole lot of unsolved cases out there, after all.

As for Hae-young, the difficulties in his homelife didn't disappear once his brother was posthumously exonerated. His parents did get back together, and tried their best, but they had their own grief and trauma to unpack and that took a while. So he still needed to be fed by the porkhouse lady, and once Jae-han reappeared he continued to watch over Hae-young. Time would go by, and he'd decide to be a policeman just like the detective who cleared Sun-woo, not yet aware that that same detective was still looking after him.

They would eventually catch glimpses of each other during Hae-young's training. But the first time Jae-han and Hae-young properly meet is when Hae-young graduates his training.

With his memories of past timelines and all he learnt as a profiler there, Hae-young quickly garners a reputation for being 'clever' and 'well-read', 'insightful' and someone who has 'interesting ideas'. Various ways of explaining how he has knowledge someone his age shouldn't have, basically.

Jae-han introduces him to Soo-hyun socially (their first meal as a trio is omurice, which becomes a tradition, though they'll eat other things together on different occasions) she then takes an interest in him professionally and has him work with the Cold Case Team to see how he fits. She then gets the higher ups to send him on profiling courses, so he eventually becomes a profiler.

And after that, the Cold Case Team is a lot like it was throughout the series once the camaderie had been established. [side note: I loved the Cold Case Team dynamics so much they are a GREAT team]

Soo-hyun mentors Hae-young the way Jae-han mentored her. Hae-young gets called '0.25' by most of his close colleagues as a result (after all, Soo-hyun is the only '0.5' they can have).

All three of them garner reputations to be dedicated, hard-working and particularly brilliant in their departments in different ways. As mentioned above Hae-young is known for being clever, while Jae-han is known for persistence/earnestness and Soo-hyun compassion and composure in equal measures. They're all very committed to stamping out corruption and looking out for the underdog.

The walkie-talkie continues to be a lucky charm for Jae-han. It doesn't ever work again...well, not for most of their life. It only works right at the very end of Jae-han's life (illness related, when he's very elderly, so while it is obviously tragic it's more expected and natural, just as it should have been). He gets to say a proper goodbye to both Soo-hyun and Hae-young this way.

But with the goodbye for Hae-young, it happens while he's helping Soo-hyun and their adoptive child (plus one of Hae-young's children, plus possibly grandchildren of both) clear Jae-han's things after the funeral. They had shared the stories of the walkie-talkie but of course weren't really believed. Not that any of the three of them really expected them to believe it (well, maybe Jae-han did want them to, a little), because they told the stories as if they were an unusual kind of myth or something. But they hear the walkie-talkie, and talk to Jae-han one more time, and they realise it is real.

Of course, the walkie-talkie doesn't go off again after that. But it continues to be passed down between their families, and the stories shared too.

There will also be plenty of photographs, because one thing Soo-hyun becomes quite fixated on is having 'proper photographs' of all the people she cares for. It gets to the point that people assume she has a hobby of photography and start buying her cameras and camera equipment for birthday presents and things. She still keeps that silly photograph of her and Jae-han posing, but doesn't hide it behind the batman. Instead, it sits in a seperate frame next to it on her desk.

[stuffnonsenseandotherthings]

CityBoy_Log: Blurring the Lines Between Fiction and Reality.

I was doing my daily scroll through YouTube one day when a thumbnail (this thumbnail) caught my eye:

Now, at first glance I'll admit there's nothing exceptional about it. In fact, it's so perfectly run of the mill that I actually thought it was a vlog from a new K-pop band that I hadn't heard of before at first. The name, the picture they chose, the title.... all of it checked out and I had no reason to be suspicious that it was anything other than it seemed.

Anyway, I was bored, it had been a while since YouTube had recommended me anything K-pop that wasn't a group I was already subscribed to and I was feeling nostalgic for a good K-pop vlog.

It was only 5 minutes

What harm could it possibly do?

So I clicked on it.

And then I feel down a rabbit hole.

CityBoy_Log: The Drama

So it turns out that "CityBoy_Log" is not, in fact, a K-pop group's travel vlog series, nor is it a vlog series at all...

Well, it is...

But not really.

It's actually an 11 episode BL drama.

Summary:

Idol Lee Jae Jun, model/actor Lee Ji Han, actor Seo Byuk Joon, and rookie model Ahn Hyo Sang start a vlog channel about their trip to Okinawa, Japan for a photoshoot. The four meet for the first time (aside from JaeJun and Byuk Joon, who are longtime friends) when they learn they will be sharing a home during the trip. Though Ji Han's introduction caused some tension within the circle, the group's feelings towards each other start to change and grow as they keep vlogging. The vlogs show how their individual friendships develop by the end of their stay and after coming back to Seoul, some even beyond just platonic. (Mydramalist)

On the face of things, "CityBoy_Log" is a pretty straight forward drama (some might even call it mundane). Four friends navigating their relationships with each other on a trip. There's a main couple and a side couple and plenty of pining and love squares to keep the audience and the characters on their toes. Really nothing standout in a world where Semantic Error, Love for Love's Sake, and Eighth Sense exist, right?

Except the format.... the format is something else.

Because when the summary says "the vlogs", it really means the vlogs.

"CityBoy_Log" is a BL drama told entirely in character.

Like your typical k-vlog, the majority of the content comes from hand-held cameras carried about by the characters, only occasionally interspersed with aesthetic shots from their "camera crew". The characters talk openly to the audience, updating them on what's going on and what they're thinking and feeling; transitions between scenes are choppy and periods of time are missed due to "unfilmable" moments that we either only catch glimpses of or are told about later (or in some cases, have to fill in the blanks ourselves); dialogue is choppy and sometimes even awkward (especially as they're still getting to know each other) and voice cracks, nonsensical lines, and awkward pauses are all over the place.

It is feels messy, lightly edited, unscripted, and, for the most part, very very real.

Blurring the Boundaries Between Fiction and Reality.

Seeing how far the creators of the show have gone to make this drama feel realistic is fascinating. All the episodes are posted as vlog episodes on the show's YouTube Channel, they post additional shorts that follow the latest trends, and even have celebratory lives where they talk to fans. And all of this is done in character.

They also have an Instagram page and on MDL there is very little information about the actors (who use their real names for their characters) and no information about the team behind the scenes (although I suspect they're linked to whoever made Semantic Error because that show gets name dropped a lot and they even "audition" for the upcoming drama made by it's creators) .

Given how much effort has gone into making "CityBoy_Log" pass as real it shouldn't be surprising that there are quite a few people who believed it was real for a time.

Now personally I am a huge fan of innovative storytelling techniques and "CityBoy_Log" has really hit it out of the part creatively (it reminds me a little of SKAM in that respect). I applaud the actors for just how realistic their characters feel (I actually can think of anything harder than having to pull off "act like you're not acting" and they do it flawlessly at least 90% of the time) and whoever came up with and executed the show really did something special too. It's an incredibly compelling watch (I binged it) and I immediately felt connected to all the characters in a way it normally takes a drama a few episodes to set up.

Do I have my doubts about how wise it is to blur the lines between fiction and reality so much? I won't lie, yes, especially as this show is rooted so heavily in 2 fandoms where those boundaries are already heavily blurred but for now I'll trust that they know what they're doing (perhaps more so than many other shows that draw heavily on fan service). It does seem like, at least for now, while everything feels real and in character, that it does exist in its own little bubble and that the actors involved are able to leave it behind when they get off work.

Anyway, it'll be interesting to see how it progresses, given that a second season has been confirmed and there was.... a very interesting reveal at the end of the last episode. I'm looking forward to how they continue to play with the format and getting to spend more time with Jae Jun, Ji Han, Byeok Jun, and Hyo Sang

🔗Here's a link to the channel if anyone wants to check it out:

https://youtube.com/@CITYBOY_LOG?si=CKqz8QdfzySCqRyL

CityBoy_Log: The Vlog

Team Hyo Sang all the way. All this puppy wants is for his hyung to notice him and he is adorable about it.

Tagging @lurkingshan @twig-tea @respectthepetty and @rocketturtle4 because I don't know if you guys have seen the show yet!

[dangermousie]

Top Dozen 2023 drama MLs so far

It's August, so not the end of the year, neither it is at halfway year mark, but why would I ever do anything like a normal person? Here my very very subjective list. I have limited myself to one dude per drama or LYF would be half the list. No order except alphabetical.

Chen Wende (Sun Yizhou in Gone With the Rain, China)

The epic troll lord stole the whole drama as competently as he stole the FL's heart. He was competent and adult and oh-so-amused by but also gone for the heroine.

Gu Jiusi (Bai Jing Ting in Chang Feng Du/Destined, China)

CFD lost steam for me halfway through but Jiusi's character remained a delight throughout and BJT gave a great performance as a golden boy who went through a bunch of hell and grew up but remained goodnatured at heart.

Han Dong Jin (Kim Young Kwang in Call It Love, Korea)

You know, he and Jing (from LYF1) really fit the same mold even if one is in a mellow realistic modern and another in xianxia - lovely traumatized people from monster families who win over heroine with a metric ton of baggage through sheer unswerving decency. I have a type.

Jang Uk (Lee Jae Wook in Alchemy of Souls s2, Korea)

I loved Uk in S1 and S2 continued that love - he's so intense, so grieving, so still in love with Naksu. LJW is always a good actor so it's such a pleasure to see him in a good role.

Kim Do Ha (Hwang Min Hyun, My Lovely Liar, Korea)

The year of surprises - Minhyun, who I found utterly wooden in AoS stole my heart here as this hopeful, traumatized sweetheart of a man.

Kim Moo Chan (Park Hae Jin, The Killing Vote, Korea)

Yeah, we are only one ep in but who said anything about this list was objective? PHJ brings his usual unsettling intensity to the role of a cop who breaks all the rules and teeters on the edge and now is set to catch a killer who really only differs from him in a matter of degree.

Lee Jang Hyun (Nam Goong Min in My Dearest, Korea)

If I had to pick a favorite ML from this list, it would be between him and Jing (LYF). This is basically if you took Rhett Butler and took out slavery and rape but gave him a sword. The character is complex and nuanced and NGM is giving his usual incredible performance.

Lee Rang (Kim Bum in Tale of the Nine Tailed 1938, Korea)

I was not a Rang fangirl for most of the original (even if he was well-acted; and he did win me over by the end) but I fell for him head over heels in this sequel/prequel/spin-off. I am so happy the man who believed he had nobody and was abandoned by everybody ends the story with his beloved brother and his beloved woman, both.

Moon Seo Ha (Ahn Bo Hyun in See You in My 19th Life, Korea)

A lot of MLs on this list have serious trauma and haunted by it and can't let go of their past love (I have a type) but even by those standards, Seo Ha was such a lovely, quiet person slowly healing.

Tantai Jin (Luo Yunxi in Till the End of the Moon, China)

Abuse victim/monster/praiseworthy king/xianxia saint/man on the brink - LYX portrayed a character in multiple timelines and many different complexities and did it amazingly. Tantai Jin may or may not win my favorite place on this list, but his performance was hands-down the most glorious thing this year.

Tushan Jing/Ye Shiqi (Deng Wei in Lost You Forever part 1, China)

If before LYF aired someone would have told me that a character played by Deng Wei, an actor I've always found eminently forgettable, would make it on this list and be in the running to win the whole thing actually, I'd have wondered what weird reality they came from. They somehow managed to make someone genuinely good and kind not in the least boring; I am ridiculously invested in the man who managed to keep his soul after all he's been through.

Yun Xiang (Chen Xiao in The Ingenuous One, China)

A schemer on a revenge quest, smarter than anyone else in the room but helpless in front of love. Yun Xiang was an adult in an adult story for adults and it was glorious.

[mikuni14]

Poll Tag

tagged by @my-rose-tinted-glasses thank you! 😘

Challenge: make a poll with five of your all time favorite characters, and then tag five people to do the same. See which character is everyone's favorite.

The challenge seems impossible, just the thought of choosing only 5 characters made my brain overheat and shut down lol. That's why I chose them at random, because otherwise I would have sat on it until tomorrow and probably died (without even choosing anyone 😭).

(I know Beyond Evil isn't technically BL, but I think we can all agree that yes, it actually is).

The choice was VERY HARD, especially in situations where I really like both characters and choosing between them seems unfair (like Love For Love's Sake, Our Dining Table, To Sir With Love etc.). Also, some characters were my favs only in part of the series, like Tharn (The Sign) or Sprite (Twins), but in these parts I loved them dearly. Other characters I wanted to add: Charn (Laws of Attraction), Shin Da On (Light on Me), Yamato (I Cannot Reach You), Rain and Phayu (Oh My Sunshine Night), Mr. Tiwson (MSP), Jang Jae Young (Semantic Error), Im Han Tae (Sing My Crush), Fighter (Why R U), Yoon Tae Joon (ULS) AND MANY MORE 😭

Tagging @italianpersonwithashippersheart @shannankle @pickletrip @miss0ataeand @silverraes @pinkkop @listeningwithearphones @whenisawthemoon @callipigio @whiteorangeflower @benkaaoi @befuddledcinnamonroll @braininanotherdimension @poetry-protest-pornography @negrowhat @maxescheibechlinichacheli @nozunhinged (sorry if I missed anyone). Anyone who sees and want to play consider yourself tagged by me and please tag me if you do it 😘

[elderflowergin]

blood free v secret forest, a quick and dirty comparison:-

As someone who fell for Kdrama through Stranger, i loved it because it appeared seamless, grounded and weaved several systems and levels of privilege very elegantly. Most of all it seemed morally urgent, even if it was at its core a detective mystery. (Which, to be fair, Blood Free is as well.)

Secret Forest’s first success was that it held nuance for everyone in the middle of the road; LSY afforded so much thoughtful shading to those men. I often think they will never look as beautiful as they do on SF, and that’s only partly because of whoever did the lighting etc, but they’re not Kdrama glossy perfect; they’re real people trying to reckon with themselves and the moral calculus they have agreed to, and their dignity comes from the reckoning. Lee Chang-joon, Kang Won-chul, Lee Yeon-jae, even Seo Dong-jae for that matter, all have that advantage. LSY managed this for Jung Sung-il in the scant few minutes of screen time he had.

The second success was Cho Seung-woo and Bae Doona. If Secret Forest was a universe they were its gravitational field; it was their fierce sense of honour and morality that drives both seasons. And their moral decency is hard-won; it is tested constantly, and it’s burnished at each opportunity, which is why they are respected. It is a dream that people like that can influence or impact those around them, but you don’t question that they do, by the end of each season, and that’s the victory of writing, casting and the charisma of both leads.

That’s why that funeral scene in season 1 is so important (to me); it shows the gravity shifting. The prosecutors rely on their forest of secrets to keep the centre together, but Hwang Si-mok demonstrates how untenable this has become, how the roots must be pulled out so the weeds die; so new healthy things can grow. The chaebols are at the periphery, and they continue to be there because, most audaciously of all, they don’t matter if enough people shift their moral calculus. I think this gravitational pull happens to Lee Chang-joon in season 1 thanks to Hwang Si-mok and it happens to Choi Bit in season 2 thanks to Han Yeo-jin. They are easily some of the most powerful parts of the show.

On the other hand, we have Blood Free. I’m not sure who the moral gravitational field of this show is meant to be. Maybe it’s Yun Ja-yu and/or Woo Chae-woon. Maybe it’s Lee Mu-saeng. Maybe it’s about the ethical dilemma of experimentation and whether that’s a worthwhile price to pay for the scientific advancements in cultured meat and seafood. Perhaps we need more time to really see the middle of the road characters, but four episodes in there’s not much to go on: there’s Lee Mu-saeng, there’s Queen Dowager as a VP, here’s Jeon Seok-ho. There are three chaebols, all of whom seem like one-note characters to me. (Why ask a talented sketch artist to produce cartoons like these? Unless they’re not, but nothing seems to suggest otherwise.)

The most interesting insight from episode 4 was about Yun Jayu - when offered 72 trillion won for her company, she actually considers it because it means she doesn’t have to face investors and can focus on research. She has influence and money but these are means to an end, for her. I wish we could see more of that, and not necessarily through exposition alone.

When she gives deft, cool answers to reporters, did that come naturally to her or did she work at it? Is she the face of the company because she hated it a little less than Lee Mu-saeng did? If so, why? What comparative advantage did they determine she had? When she wears Chanel tweed skirts and smiles her way through presentations, is that a natural extension of her work or is that a mask she wears? Give me process, guys! Give us the backstory, the way the markets work, the environment for cutting-edge bio research in Korea, the reaction of Big Meat, the interplay of new rich and old rich, some indication of her actual influence (which must be considerably more than what we see on the show, although what little we see, while uncomfortable, is frankly not that inconceivable in a world where you’re constantly connected.) I am so interested in her, and yet I feel I am made to watch the story of her reacting to chaebols and to the mystery of corporate sabotage rather than her being the fulcrum of her own universe. And at no point does the mystery seem morally urgent to me, and it’s because 1) why does it matter if all this is is a giant M&A negotiation 2) why should we care if it doesn’t feel real to us? So what if there’s sabotage? Why on earth isn’t this company guarded like fucking Fort Knox? Why is this company ostensibly so influential, so powerful and yet capable of unusually amateurish errors that are the centre of the show so far and not on the periphery of it? Where is the moral quandary that is meant to grab us by the throat?

Is it a question of the writing? Have her interests shifted and did she want to do a show without having to do too much character work? If anyone has earned a vibes-only moment it’s Lee Soo-yeon, and I respect that for her. I hope the direction isn’t stifling the writing, because that means there is an arresting, politically trenchant drama underneath this dry procedural, and that’s upsetting to consider. We still have a ways to go and I think there is potential, but I have to remind myself not to expect something like SF, that maybe you can’t bottle that formula. That it’s the gold standard for a reason. But honestly, Disney, in the words of TikTok star imo_unusual, you’ve made this show like God was dozing off when the angels were working, now RELEASE US (and LSY writernim)

[bengiyo]

Alright, new question, I know how much you enjoy your Sad Gay Boy Hours. What shows, besides Until We Meet Again, because I know how much you love it, satisfy your Sad Gay Boy needs?

The Boys Who Suffered

The big thing about The Knowing is The Suffering. There is a melancholy that seeps into you and makes you think you aren't enough. These characters are hard to watch. I know you asked about shows, but I'm doing some movies as well because I've been thinking about genre history lately. For this it's about whether or not the quiet sadness in me connected to the quiet sadness I perceived in a character in this show.

Moonlight (2016)

He is the saddest boy in my heart. This is the moment that breaks him forever.

For The Boys

Jamal, Syed, and Anthony have suffered for being who they are, and they are hurting. They cling to each other and it's often too hard.

Weekend (2011)

This man is so lonely even if people love him. I feel melancholy for days any time I watch this film.

Big Eden (2000)

I don't know who taught him shame, but there's this sense of surrender in Henry that has haunted me for fifteen years.

A Single Man (2009)

Colin Firth and Stanley Tucci play some of the saddest gay men who have ever existed. This entire project is about grief.

180 Degree Longitude Passes Through Us

Inthawut is the saddest man in BL.

Given (2019)

The reveals about the depths of sadness in this boy are really some of the best I've experienced.

Eternal Yesterday (2022)

He was suffering even before Koichi died, and it saddens me so much that the world bent to let him say goodbye to help him grieve.

The Pornographer Series

I just knew there was something fundamentally off about Kijima and the rest of these men.

The Day I Loved You (2023)

I keep meaning to write something about this show, but there's something special about going into a relationship you know won't be forever because of external factors, and also choosing to make that time as special as possible.

Tokyo in April is...

Ren suffering for Kazuma gets me every time.

Like in the Movies (2020)

I'm never getting over Karl and Vlad. I'm sad we'll likely never see them again because in so many ways the specific pieces of melancholy in each of them are why they didn't walk away together.

To My Star 2: Our Untold Stories

These two were not left at HEA and they didn't end there this time, either. Both of these two are carrying some heavy shit in their hearts, and I find comfort in seeing them stumble and keep trying.

What Did You Eat Yesterday?

Shiro makes me so sad sometimes, and I'm so glad he found Kenji.

The Eclipse

Every boy in this show is a sad mess.

The Eighth Sense

I'm glad Jae Won found Ji Hyun, because that country twink won't give up on him.

Kabe-Koji Nekoyashiki-kun Desires to be Recognized

I recently rewatched this and feel so much about Mamoru and Issei.

Our Dating Sim

Lee Wan was wrong, but I get him.

We Best Love

"Yes, I'm in love with you, but that's none of your business."

Stuck On You

The Philippines crushed the pandemic. This is quietly one of the better ones about people who were already suffering.

Blueming

Hwang Da Seul's oeuvre always seems to hit my sad boy core.

Sing My Crush

Every time Han Baram says Im Hantae's name I lose it.

[mizldrizl]

How common is each character's family name in Korea? - Beyond Evil

#01: 김 (金, Kim) - Kim Young Hui (apprx. 21.50%)

#02: 이 (李, Lee) - Lee Dong Sik, Lee Yu Yeon, Lee Chang Jin (apprx. 14.70%)

#03: 박 (朴, Park) - Park Jung Je (apprx. 8.43%)

#06: 강 (姜, Kang) - Kang Jin Mook, Kang Min Jung (apprx. 2.37%)

#07: 조 (趙, Cho) - Cho Gil Gu (apprx. 2.12%)

#11: 한 (韓, Han) - Han Joo Won, Han Ki Hwan, Han Jung Im (apprx. 1.56%)

#12: 오 (吳, Oh) - Oh Ji Hwa, Oh Ji Hoon (apprx. 1.54%)

#15: 권 (權, Kwon) - Kwon Hyuk (apprx. 1.42%)

#16: 황 (黃, Hwang) - Hwang Gwang Young (apprx. 1.40%)

#21: 유 (柳, Yoo) - Yoo Jae Yi (apprx. 0.96%)

#31: 남 (南, Nam) - Nam Sang Bae (apprx. 0.55%)

#68: 도 (都, Do) - Do Hae Won (apprx. 0.11%)

Source: KOSIS statistics (2015)

[my-drama-heart2406]

I love how every recent 'the impossible heir' YouTube short with Inha has reactions like, "Oh my god! So it was Inha all along?!", "Inha is the one who did this to Taeoh?!", "So Inha never really liked Hyewon at all?!", "He only liked Hyewon because of Taeoh?!", "So Inha turned villain and did this to the person who got him this far?!?!".

And then there's us on Tumblr who had predicted this is exactly what would happen since the first two episodes dropped.

[offbeatcappuccino]

the impossible heir episodes 1-4 ramblings

Last week was an eventful one for Lee Jae Wook, Hong Su Zu, and Lee Jun-young's The Impossible Heir. Not only was last week the premiere of the series, but Dispatch, the popular Korean tabloid, released "earth-shattering" news that Lee Jae Wook was dating aespa's Karina. This garnered controversy and scrutiny towards the show and could have contributed to its ratings. However, as a self-professed Lee Jae Wook fan, I tuned in to watch the show last week regardless of the news. The Impossible Heir is arguable Lee Jae Wook's first "adult" show. Much of his prior work involved dramas that catered to the YA audience and for the first time we see him essaying a far more mature and morally dubious character as Han Tae Oh. While the show is marketed as having three leads, in my opinion, Tae Oh steals the show.

In the first episode, we are introduced to a teenage Han Tae Oh. The son of a murderer, for the sake of his and his mother's safety, he's forced by himself to a small town. Unlike his peers, he has no legal guardian and rents a rundown house in the village. Before the first day of school, he manages to provoke the ire of Kang In Ha, the illegitimate son of the Kang-Oh chaebol family. While the two boys are initially at odds with each other and even end up having a dramatic fight in the school lunchroom, the episode ends with an unlikely partnership- Tae Oh offering to use his intelligence to help In Ha achieve the impossible- the opportunity to be the next heir of Kang Oh Group over his two legitimate half brothers.

Over the next three episodes, we see Tae Oh and In Ha grow up as college students and later employees at Kang Oh. During their college years, we see a blossoming friendship between the two as In Ha becomes Tae Oh's only companion during their time at Hankuk University. Alongside their internal scheming to take over Kang Oh, we see glimpses that their friendship is no different from any other peers. They have birthday meals, eat lunch together in the cafeteria, and drink late night beers from the convenience. In Ha constantly chides Tae Oh for working too many part time jobs, but remains the dutiful wealthy friend that is willing to book a tutoring gig for Tae Oh or drop him off at work to help him financially stay afloat. The dynamics between both men take a sharp turn with the introduction of Na Hye-Won, who both male leads end up falling for though she ultimately ends up dating In Ha, mainly because she views In Ha as her key to overcoming poverty and acquiring wealth and prestige.

Just as episode two ends, the show takes another five year time leap and both men are working for Kang Oh group. Hye-Won also becomes what appears to be a staff member for a political party. The three remain as co-conspirators in their efforts to take over Kang Oh Group. Of the three, perhaps the person who gets closest to the chairman, Kang Jun Mo, is Tae Oh, who ascends to the role of his personal secretary. Tae Oh becomes Jun Mo's greatest asset and trusted confidante. Through his role, he starts to move the game pieces that would create a clear path of succession for In Ha.

The weakest aspect of the The Impossible Heir 's writing has to be Na Hye Won's character arc. Nothing about her frankly makes any sense. During the second episode, we are introduced to Hye Won as both In Ha's and Tae Oh's classmate and Tae Oh's neighbor. While its obvious that Tae Oh may have developed feelings for Hye Won due to their chance encounters, In Ha's feelings arise out of nowhere- to the point that it almost feels like he only wants Hye Won because he wants to take a person Tae Oh cherishes from him. However, if this was the case, the intensity of love that In Ha develops for Hye Won makes no sense. Furthermore, its puzzling to see the two boys so readily accept a stranger as a partner in developing and implementing a plan they have spent years working on together. Exacerbating this poor placement of the female lead is her poor portrayal by Hong Su Zu. Hong Su Zu's acting has been widely criticized by the Korean audience since the airing of the second episode. While I could see others' complaints last week, it did not initially bother me as much. However, the poor acting has become glaringly apparent in this week's episodes. If Hye Won is supposed to be who she's written to be- a morally grey character who is willing to do whatever it takes, including playing with someone's feelings, to escape her present circumstances, I would expect her to be desperate, shrewd, cunning, manipulative, and charismatic. However, the version that is presented to us is so blasé, stoic, and mediocre. Hong Su Zu's expressions and delivery are extremely limited- it's hard to swallow the thought that she's supposed to be a crucial main character.

Conversely, Tae-Oh's arc is the strongest point in the writing. As audience members, we are gripped by the elusive question- what does Tae-Oh get from this partnership? Why is he fiercely loyal to In Ha? and Does he truly want the best for his friend or is he planning on throwing him under the bus? Lee Jae Wook excels in playing the ambitious yet guarded Tae Oh, who becomes the "catalyst" of the story. Without Tae Oh, there's no plot. While Hye Won is a disappointing female lead, I was surprised by the chemistry between Tae-Oh and Choi Hee Jin's Kang Huiju, the younger half sister of Kang In Ha. Huiju develops an obsessive never-ending one-sided crush on Tae Oh when he becomes her short-lived mathematics tutor. At first glance, it's easy to brush her off as a minor character, but the amount of screen time she receives on the show suggests otherwise and Choi Hee Jin excels in playing the "petulant spoiled brat who surprisingly may be the only person in her family with a conscience".

If Tae Oh is a volcano patiently waiting to erupt at the right time,Huiju is a raging forest fire traveling at 100 mph. Her love and desire for Tae Oh is all consuming and destructive- something she wholeheartedly embraces but Tae-Oh fears. When Huiju's spontaneity comes to a head with Tae Oh's restraint, we see an electrifying chemistry between the two and we see another dimension of Tae Oh. While he can be avoidant and harsh, he is also gentle, kind, and protective. Its this internal push and pull that makes their relationship worth exploring.

One of the highlights of the latest episode was when Huiji confronts Tae Oh in a parking garage adamantly professing that she will force her parents to agree to their marriage and that she "will protect" Tae-Oh. I found her confession interesting on many levels because so far, all of Tae-Oh's relationships are exploitative. The other characters including his closest friend In Ha are only concerned about what Tae Oh can do for them and this is the first time we see someone offering to do something for him with no reciprocity. It's unclear if Hui Ju is a red herring or someone who will grow to be an integral part of Tae-Oh's life. As a viewer, I have to say that this relationship is one of the main draws to the show and is something that the writers utilize appropriately.

Overall, Impossible Heir is a Malthusian and Machiavellian drama that wholeheartedly embraces the capitalistic jungle. It may not be a show that fans of prior Lee Jae Wook's dramas will love, but it still deserves to be given a chance.

Rating: ⭐️ ⭐️.75/5

[horror-thriller-brackets]

Propaganda:

The Signal characters: Hae-young is in the future and can communicate with Jae-han through a walkie talkie, while Jae-han is in the past. Soo-young works with both of them. All three are connected and have an amazing bond, an iconic trio separated but connected through timelines.

[seouldramaspot]

Lovely Runner - A Fusion of Heartfelt Drama and Fantasy

"Lovely Runner" has been highly anticipated by K-drama enthusiasts, and it doesn't disappoint. Starring Byeon Woo-seok and Kim Hye-yoon, this 2024 series, based on the popular web novel "Tomorrow's Best" and its webtoon adaptation

A Plot Steeped in Emotion and Intrigue

"Lovely Runner" centers around Im Sol (Kim Hye-yoon), a former aspiring film director who finds her dreams crushed by a tragic accident that leaves her paralyzed. Sol's life takes another heartbreaking turn when her idol, Ryu Sun-jae (Byeon Woo-seok), a multifaceted celebrity, dies unexpectedly. However, the narrative takes a fantastical twist when Sol wakes up 15 years in the past, with an opportunity to rewrite both her and Sun-jae's destinies.

The premise alone promises a rich exploration of themes like fate, second chances, and the enduring power of dreams. As Sol grapples with her newfound reality, viewers are taken on an emotional rollercoaster that is both poignant and exhilarating.

Outstanding Performances

Kim Hye-yoon shines as Im Sol, bringing depth and nuance to her character's journey from despair to hope. Her portrayal captures the essence of a woman determined to seize her second chance, making Sol's struggles and triumphs profoundly relatable.

Byeon Woo-seok's performance as Ryu Sun-jae is equally compelling. He seamlessly transitions between the charismatic idol and the vulnerable individual behind the public persona. The chemistry between Kim Hye-yoon and Byeon Woo-seok is palpable, adding a layer of authenticity to their characters' intertwined fates.

Supporting Characters Add Richness

The supporting cast also deserves praise for their contributions to the story. Song Geon-hee as Kim Tae-sung, Lee Seung-hyub as Baek In-hyuk, and Jung Young-ju as Park Bok-soon deliver strong performances that enrich the narrative. Each character brings a unique perspective, making the world of "Lovely Runner" vibrant and multifaceted.

Special mentions go to Park Tae-hwan, Kwon Yu-ri, and Han Seung-yeon for their memorable cameos, which add a touch of realism and excitement to the drama.

The visual storytelling in "Lovely Runner" is captivating, with carefully crafted scenes that enhance the emotional impact of the story. The soundtrack complements the drama perfectly, adding depth to key moments and enhancing the overall viewing experience.

"Lovely Runner" is a compelling drama that expertly weaves together elements of fantasy and melodrama. Its strong narrative, combined with stellar performances and high production values, make it a standout series in the 2024 K-drama lineup. Whether you're a fan of time-travel tales or emotional character-driven stories, "Lovely Runner" offers a heartfelt and engaging viewing experience.

So, grab your tissues and get ready to embark on a journey through time with Im Sol and Ryu Sun-jae. "Lovely Runner" is more than just a drama; it's a testament to the power of resilience and the beauty of second chances.

Honest Comment: At first I thought this will be like the typical love story a series about a high school life that the girl will fall in love with its Idol like obsessed with her Idol but when I start watching I love how the episode go , how the flow of the series its like the year of Korean Drama 2016 it made me feel the past like it was my first time watching Korean drama. I love how fresh the story you will be fluttered especially the interaction with the 2 Protagonist the story surrounds them and the story line is a masterpiece. It gives the vibe that you wanted to fall in love again. Highly recommended for first timer , Big Thumbs Up!!!

[cere-mon-ials]

2022 in kdramas

*that I finished

I spent my January nursing all that The Red Sleeve broke (my heart), nourishing what it gave me (provocation to write, notes here), cursing what it did for my overall k-drama viewing expectations. I am still mad that Lee Se-young wasn’t recognised for what she did in TRS, a show that belongs to Deok-im and her alone. I had finished Good Manager a day before, a long-winded bromance between Namkoong Min and Lee Jun-ho. I didn’t think much and truth be told, I don’t remember much either. Happiness fell flat after three episodes; stayed for the remaining episodes because of the excellent chemistry between the main characters. I evidently watched Coffee Prince many years too late but I saw every reason why I might have never finished school if I had seen it earlier.

Run On kept me thrilled on occasion, became white noise otherwise. I loved seeing my two joys, running and translation, woven into the show, loved the miracle of found friendships and homes, and a defiant writing philosophy that healthy relationships are worthy of being probed. Despite how unbearable Our Beloved Summer was about Ji-woong’s unrequited love, I could see the good-naturedness of the story writer-nim was trying to tell. I loved watching why the two leads fell apart and what brought them together. I loved that this had something to do with communication but I loved even more, that it just had to do with having grown up and realising you can love something you’re not and that’s one way to experience life. Kairos is the most underappreciated show that tackles time-travel. Great writing with exceptional attention to detail.

February was spent with the duology of the Ahn Pan-seok—Kim Eun—Jung Hae-in universe, the k-drama equivalent of Austenian bliss. Both shows benefit from Kim Eun’s thesis that romance may be intimate but love, in a patriarchy, demands a public that must accept it. Ahn Pan-seok is the finest orchestrator of moments that feel like the time lapse that falling in love is, that thing that people often reduce to soulmatism or violins at first glance. In One Spring Night, it works. In Something in the Rain, it fails because Kim Eun was still finding her voice as a writer who is stumped by what makes for the ‘right’ kind of conflicts in a 16-episode arc. I don’t think that’s the only problem with SITR but it’s the one she solved with marvelous elegance in OSN. In both shows, the main leads are charmingly, refreshingly communicative with each other. But it is in OSN, where Kim Eun figures out that being vulnerable is not the same as talking about vulnerable things, and how to make it count for all relationships that matter. Son Ye-jin and Han Ji-min, I love you both equally.

In March, I began paying an honorarium to the guard of my Jang Hyuk horny jail. Deep-rooted Tree made me cry in at least 14/24 episodes. A Joseon murder mystery wrapped in a drama about accessible language as the beginning to breaking down class barriers and nation-building, with nerdy love for character interiority? I ate that up. Han Seok-kyu is the only reel King Sejong ever. Just like Jang Hyuk is the only reel Bang Won ever. My Country: The New Age is a shallow show with hilarously lofty dialogues and masterful action sequences. In my most generous reading, MCTNA attempted to ask if Bang Won’s modernity could have come at a lesser price; is modernity not equivalent to audacity? Woo Do-hwan is almost as good at portraying audacity as Jang Hyuk.

Having Park Eun-bin and Kim Min-jae play Brahms in a riveting duet is exactly what Do You Like Brahms? set out to do. Introverts are rarely done well on the screen and getting it right with not one, but two leads is an achievement too. If you are a person fuelled by that mystical "passion," the creative arts industry can be a cruel place. Chae Song-ah is, by all accounts, not as talented as the others around her, and this is not a story of stick-with-it-till-you-rise-from-the-ashes. Even the hope that it might be is wonderful writing because Song-ah is far more assertive than anybody gives her credit for, like a baby who holds onto your finger with shocking strength. In classical music especially, there is no such thing: you are good or you are out. Park Joon-young is great and yet, he is begging for an out, because being good is just the beginning. These two and the other characters are deeply in love with music and they want to protect that love. They all find out that in the end that love needs sustenance, not protection.

I binged Fated to Love You in April, in a private experiment to see how much Jang Hyuk brainrot I can take. (Let’s remember this is a summary of the shows I finished.) I came out of it with brainrot for one more Jang. Outrageous show, outrageous star power. Soundtrack No. 1 was a forgettable experience save for the fact that I am now a person who looks up Park Hyung-sik’s MDL page on the reg. I think everybody is right about Twenty-Five Twenty-One: (a) Baek Ye-jin and Na Hee-do were always going to break up (b) It was a terribly-conceived finale. Two other opinions I am going to leave here: (c) Ji Seung-wan, darling of my heart, should have been the lead for the show that writer-nim actually wanted to do. (d) More people would see this, and also may have responded with thoughts beyond ship discourse, if Na Hee-do was played by anyone other than Kim Tae-ri.

I think people were right about criticising Lee Soo-yeon’s Grid too. The science of time-travel took some leniency. I get why the finale would have been unsatisfying, even as a setup for a potential second season. But I offer that the thesis of LSY’s shows is never in how they end, because they are not moral science lessons for the future. Grid’s deeply introspective themes of time-travel and the greater good begins with the the sun, the most reliable force in a human's life, turning against mankind. This immediately takes away a human as ultimate antagonist, when it easily could have been. For LSY, the future is the darkest place with unknowable power and we have the task of paving a path of light towards it. Time-travel is not the science-fiction component with which to imagine our behaviour in an unrecognisable, but possible, place. It’s the fucking fantasy. Even if we got the chance to change the past, we really couldn't. The future is what we have got to change and the present to make the first move. Those dreams of going back, repenting hard enough, flirting with what ifs? Not going to cut it. LSY's meta elegance is in bringing the intensely personal version of this theme in parallel to the big one: divorce. FWIW, she had all these threads tie together by Episode 7. I get why she said Grid is the next iteration of her life's work—an exceptional mind.

Park Min-young could have chemistry with a rock, and thank god, Seo Kang-joon isn’t one. When The Weather Is Fine is the rightest show about life in the countryside. It nails the fine line of a tight-knit community that shows up for you and also, how easily they can be the first source of judgement, as people who know your secrets. Best book club in a k-drama. Very well done pining. Imo is my favourite character and she should publish that novel because “Hey. Who do you think killed my brother-in-law?” is a banger opening line. I first saw Lee Jae-wook in this show.

During the weekends of April and May, there was My Liberation Notes. I watched it like a scheduled therapy session, although I do not think Park Hae-young is aiming for catharsis with her works (despite it seeming like the most common outcome). I didn’t have the word “healing” in my everyday vocabulary so often before k-dramas. It’s a genre of k-drama that is meant to be comforting, to inject slowness into everyday life as an antidote for the ills of modern society. Bullshit. There are multiple wide shots of the Yeom family tending their farms, eating in peace amid the greenery, and they are claustrophobic. It might feel like complaints, and you’re free to think that. But PHY knows, as most people my generation do, finding an escape is actually really easy. That’s not the point. The point is to be less sad about being who you are; to know that who you are is enough to make a living, find love if you want it, make peace with your family. This show is about siblings as the real loves of your lives.

I don’t remember what I was doing in June.

Pachinko is not a k-drama strictly speaking, but let’s do it. I adore Min Jin Lee and I am afraid to admit how emotionally attached I am to the world of Kogonada’s eyes. In MJL's book, the linear structure is meant to make you feel like the history of a family can also be a history of the other themes that consume intellectual space. In the show, there is no such thing as a past, or a history. Nothing is done, nothing is over and under the rug. You see Sun-ja’s and Solomon’s stories at the same time because there's no distance that makes what happened then far enough from what's happening now. For this alone, Pachinko is a superior adaptation. I have a shrine for every woman in this show. Watching Yumi’s Cells 2 has been among the happiest experiences of my TV viewing life. Bloody Heart could have been bloodier. I respected that it reached a conclusion without feeling the need to give a neat answer to its central question of assertive power as driver of both unity and chaos—there’s humility in realising that the answer need not be determined in one generation. Jang Hyuk thirst got me into the show, Kang Hanna’s outstanding face and smarts kept me there. Lee Joon’s Lee Tae nearly made me quit. Park Ji-yeon, muah. I watched the back half of Signal in July. It is no fault of the show that I was zapped out of will to see women being killed. There were two scenes of Kim Hye-soo’s that wrecked me bad, I had to quit watching for couple of days. Thank you to the makers for giving a genre-defining template. (Kairos did do it better.)

Alchemy of Souls was super fun as a weekly watch. Daeho is boring to me as a setting and the plot ventures into territories worthy of critical thought once in a blue moon. But I admire the ambition, and the storytelling does have its moments. Lee Jae-wook is a menace. Inhaled Rookie Historian Goo Hae-ryung over four days; I enjoyed it. Extraordinary Attorney Woo tried. I also binged Reply 1997. Reply 1988 is always going to be my favourite and I am not going to watch R1994 for a conclusive test of veracity.

Between these shows, their endearing efforts at being fulfilling shows about love of different kinds, I nibbled on episodes of My Mister. I couldn’t watch two episodes together; it was so potent, so unbelievably demanding of my attention in every way imaginable, and I gave it willingly. I wrote about the show here.

October brought the best mystery/thriller show of the year: May It Please The Court. It was written with a clear idea of how much to bite, knew how to chew on it, and that’s why it also landed the best conclusion of the year. The show is astute about forgiveness and justice, and well, forgiveness in justice. I think the show’s success is in how it trusted both its characters and the audience to process what this means to them. Jung Ryeo-won and Lee Kyu-hyung have impeccable married energy from first scene. Lee Sang-hee is the best, the hottest, the finest.

Little Women is the mystery/thriller show with the most potential of the year. It wasn’t until episode 11 that the show lost me but I do think the flaws began revealing themselves a lot earlier. I didn’t appreciate the show’s insistence that the central crime of the show was Sang-ah’s murders and not the patriarchal cult that pretends to be a meritocracy. I thought the Vietnam War references were in conversation for a whole different reason: I viewed it as a nod to the first war where losing means more than winning. That war is the blueprint for the 21st century exertion of control for the right to capital and target audience, rather than mere territory and pride. But this symbolism wasn’t what came through and I understand those who pushed back on how the war's references, along with an exotic flower, rang hollow. LW did get characterisation right, particularly the way poverty alters how intelligence is perceived and valued. It’s ambitious premise—that Louisa May Alcott was wrong in deciding these sisters would taper their poverty with unusual politeness—is radical.

I will rewatch the first 11 episodes of May I Help You in several trying days of my future. Baek Dong-joo and Kim Tae-hee, butlers to the dead and the alive respectively, are companions, friends and lovers, in that order. What's not to love? The acts asked of them are rarely grand but they are delivered with emotional heft. I forgive all the detours taken from episode 12. I tend to find it dull when everybody and everything is connected to each other. In this one's ending, it's quite lovely. I see the vision in saying that we only know Dong-joo’s story because that’s the story we have tuned into. The miracles could be happening to anyone at all. I wish writer-nim wasn’t so Christian throughout—the throwaway line about suicide put me off. Best piggy-backing scenes in a rom-com and also, favourite kiss, I am going to say.

[muninnhuginn]

for all that Stranger is a very plotty series I really appreciate how it always makes the time for little character moments. things like han yeo-jin’s drawings, hwang si-mok vs food, kang won-chul’s silly office habits. and then it builds on these to give actual character insight?

han yeo-jin likes her drawings, a load of her doodles are actively anime-style which is fitting considering how much she’s into animanga, she likes to gift them and they mean a lot to her. they’re literally part of how she shows her appreciation for others, from her coworkers to si-mok. so in s2 when she’s suddenly *not* drawing? that shows something is severely wrong even before si-mok points it out. her returning to doodling later on after starting to mend the rift with si-mok therefore pulls some weight in showing that she’s healing, but at the same time, when her co-workers look over she still hides what’s she’s doing. this contrasts with her old work where she literally left post-its of her art as gifts on full display. she may be improved from her lowest state but she’s still not comfortable in her current environment.

si-mok vs food, better people than me have explained, but he’s constantly interrupted from having meals because of cases. it starts mostly as a running gag but it does get built upon. when he’s at odds with another character and they try to have a meal with him it’s inevitably cut short (kang won-chul’s s1 manager intervention, lee yeon-jae meeting the team) or he actively dislikes the food (and this part gets more blatant as he starts to express more emotions in general. initially it’s other characters who have to directly comment on or ask him about not approving of the food whereas by the time he has the meal with woo tae-ha the disgust is visible on his face). the only times he’s able to have a proper meal is when he’s started to let people in, so si-mok accepting the invite to the team meal in s1 (just before everything all falls to pieces) is a big step. it catches everyone off-guard for a reason. beyond that, there are the meetings with han yeo-jin which are some of the few times he’s actually able to have a proper meal with someone.

si-mok vs alcohol is another indicator. much of s1 is spent refusing alcohol and saying he doesn’t drink. in situations where someone else is drinking and it would be socially acceptable for him to mirror them (see eun-soo drinking alone in the pop-up bar) he is notable for how he refuses to do so. it takes most of the season for him to ‘give in’ enough to drink and when he does it shows that he may not be showing it in other ways but he has hit a low point. and that he chooses to share his history with yeo-jin when he’s in that state speaks volumes as to how much more he trusts her now. (I could speculate here about how him avoiding alcohol seems to be rooted in a not wanting to lose control kind of thing which is at odds with his whole emotionless deal in the same way his repeated lying about his pain is but that’s a tangent so I’ll leave it be) and at the end of s1 he drinks socially with yeo-jin and later on in that episode shows a full smile, showing him choosing to ease up re: alcohol is actually a *positive* development for him in some way. so him then reverting back in s2 to not drinking alcohol? it’s either his development being stunted/reverted or he’s not in the position where he’s with someone he trusts enough to drink with.

as for kang won-chul? I don’t think there’s any real *development* as such with his office habits (spinny chair, trying to get the paper into the bin), but it does demonstrate he doesn’t conform as much as he seems to at first glance. he’s a character who at first glance knows the ways this all works and blends in with it, but he doesn’t quite fit.

my point is just, the show didn’t have to bother with any of this. they could have still hit all the plot points and it would have made sense. the characters would have still stood up to scrutiny. but they chose to include all these little indicators that build up a picture of all the characters and where they are in their respective arcs. and I appreciate it so much that the show trusts the audience to complete the puzzle.

[galaxymagick]

240625 OfficialJTW_LEO✖️

@OfficialJTW_LEO

[#JUNGTAEKWOON NEWS] 전소민·지승현, '베란다' 출연 확정…정택운 스크린 데뷔 📌 https://naver.me/GBF9dlvH 📌 https://m.joynews24.com/v/1734207 #정택운 #레오 #LEO #영화 #베란다 #아덴

Jeon Somin and Ji Seunghyun confirmed to appear in ‘Veranda’… Jung Taekwoon's screen debut

#JungTaekwoon #Leo #Movie #Veranda #Aden

web translated article

Korean journalists, often use this expression "crank-in" when filmmakers start to shoot a movie.

Movie ‘Veranda’ Jeon Somin, Ji Seunghyun, Ha Suho casting, crank in

The casting date for the romantic thriller film ‘Veranda’ (directed by Cho Sung-won) has been confirmed.

Director Cho Sung-won's romantic thriller film 'Veranda' selected Jeon So-min, Ji Seung-hyun, and Ha Soo-ho as the lead actors and recently began filming, distribution company Santa Claus Entertainment announced on the 25th.

The movie 'Veranda' is a story about people's secrets and truths projected in a space called an apartment, a communal home. 26 Company Co., Ltd. named this work, which has a narrative that relieves the burden of drama from the existing genre of 'erotic thriller' and highlights a more sophisticated and sensuous mise-en-scène, as a genre of 'romantic thriller', providing unique fun and entertainment. He expressed his aspirations for the production, saying that he wanted to create emotion.

Actress Jeon So-min plays the role of Jeong Ha-yeon, who is threatened by a mysterious person claiming to know the secret about her husband's death. Actress Jeon So-min, like a chameleon, plays roles in a variety of genres, including a love story in the drama 'Show Window: The Queen's House' and a life-style role in 'Cleaning Up'. In this work, she plays Jeong Ha-yeon, who senses that someone stalking her house is related to her husband's death and sets out to find her. She is able to establish herself as a thriller queen with strong maternal love for her son Aram. I plan to go through a transformation in my acting.

Actor Ji Seung-hyun played the role of ‘Hyun-woo’, who lost his beloved wife and child. He clearly made a mark on viewers with his role as Yang Gyu in the drama 'Khitan War of Goryeo', and has recently become a popular actor, even holding a fan meeting for the first time since his debut, and is actively engaged in activities. In this movie, the main character Hayeon's son 'Aram' follows Hyunwoo, and attention is being paid to how 'Hyeonwoo', who begins to dream big in new hope with Hayeon, will be portrayed.

Here, the role of Hayeon's husband 'Woojae' is played by actor Ha Soo-ho. Since his debut, actor Ha Soo-ho has expanded his scope of activities to include screens, TVs, and OTT series, and is showing impressive acting across genres. In particular, he left a strong impression on viewers with his impactful acting as a vicious villain in Netflix's 'The Hounds' last year and in Disney+'s 'Han River'. Ha Soo-ho is solidifying his position as an actor. This work raises expectations about how the heavy and ugly truth hidden behind death will be expressed in detail.

In addition, actor Jeong Hee-tae will play the role of 'Nam Kyung-jang', who begins to investigate the surroundings while suspecting 'Woo-jae's' accident, and 'Kim Kyung-jang' will be played by newcomer Jeon Young-chan. Actor Jeong Hee-tae, who showed outstanding acting in the dramas 'Wedding Impossible', 'House with a Yard', and the movies 'My Neighbor' and 'Cheer Up, Mr. Lee', takes on the role of Detective Nam Kyung-jang, who is investigating the case in detail. It will add weight to the play. Meanwhile, actor Jeon Young-chan is recognized for his acting skills in short films such as 'Daejeon, 1960' and 'Lighthouse', and recently, he is a rookie with infinite possibilities and potential with his passionate passion in dramas such as the drama 'Cheer Up' and the OTT series 'Dominant Bell' and 'Deal'. am. Expectations are high for the diverse charms he will show through ‘Chief Inspector Kim’.

Jung Taekwoon, who plays the role of 'Arden', who is about to make his screen debut through 'Veranda', debuted as the main vocalist of the group VIXX in 2012 and received a lot of love for his unique voice and eye-catching charm, and has appeared in the musical 'Full House' since 2014. , 'Mata Hari', 'Monte Cristo', 'Elisabeth', 'Marie Antoinette', 'Frankenstein', 'The Great Comet', as well as the play 'Tebesland', and has been praised for her passionate performances regardless of genre, becoming an all-rounder with acting skills. It came out. In this 'Veranda', he plans to further expand his range of acting by playing the role of a mysterious character who spies on Hayeon's house and learns her secret.

In addition, this film 'Veranda' won the Grand Bell Award for Art Director with the film 'Moss', and he served as art director and set manager for leading works representing Korea such as 'Battleship Island', 'Sabaha', 'Korean Peninsula', and 'Bat'. Since this is the first work directed by director Seong-won Cho, it is attracting particular interest and expectations.

The movie 'Veranda', which is raising expectations with the appearance of many actors with solid acting skills such as Jeon So-min, Ji Seunghyun, and Ha Suho, as well as excellent supporting roles, is scheduled to be released in 2025.

Jeon So-min and Ji Seunghyun confirmed to appear in ‘Veranda’… Jung Taekwoon's screen debut

Actors Jeon So-min, Ji Seung-hyun, and Ha Soo-ho are coming together for 'Veranda'.

26 Company Co., Ltd. said, "This work, which relieves the burden of drama from the existing genre of 'erotic thriller' and has a narrative that highlights a more sophisticated and sensuous mise-en-scène, is named as a genre 'romantic thriller', and provides a unique and fun experience." “I wanted to create an emotion,” he said, expressing his production aspirations.

Jeon So-min takes on the role of Jeong Ha-yeon, who is threatened by a mysterious person claiming to know the secret about her husband's death. Jeon So-min plays Jeong Ha-yeon, who senses that someone stalking her house is related to her husband's death and sets out to find her. She is able to establish herself as a thriller queen with her strong maternal love for her son A-ram. I plan to go through another acting transformation.

Ji Seung-hyeon plays the role of Hyun-woo, who lost his beloved wife and child. As Hayeon's son Aram follows Hyunwoo, attention is focused on how Ji Seung-hyun will portray Hyunwoo, who begins to dream big in new hope with Hayeon.

Hayeon's husband Woojae is played by Ha Soo-ho. After his debut, Ha Soo-ho, who expanded his scope of activities to the screen, TV, and OTT series, and showed impressive acting across genres, raises expectations about how he will densely express the heavy and ugly truth hidden behind death.

In addition, actor Jeong Hee-tae plays the role of Nam Kyung-jang, who begins to investigate the surroundings while suspecting Woo-jae's accident, and newcomer Jeon Young-chan plays the role of Kim Kyung-jang.

Jung Taekwoon (Leo), who plays the role of Arden, who is about to make his screen debut through 'Veranda', debuted as the main vocalist of VIXX in 2012 and received a lot of love for his unique voice and eye-catching charm. Since 2014, he has been well received for his passionate performances across genres in musicals such as ‘Full House’, ‘Mata Hari’, ‘Monte Cristo’, ‘Elisabeth’, ‘Marie Antoinette’, ‘Frankenstein’, and ‘The Great Comet’ as well as the play ‘Tebesland’. He was reborn as an all-rounder with acting skills. In this 'Veranda', she plans to further expand her range of acting by playing the role of a mysterious person who spies on Hayeon's house and learns her secret.

'Veranda' won the Grand Bell Award for Art Director for the movie 'Moss', and director Seong-won Cho, who was in charge of art direction and set responsibility for leading representative works of Korea such as 'The Battleship Island', 'Sabaha', 'Korean Peninsula', and 'Bat', etc. This is the first work that took on a megaphone. It is targeted for release in 2025.

[drivingsideways]

Twenty Questions

@rosyfingered-moon thanks for the tag! :D

1. How many works do you have on AO3?

62 ! :O

2. What's your total AO3 word count?

853,262

What fandoms do you write for?

Mostly tv. Actively, right now, none. Since 2018, it's been cdrama or kdrama, but I've written for Western shows previously.

What are your top 5 fics by kudos?

4 of the 5 are for The King: Eternal Monarch and 1 is for Beyond Evil.

Algebra (credit mostly goes to co writer @haraxvati for all the heavy lifting) - TKEM, Jo Yeong/ Lee Gon in the realest fake arranged marriage ever

A Soul Divided- TKEM, Jo Yeong/ Lee Gon in which Gon is a total failboat at pretending to be a normal citizen, but guess what, so is Captain Jo Yeong.

Destiny's Child- TKEM, Jo Yeong/ Lee Gon, or the Lee Gon Liberation Manifesto

Before You Came- TKEM, Jo Yeong/ Kang Sin jae, in which Kang Sin jae falls for a man who wants to be ravished by God but the dude ends up crossing the space time continuum for someone else entirely. Love works in mysterious ways etc.

Cat Whisperer - Beyond Evil, Han Joo won/Lee Dong sik. What it says on the tin, really. Dong sik ruminates on the acquiring and care of feral felines.

Do you respond to comments? Why or why not?

Yes! I respond to all comments, even if it's just a one liner or a key smash. If someone's taken the time to read and enjoy and engage with my work, I want to acknowledge that- and sometimes you make friends through AO3 comment space ! :')

What is a fic you wrote with the angstiest ending?

Hmm, I have several fics which end on a bittersweet note, but none that I think are completely without hope? Deer Heart is probably one of the most emotionally violent fics I've written, but even that one ends on a hopeful note (at least I see it that way.)

A main character dies in the last instalment of The Stars 'verse, but someone bookmarked it with the comment " the hurt no comfort tag is propaganda bc this does hurt yes but there IS comfort and thats because there is love :') " which was honestly a comment that made * me * tear up ! :')

What's the fic you wrote with the happiest ending?

HUGE fan of cloyingly sweet endings for my blorbos, but I do think I end up in the bittersweet column most times? But I guess "Instructions for Dancing" may be literally the fluffiest thing I've ever written.

Do you get hate on fics?

No- I think an occasional comment that made me go ???? because the reader apparently wanted something different when they clicked on my fic, but no real hate, thankfully. I've been blessed with really sweet commenters for most part!

Do you write smut? If so, what kind?

I do! Not sure what is implied by "what kind" here- hopefully hot (but also revealing something about the characters and the relationship?!) ? :)) Tbh, smut is not my wheelhouse, and I always find the process of writing it nerve wracking.

Do you write crossovers? What's the craziest one you've written?

It's not something that I find interesting to read or write usually. I have one unfinished and unpublished Black Sails/ Supernatural crossover that I think was a brilliant idea but I ran out of steam.

Have you ever had a fic stolen?

Not to my knowledge!

Have you ever had a fic translated?

Not to my knowledge!

What's your all-time favorite ship?

I love all my ships intensely, so it's hard to choose! Even if I'm not thinking about them on a daily basis or writing for them or reading fic about them, each of them has a piece of my heart.

What's a wip you want to finish, but doubt you ever will?

Argh, don't ask me this! There are so many, so many. But in specific, there's a Black Sails au that I really wanted to write and have written maybe 15k of AN OUTLINE for, but yeah, never finishing that.

What are your writing strengths?

I think I'm generally able to deliver an emotional punch very well.

What are your writing weaknesses?

Oh dear. Everything? And I think that's fine- all craft is practice and discipline and I hope I will get better at "everything" as I write more and hopefully more thoughtfully than I have in the past.

Thoughts on writing dialogue in another language for a fic?

I think there's only one fic in which I've used complete dialogue in multiple languages (with Google Translate as my guide, SORRY). But I'm pretty cool with the idea of it and I enjoy reading fics that have multiple language dialogues as well.

First fandom you wrote for?

On AO3 it was Supernatural , and was left unfinished- I have since deleted it.

Favorite fic you've written?

This keeps changing, and there's things I love and hate in all my fics, but I guess a drivingsideways "starter pack" should have Destiny's Child in it, and the last fic I wrote "Juche" turned out pretty well, I GUESS.

@cupofteaandstars @elderflowergin @haraxvati @sadviper if you want to! :D